Laputa: Castle in the Sky (天空の城ラピュタ , Tenkū no Shiro Rapyuta) is a film written and directed by Hayao Miyazaki and produced by Tokuma Shoten. It is the first film created by Studio Ghibli and released on August 2, 1986, although it is considered the second by some, as Nausicaä of the Valley of the Wind was created by the founding members two years prior. During its theatrical release, it was screened alongside two compilation movies for "Sherlock Hound", "The Adventure of the Blue Carbuncle" and "Treasure Under the Sea".
Miyazaki, who was forced to raise funds due to delays in the production of Isao Takahata's film "The Story of Yanagawa's Canals," proposed this film after consulting Toshio Suzuki, who worked for Tokima Shoten. Additionally, this was the first film that featured the profile of Totoro in the opening, despite being released before "My Neighbor Totoro" (1988).
The theatrical poster's advertising slogan is, "One day, a girl came down from the sky... "
The film won the Animage Anime Grand Prix in 1986, and remains as Ghibli's most popular works to date following a Netorabo poll in 2020 on "My Favorite Hayao Miyazaki Work". It was followed by "Nausicaä of the Valley of the Wind" on second place and "The Castle of Cagliostro" on third.
- 1 Plot
- 2 World of Laputa
- 3 Behind the Scenes
- 4 Release
- 5 Distribution and Reception
- 6 Easter Eggs
- 7 Differences between versions
- 8 Trivia
- 9 Voice Cast
- 10 Credit
- 11 External Links
- 12 References
→ See also the full story
The adventure begins when orphan boy Pazu finds Sheeta, a young farm girl, floating down from the sky, carrying a mysterious necklace. She wears the secret of Laputa, an ancient castle in the clouds that Pazu's father spent years trying to find. They begin a journey to discover it themselves, but the air pirates known as the Dola Gang and the military aren't far behind, seeking the castle -- and its treasures -- for themselves. Danger is around every corner, and a fight for the very future of mankind may be on the horizon.
World of Laputa
The world in which the story takes place is Earth, but a slightly alternate version. The exact date and location of events are not specified, however, it is the period in which science fiction author Jules Verne (1825-1905) was active. This is confirmed by the photograph of Laputa inside Pazu's house, taken by his father, which is dated "1868.7," evidently meaning "July 1868".
Generally, the story takes place somewhere in Europe, during an era of warring imperial powers wherein the military wields great authority. Although the king does not appear in the story, the government is a constitutional monarchy. The airships use buoyant gas, but are different in appearance than actual dirigibles. Likewise, the machines, vehicles and weaponry are not constrained by the real-world history of their inspirations and counterparts. That being said, the thinking underpinning the outlook on the nation, military and progress of technology is that of the post-Industrial era -- it has, quote, "nothing to do with the optimistic cultural writings prevalent in the 19th century". 
The Kingdom of Laputariches, or "Laputa", was built when a great technological civilization over 700 years ago (the one in the story's present-time is the second, as depicted by the film's opening) thrived, by a people who fled to the sky out of hatred for the wars of the Earth.
In this time, Laputa was a pinnacle of the civilization's technology, dominating the skies in a hegemony of other aerial kingdoms. Unlike these other kingdoms, which relied on rotors, Laputa maintained its airborne state by way of the element Aetherium. For a time, the kingdom prospered. However, after the civilization reached too high an altitude, the Laputians lost their vitality, and the population gradually declined, until they died out as a result of a strange disease that broke out abruptly around 500 BCE. The ancient Greek philosopher Plato is said to have made note of this history in his lost geography "On the Heavens", the minimal surviving knowledge of which inspired the Laputa of Jonathan Swift's "Gulliver's Travels". 
Legend has it that some of the Laputians, including the royal family and some of their subjects, abandoned the city at this time, hid themselves and lived on, but the details of this are unclear. Laputa was deserted, left only to the care of robots that waited for the return of their king. Over the years, the territory crumbled, and now only part of it wanders through the sky; moving with the westerlies as a constant low-pressure system that hides it entirely from view from the ground.
There is a theory in modern times that there existed an ancient culture that selfishly indulged in nuclear energy and wrought untold destruction, espoused by a few people. This is based on the Hindu epics Ramayana and Mahabharata, and the number of believers in this theory is particularly great in India.
Contradictions and In-Film History
It should be noted that, despite the above paraphrasing of the official description of the history of Laputa from Viz Media's copy of the original English dub screenplay, the film itself contradicts it at several points.
