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Aug 6, 2026
Virginie Faucon crushes on "My Neighbour Totoro" by Hayao Miyazaki
Virginie Faucon crushes on "My Neighbour Totoro" by Hayao Miyazaki
00:00
18:30
Transcript
0:00
I like when not everything's said. And I like when there's some unsaid. I, I like the fact that I know there's deeper meaning to it than what you see.
0:09
[instrumental music] Hi, and welcome to Creative Crush, a podcast in which marketing's smartest minds step away from their brand to talk about a piece of culture that they keep coming back to.
0:26
My name is Hugh Gary, and today I'm talking to Virginie Faucon. Hello, Virginie. Hello. Hi. Lovely to chat to- How are you? Very good. Very good. Thank you.
0:38
Um, before we jump into your creative crush, can you just tell the audience a little bit about who you are and what you do? Yes, absolutely. So I'm Virginie Faucon.
0:48
I am the Global Head of Marketing and Brand for, uh, AXA Health International.
0:55
Uh, we are part of the AXA Group, and I look after the international health, uh, part of the business, uh, everything marketing brand, insights customer experience related.
1:09
Fantastic, and I'm so excited to talk to you about today's creative crush. Um, can you tell the audience what your creative crush is? Yes, so, so my creative crush is an inspiration.
1:22
It's a play as an inspiration from a, a timeless, uh, really, uh, a, a film or animated film. Um, so the play is My Neighbor Totoro, uh, which, uh, is, uh, airing at the moment in London.
1:40
Uh, it's a musical play. Um, but it is, it is an extract from, uh, the very famous, uh, animated film from, from, uh, from Miyazaki. [instrumental music] The spirits of the forest started to hide from us,
1:58
frightened but also disappointed. But once in a while, they meet someone like you, Mei.
2:06
[instrumental music] Can you tell us, were you a fan of the film originally, or did you go and see the play first and then watch the film?
2:29
What was the order of things? Yeah. So I saw the film definitely before, a few times and, and I definitely was a, a fan and, and like all of the, all of the work from Miyazaki really.
2:42
Um, and, uh, I've seen it a few times. Um, uh, I mean, it's been around for a long time. Um, but I am also a fan of, uh, musicals. I go to the theater a lot. We're a musical fan family. Uh, and, and plays.
2:58
Uh, and so there was the two combined were definitely, uh, caught my attention.
3:04
Normally, I ask people about when they discovered, uh, this work, but when did you first discover the work of Studio Ghibli and all that canon? Yeah, absolutely.
3:18
So I mean, Studio Ghibli, as I said, it's, it's been, it's been around for a long time.
3:23
I think the first time I saw certainly My Neighbor Totoro was probably when I myself was a child or a teenager, so it goes back a long time.
3:32
Uh, and it's probably the first one I saw because it's the more children-friendly one probably of all of them.
3:37
Uh, and I've seen quite a few other pieces since, but I also happen to have lived in Japan for two years, and I'm absolute fan of the country. I, I love Japan. It's, it really took my heart.
3:48
So I think it almost connected back to this culture when I was there. Uh, and I, so when I came back, I also watched it again. And, um, uh, and this is also why I picked this piece because the rendition
4:03
of, of it as a musical or a play was really extraordinary and really also leveraged a lot of the aspects of the Japanese culture. And for me, that was fantastic.
4:15
So for anyone who isn't aware of the story, can you try and help explain- [laughs]... the story or what actually happens in the, the story? Yeah, I can.
4:25
I mean, it is quite strange, of course, like most of Miyazaki's work, so not the most straightforward to describe because there's a lot of, there's a big magical part to it, a bit, uh, probably a lot of metaphor as well.
4:38
Um, and so, uh, not super straightforward because it's left a lot to the viewer's imagination or interpretation.
4:45
Uh, but it is the story, we follow the story of a, a family, a father and his two young daughters who're moving from the city, from Tokyo to the countryside and buying a, an old house somewhere in the countryside.
