Give Quentin Tarantino $30,000 and a 16mm camera and see what he can do. The budget was ultimately more than $30,000, but this has a very low-budget movie feel, not that that's a bad thing. In fact, it's almost exclusively shot in a warehouse. As I was re-watching it, I thought about how this movie might work even better as a play. It's dramatic, sure, and it works as a film, but the focus to a single location would work very well on stage. For the most part, the power of the film relies on the actors and the intensity in which they deliver their lines. We might not have known it in 1992, but this film includes many of what will become "Tarantino Guys" -- Tim Roth, Michael Madsen, and Harvey Keitel. The only "Guy" really missing is Samuel L. Jackson, who I understand auditioned for the part of Holdaway -- not a very big role, but a role that probably would have popped more with Jackson. The movie is odd in that there is absolutely no female presence....
Compared to Castle in the Sky (1986), Howl's Moving Castle feels like Hayao Miyazaki at his full power. What makes the film for me is the characters, in particular, Calcifer (the fire) and Turnip Head (the Scarecrow). Good English voice casting, too, if you like listening to the English audio: Billy Crystal as Calcifer -- my favorite line: "She likes my spark!" (very Mike Wazowski-like in delivery) --, Christian Bale as Howl, Lauren Bacall as the Witch of the Waste, Jean Simmons as the old Sophie, etc. Sophie is an interesting character. She's supposed to be a little Jane Eyre-like, plain and unlovable. But she's cursed by the Witch of the Waste even so. None of that matters. Howl is still her true love, and even though she kisses a Prince (under a spell) in the end, she still ends up with Howl. That's a little odd, as the Prince promises he will be back later because she is his true love, and he knows how love is capricious -- in other words, he's nice a...