According to information from the film, Laputa was abandoned 700 years before the setting of the movie, having controlled the manufacture and mining of the "sky-crystal"; such an art having been abandoned by the film's beginning. The royal family and their subjects flee the city, leaving behind an electronic, high-technology core topped by a section of the castle and expansive greenhouse. There grew a central tree, which proceeded to sink its roots deep into the city and spread its branches outside of the city's top roof, along with several layers or terraces of walls or buildings done in various architectural styles. It is shown to have had at least three terraces of walls topped with one of the buildings; it may have had as many as five, as indicated in a tomb marker's seal. This abandonment of Laputa, according to Sheeta and/or Uncle Pom, may have been due to an alienation of the Laputans from the earth; forgetting that they are intimately connected to the earth and an over-reliance on technology to solve problems.
However, rather than simple oversight on Mr. Miyazaki's part, it is possible that these differences are a purposeful result of a desire for Laputa's history to appear as largely lost to hearsay and legend by the time of the film's events.
The opening part of the woodcut-like opening credits shows a simple windmill with a kiln behind it, set in a hillside, with a man tending it. Afterward, the windmills grow into enormous, apparently partially wind-powered factories or machines, with machinery digging ever deeper into the earth.
Dirigibles appear, along with airplanes and helicopters or autogyros flying against a clouded cityscape. A giant helicopter-ship is shown rising into the air, with the hull of an ocean liner and numerous rotors (possibly an exodus in search of new resources, as the factories surrounding it are now dark and motionless), and then a Laputa-like city appears, with the aforementioned rotors. Subsequently, a scene of floating islands and cities appears; again with Laputa possibly among them. Enormous, boxy, metallic helicopter-ships are shown, having rotors propelling them from the bottom.
Disaster strikes: lightning is shown and redness fills the screen. A sky-city can be seen, faintly, crumbling in the background, and then people are shown leaving the wreckage of a giant helicopter-ship. The end of the opening credits shows a farm girl behind a windmill, almost exactly like the one shown previously to be the earliest seed of Laputan society, next to two beasts of burden: a scene later in the movie (showing Sheeta on a farm with similar beasts of burden) implies this is Sheeta. This opening-credit roll can be compared with the "history of the world" scenery shown at the end of Wings of Honneamise and the Bayeux Tapestry-like scroll at the beginning of Nausicaä.
Laputa is credited by Colonel Muska with having been behind Biblical events and sacred Hindu legends — thus tying the world of Laputa further to our Earth (and to western European civilization) — as do the medieval castle architecture of parts of Fort Tedus; the Gothic and half-timbered buildings in the village near the fort; the British mining-town architecture, clothing, and even ground vehicles of Pazu's homeland; and the Victorian ambiance of the pirate ship. However, most of the movie's ancient civilization designs seem to stem from the early to mid-16th-century European culture.
The medieval castle in the movie seems to be inspired by the European mid-16th century painting of The Tower of Babel by Pieter Brueghel the Elder, with its giant circular base and the presence of highly rounded and arched doorways all the way around its perimeter. Even the colour of the castle is similar to the colour of the tower in the painting, while the flying machines depicted in the opening scenes of the movie with its whirring blades are also similar to Leonardo da Vinci's early drawings of a wooden helicopter. The link with the Tower of Babel painting is also symbolic. According to the narrative in Genesis Chapter 11 of the Bible, the Tower of Babel was a tower built to reach the heavens by a united humanity.
Behind the Scenes
Ever since he was in elementary school, Hayao Miyazaki dreamed of creating a film based on Jules Verne's seminal fantasy works, namely "Twenty Thousand Leagues Under the Sea" (1872).
After working on Heidi, Girl of the Alps (1974) for Nippon Animation, Miyazaki was approached by Tôhô to create story drafts and image boards to be used as a framework for possible television animated projects. Tôhô had previously distributed "Panda! Go, Panda!"(1972) and "Panda! Go, Panda! Rainy Day Circus" (1973), two works produced by Isao Takahata and designed by Miyazaki.
One of Miyazaki's proposals, titled Around the World Under the Sea (海底世界一周 , Kaitei Sekai Isshū) was about the adventures of two young orphaned brother and sister who, pursued by a pirate grandmother and her sons wanting to appropriate a mysterious medallion in their possession, would meet Captain Nemo. Nemo would come to the orphans' aid and take them aboard the Nautilus. Unfortunately, the proposal failed to go beyond the script stage and Tôhô retained all exclusive rights in the eventuality they decide to develop it further. As for Miyazaki, he would later use some of these ideas for "Future Boy Conan" (1978) and "Laputa: Castle in the Sky".
It should be noted that "Around the World Under the Sea" is not to be confused with the 1966 film directed by Andrew Marton. Also, Miyazaki's proposal was not an adaptation of any of Jules Verne's published works, but is instead inspired by his depiction of underwater imagery. Following the release "Laputa" in 1986, NHK and Toho reconsidered adapting "Around the World Under the Sea" and began retooling it as "Nadia: The Secret of Blue Water". The project was undertaken by Gainax, with Hideaki Anno set to direct and later released on April 1990. Anno, afraid of being accused of plagiarizing "Laputa", changed the story and settings without obtaining permission from NHK.