5:01
And, um, and it's, at the heart, it's quite a sad story that the mom is in hospital, quite ill. We're not entirely sure what she has, but she's away, she's ill, she's unwell.
5:11
So the two young daughters w- the, the, the main, main character is very young. Again, I can't remember, but very, very young and, and they go to school, primary school.
5:20
But of course, there's that element of sadness in the background that their mom is ill, and they go and visit. But there's also a lot of joy, and this is part of the, what makes, uh, Studio Ghibli always so fascinating.
5:31
It's always that mix of joy and, um, and I said, uh, a- and, but also the profoundness of, of the story. And, um, and so the, these, these two little girls, they settle with their dad, and there's a lot of...
5:43
There's then, there, they, basically, this, the house is very old in a village, and it's next to a forest, and we understand very early on the forest is a little bit magical.
5:51
It has some magical creatures, or certainly the young girl sees magical creatures. Now, does she see them? Does she invent them? We don't know. But that's the whole story where she, her big sister goes to school.
6:03
She's left on her own to roam around and invent the, the forest, and then she happens to meet Totoro, and Totoro is a giant Panda bear, we don't really know, magical creature, huge.
6:17
But he becomes this very re- very comforting presence to her, but no one else can see him apart from the children really, because h- his sister can also see him, but no one else can.
6:28
Uh, and he really supports her and, um, there's that element. It's quite sad, quite poignant, and at the same time quite joyous. It's, uh, it's a fantastic piece.
6:38
So that's pretty much the story, I think, trying to, to describe it. There's this thing about it's a story about story or a story in which nothing happens, which tends to be my favorite types of- That's true... stories.
6:50
Yes You know? There's not really a, there's not really a, it's not an action story by any stretch really. It's, uh, it is very much a story where nothing happens, and at the same time a lot happens.
7:02
But, um, it's quite slow in pace actually as well. I, I recently watched it, actually went to, went to watch the play with my family, my children, and they had watched the movie before.
7:12
And it's interesting to see their reaction because it's actually quite a slow pace movie as well.
7:17
It's very slow pace because that's the thing, it leaves people hanging and guessing, and it's really moving in that really slow pace, um, which makes it even more deep.
7:28
But for children who are used to very high pace these days, movies and, uh, animated, uh, everything's quite high pace, action-led, and they really struggle with the pace. They found it very slow.
7:38
Uh, so you're actually right. It's almost nothing happens, but lots happen, and at the end, uh, it's, it's, there's a, there's obviously lovely ending, but, um, and, and it almost comes together all at the end. So yeah.
7:51
Well, it, it's really interesting because the, um, the child takes comfort from this thing, and this is a conversation that I had with, on the previous podcast about the creative crushes kind of bring you comfort.
8:06
I kind of describe some music tracks as giving me a cuddle sometimes- Yes... you know?
8:11
There's just a comfort about them, and sometimes we go to the things at times that we need to because we need them to pick us up or to give us that cuddle or to do whatever it is, and it kind of feels like that's what the main character in this film is, is looking for, doesn't it?
8:27
Yes, absolutely. I mean, and, and if we come back to the play, 'cause my crush was the play, although the movie, I, the film I absolutely love, but the, the, the play is the one I, I mentioned.
8:39
It, it has raving reviews and, and, and I think people generally have felt it's absolutely fantastic. And to that point of comfort, it is played, it is, uh, staged as a musical.
8:49
So there is music, uh, throughout the play for, for, for My Neighbor Totoro as a play. And, and there's this singer, and it's a Japanese singer, and it is unbelievable.
8:59
Having lived in Japan, and for me this is really close to my heart, something that, um, I'm feeling quite homesick sometimes of having left that country and absolutely love it.
9:07
Just to hear that, that singer sing, uh, in Japanese, those lovely songs, exactly that really. I was sat there, and it provided that, that amazing comfort. So it was a real crush.