While it's been widely stated that Miyazaki took inspiration from Jules Verne and the "Flying Island" (空飛ぶ島”の名前) from Jonathan Swift's "Gulliver's Travels", his largest influence came from 1940's science fiction (SF) artist Tetsuji Fukushima. Fukushima's adventure serials were serialized on "Adventure King", a comic magazine published by Akita Shoten.
Miyazaki had read many of Fukushima's works as a child, particularly "Desert of the Devil" (砂漠の魔王). The concept was very similar to "Aladdin and the Magic Lamp" where, "When you burn a mysterious incense burner, a huge demon king wearing a red cloak appears and exerts mighty magical power under the command of the hero." Interestingly, the name of the item that the demon king uses when floating in the sky is called "Laputa".
An interview with Miyazaki on the Castle in the Sky's guide book revealed his love for this particular story, "In the harsh four-color printing of the magazine called "Adventure King", Tetsuji Fukushima drew "Desert of the Devil", a picture story I really admired. It was about an evil king trapped in an incense burner by magic. It's a mysterious story where when you burn a certain incense, the Demon King is revived and follows the orders of the human who burnt the incense (laughs). It was interesting, and for two years, from the 4th to the 5th grade of elementary school, I read it with excitement."
"In fact, there is a story where you can fly if you possess a magical stone. That's why I can't really claim my work as original (laughs). But, I think my idea is different from what Fukushima came up with. There are plenty of things of that kind from old times, such as magic carpets and feathered shoes. In other words, these ideas are commonly found in other culture, characterized by overlapping arrangements, and it does not make sense to present new things."
"If this work fails, there will be no next work."
- —Hayao Miyazaki
After the box office success of "Nausicaä of the Valley of the Wind", Yasuyoshi Tokuma, chairman of Tokuma Shoten, approached Miyazaki several times, asking him to produce a sequel. Miyazaki respectfully declined, instead proposing a new theatrical animation project called "City of Flowing Water" (水の流れる街 , Mizu no Nagareru Machi). Isao Takahata was set to direct while Miyazaki would participate in the setting and layout creation.
Isao Takahata visited Yanagawa City in Fukuoka Prefecture for location scouting and was thrilled upon seeing how the Dobu River had been cleaned up following an effort by local citizens. He suddenly declared to his colleagues, "Let's shoot a documentary instead of an animated movie!". He then changed the title to "The Story of Yanagawa's Canals" without permission from Tokuma Shoten.
Tokuma refused to fund Takahata's documentary, prompting Miyazaki to use the royalties they had earned from "Nausicaä". Miyazaki felt he "owed" Takahata for accepting the role as producer for "Nausicaä", but soon, funds ran out and principal photography was put on hold. Troubled by this development, Miyazaki rushed to Toshio Suzuki for advice asking, "What should I do?" In response, Suzuki said, "I think you should make another movie." Upon hearing that, Miyazaki again nodded, "Okay, I understand." Miyazaki then presented the Tokuma Group with his proposal for "Laputa: Castle in the Sky". The project was accepted.
Some of the architecture seen in the film was inspired by a Welsh mining town. Miyazaki first visited Wales in 1984 and witnessed the miners' strike firsthand, which he said reflected his Welsh experience: "I was in Wales just after the miners’ strike. I really admired the way the miners’ unions fought to the very end for their jobs and communities, and I wanted to reflect the strength of those communities in my film." Miyazaki told The Guardian: "I admired those men, I admired the way they battled to save their way of life, just as the coal miners in Japan did. Many people of my generation see the miners as a symbol; a dying breed of fighting men. Now they are gone."
He returned to the country on May 18th, 1985 for two weeks of location scouting to prepare for Laputa.
By June 1985, Studio Ghibli had been formally established. They had rented a studio from another company, but realized they needed their own space to work. Takahata said, "If you want to continue producing animation in the future, you should create a dedicated studio". In June 1985, Studio Ghibli was formally established thanks to an investment by Tokuma Shoten.
The first screenplay written by Miyazaki was a story centered on Colonel Muska, and it became a story depicting "Muska's ambitions and setbacks." Suzuki and Takahata began scrutinizing the early draft as they weren't sure the story was strong enough to focus on Muska alone. Takahata asked, "What do you think of this, Mr. Suzuki?" Suzuki responded, "The shadow of Sheeta and Pazu is thin..." The two felt the adventure aspect was weak and managed to convince Miyazaki to change the story to focus on the two young protagonists.
Takahata then began looking for other companies who would sponsor the film. At first, Dentsu offered a tie-up that involved them being able to influence the film's production. After further review of the contract, Takahata refused, stating they will only have their logo featured in the credits. This angered the executives at Dentsu, but Takahata reasoned he wanted to protect the image of the work stating, "I don't want to expose elements that are different from what the production side intended."