9:18
I mean, just, just even through the music, um, I thought it was, it was, it was really, really lovely. When you knew there's a play coming, did you have that fear about, "Well, how are they gonna do this on- Yeah...
9:31
stage?" Yeah. Because when you hold something- Yes... so closely- Yes... it's quite a leap. It's quite a challenge. Yeah, absolutely. I mean, I said, I, it's been around for a long time in London.
9:42
It, it, I know that it was, uh, staged, uh, uh, um, a few times, always sold out.
9:48
So it's not the first year, I think almost, uh, was lucky to get tickets now and, uh, so I knew that people said it was fantastic, but I, I did have that fear.
9:58
I was really a bit skeptical or not so sure how it would be staged because it is an animated movie from, you know, very established Japanese studios. Very distinct style as well, of course, as we know, manga style.
10:12
And I was thinking how would you transcribe [laughs] that on stage? And I was, I wasn't sure. I was thinking people love it, but because I have lived the culture, maybe I'll be disappointed.
10:23
Um, and this is why it's my crush because I was so surprised at how unbelievable it was and was not expecting it at all. And it was absolutely perfectly staged. And there's a lot to, to get right.
10:36
It's, because it's unreal, it's magical, how do you turn that which, into something tangible in reality on stage? You could have a lot of cheap-looking props.
10:46
You could have things that don't really look, and they managed to transcribe it in a way where it really looks like it's magic to the, uh, the audience on stage.
10:55
It looks unbelievably done, and it looks magical, uh, which is very hard to do. Um, as I said, I am very used to the theater and musical theaters.
11:03
Uh, we're a family who, we, we lived that a lot and we, uh, we, I used to act as well. So I was thinking, you know, this would, could look a bit too staged, but it was, it's, uh, absolutely perfect really.
11:16
[laughs] And the, the puppetry and the staging was just outstanding, really incredible. And, and like I said, there's something magical about that, that stage. There's something magical in, in all his work in w- in that.
11:29
You know, it feels like there's life forms in all kinds of inanimate objects or spaces. You know, there's a real kind of blur between where life is.
11:37
And I'd imagine walking into that theater and seeing that staging and those, those, those, uh, that puppetry come to life must've been quite something for, for such a huge fan of the, the film and- Yes... theater itself.
11:50
Absolutely. I think it is the two worlds coming together. But, um, for instance, the Totoro, uh, is a good example where,
11:58
you know, I think my worst fear was probably going to be someone went into, went, wear a costume and it's, you know, it's human doing because this is a very magical, very quite scary, quite...
12:10
Initially when we discover the Totoro, uh, it is, it looks quite scary. It's a bit, um- unnerving.
12:17
You're kind of not sure if it's gonna be kind or not, and this is actually why it, it, certainly my children, uh, they, they find it a mix of, uh, magical and a bit scary.
12:28
And I was thinking if someone endorses that costume, it will lose that a little bit 'cause it will still be a human. And instead, they created this huge, absolutely huge Totoro. The first one is huge.
12:39
It inflated, massive on stage. Uh, and I mean, you know, the gasp in the audience, uh, people, uh, ver- were very impressed. It was, uh, very well done from that perspective, so yeah. What was the, the sound of Totoro?
12:56
The same. It's exactly the same. A, a human, again, you know, would not really have transcribed it, you know? It's perfect to transcribe that this is not a human character.
13:07
This is a character from, from within, or an imaginary character. And so the voice was done with very some amplifiers or speakers, and again, did not sound anything human.
13:18
It was this big roar that took up the entire space. Uh, and you know, again, really well done. Really, you know, kind of captures the attention.
13:31
Um, and I, and I think it, it's obviously the moment when he appears, and if you know the movie or you know the, the, the film, a lot of people who go are fans and know the story very well.
13:41
You know the moment that he's gonna appear, and so there's a huge antici- anticipation because, and you could tell the people around me, people know that Totoro's gonna appear, and they wonder what that's gonna look like.
13:51
Uh, and so that, that's where the reaction, I thought, "Oh, you know, this is why it's a crush and it's brilliant," is the reaction around.
13:58
People were generally very impressed and, you know, surprised by how they had done it. Uh, and the sound was, uh, cavernous. Unbelievable, really. Takes the whole, uh, the whole place, so yeah.
14:11
Is, is there a quote or a moment that just stuck with you? That, you know, whenever you think about that visit to the theater that time or seeing the original film, that you just think about again and again?
14:25
There's a particular moment.
14:26
So there is a moment in the, in the movie where, um, and again, I'm sure there's lots of metaphors that Miyazaki wanted to transcribe, uh, where they're waiting for their dad to come back from work, and he's very late, and they're waiting under a lamppost, and it's raining heavily.
14:42
And again, I, I feel like that is a real very strong depiction 'cause the rain could be the tears, and the loneliness and the sadness could equate to the rain.
14:52
And, um, and Totoro, I think, appears at that point behind with a tiny umbrella way too small for him.
14:58
Again, like the small umbrella on this massive thing that is, that is holding the little girl and sheltering, and that's probably the one that really stays, sticks in my mind, and they're waiting for this bus.
15:08
Um, and that's probably the moment in the movie that, I don't know, felt quite something for me.
15:13
In the play, and also because I knew this was coming, in the play it's probably the very first moment because of, of that singer. They have that Japanese... And all the characters are Japanese, I believe.
15:23
Um, so they, they speak in Japanese and English in a mix. The, the, the singer is, is Japanese, sings in Japanese, and an unbelievable voice and beautiful song, and that's probably the moment.
15:35
The minute it opens with her song, and that's so gorgeous, um, and really sets the scene, and it's quite a melancholic sounding song. That's probably the thing that really for me, just those opening notes.
15:50
Do you think there's a reason why that film connected with you? Is there, is there something about that and the story that made that your creative crush other than it just being wonderful?
16:02
Do you think there's something about the story or something about your life at the time when you first saw it or anything like that?
16:08
Um, so when I first saw it, no, 'cause I was a child and it was really more, it was v- it was probably more quite fashionable.
16:16
So this is when they were all coming out from Studio Ghibli and, uh, they were, they were really, you know, very popular. So I probably, there was no connection when I first saw it apart from people recommending.
16:26
As I said, I mean, me watching them again, it, I mean, because I've lived in Japan, um, there is, uh, there is certainly a, a connection there, um, since I've, I've been there in terms of the, the style, the, the...
16:42
I mean, I used to live in Japan. I lived in the countryside as well. So even the shape of the house, it just takes me back to that place.
16:49
Um, so there's a real emotional element to just watching, watching those movies in that setting.
16:56
Um, I think the, the bit that probably, I'm, I mean, not- nothing necessarily personal to my personal history, but more the creative element to it.
17:06
So it's my creative craft and the creative side that really appeals to me is what I was trying to describe where I think I quite like, um, in my own style, and it's true even in, in my work as a marketing professional, I like when not everything's said, and I like when there's some unsaid.
17:22
I, I like the fact that I know there's deeper meaning to it than what you see, and it'll make, it's le- it really leaves you thinking, reflecting. Now, there's a lot of sadness around this, the illness of the mom.
17:33
You know she's very ill. Can't quite tell what's going on, but again, that doesn't even connect with my story. It's more that there's a lot of metaphor. You can tell the metaphors.
17:42
Um, and there's many meanings underneath and, and I absolutely love that. I just like that of, um, creative, um, pieces generally, as books is the same for me.
17:52
I don't necessarily like when everything's described and, uh, there's a very, you know, beginning, mid- middle, and end. Even the ending is very open really. You know? It doesn't just end and everything's said.
18:04
So that's probably what really appeals to me. I mean, I could talk to you about this for, for hours and hours. So could I. [laughs] But, uh, maybe we'll do a part two someday. But Ginny, thank you so much.
18:15
Thank you for being on My Creative Crush. You're welcome. Thank you very much for your time as well. Thank you. [outro music]
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