In the end, Toshiba and Ajinomoto agreed to help sponsor the production costs of the film. However, they were barred from using animation to promote any tie-in products as Ghibli wanted to preserve the integrity of the movie. In June 1986, Ajinomoto released a live-action commercial selling a light fruit soda called "Laputa Juice" starring voice actors Sumi Shimamoto and Yoji Matsuda dressed as Sheeta and Pazu. Ajinomoto also put out a "Laputa Telephone Service" in collaboration with NTT, and a partnership with radio station in Osaka broadcasting Laputa-related movie information. Sadly, "Laputa Juice" was said to have been a big flop, with many left unsold. Additionally, Toshiba sold the Laputa-themed "My Dream" video disc players.
Once Miyazaki had completed his storyboards, animation production began in earnest. The key animation staff consisted of the most experienced members from "Nausicaä", along with former Telecom Animation members. Yoshinori Kanada was given a special position called, "Original Head". Nizou Yamamoto returned as the art director. The iconic scene of "Laputa" crumbling in the sky was handled by Gainax animator Maeda Maeda, known for "Gunbuster" and "Nadia: The Secret of Blue Water" (1990).
The total number of drawings reached 69,262, which was a tremendous amount of work, exceeding "Nausicaä" by 13,000.
The film was released in 103 theaters in Japan on August 2, 1986. The final box office record was a disappointing 1.16 billion yen, less than the 1.48 billion yen achieved by "Nausicaä of the Valley of the Wind". When asked about its failure, Hayao Miyazaki surmised it may be "because he chose an ordinary boy who does not have special abilities as the main character."
In a December 2009 interview on "Cut", Miyazaki clarified, "I wanted to create an adventure story with a boy who fights with many dreams as the main character. However, when I actually made it, it turned out that the customers didn't seem to want to watch that kind of movie. After a while, some people said , "I love Laputa!", But at the time of the release, there were no customers at all."
In the case of female protagonist, it is possible to become a character just by being there, but in order to establish a male character, it is necessary to have something invisible, such as carrying a social position, position, or some fate. That's why it was pretty hard to get people to visit the theater in a movie with a normal labor boy like Pazu as the main character."
Distribution and Reception
In the late 1980s, an English version of the movie was produced by the request of Tokuma Shoten by Magnum Video Tape & Dubbing. It was screened on Japan Airlines flights as an in-flight movie and was also shown at least once on UK television on New Year's Eve in 1988. In 1989, the dub was picked up in the U.S. by the newly founded Streamline Pictures for limited Arthouse theatrical distribution. According to Fred Patten of Streamline, "Streamline Pictures theatrically distributed an English-dubbed print of Laputa from March 24, 1989 ,for the next year, but Streamline never dubbed it. Streamline licensed Laputa from Tokuma Shoten in late 1988 or early 1989, and was sent a print from Japan that had already been dubbed into English for use as an in-flight movie by Japan Air Lines on its trans-Pacific flights. We have no idea who actually dubbed it." Reportedly, Carl Macek was disappointed with this early dub. Since then the dub has fallen into relative obscurity and was only officially released on the Studio Ghibli Laserdisc Collection in 1996 and the first Japanese R2 DVD release in 2002.
The Disney-produced English dub was recorded in 1998 and planned for release on video in 1999, but Disney eventually decided to release it to theaters instead (presumably because the first release under their deal with Studio Ghibli, Kiki's Delivery Service, performed better than expected on VHS).
After Princess Mononoke flopped financially in the U.S., Laputa's release date was pushed back yet again; on occasion, the completed dub was screened at select children's festivals. The movie was finally released on DVD and video in the U.S. on April 15, 2003, alongside Kiki's Delivery Service and Spirited Away. As with Mononoke and Kiki, critics and fans were mixed about the new dub, but Cloris Leachman and Mark Hamill's performances - as Dola and Colonel Colonel Muska, respectively - drew nearly universal praise. Castle in the Sky was the second-best-selling DVD from Studio Ghibli distributed by Disney in the year of its release (after Spirited Away and ahead of Kiki's Delivery Service).
The movie currently holds a 95% "Fresh" rating on Rotten Tomatoes.
English language dubs of Laputa has been released under three different titles by three separate distributors.
Although meaningless in Japanese, "Laputa" (La puta) translates to "The Whore" or "The Bitch" in Spanish, which was probably intentional on the part of Swift, who created the concept in Gulliver's Travels. For this reason, in 2003, the film's title was shortened from "Laputa: Castle in the Sky" to "Castle in the Sky" in several countries, including the United States (where Spanish is commonly spoken as a first language by around 10% of the population or as a second language by students), Mexico, and Spain. This change was also carried over to a number of non-Spanish speaking countries, including Britain and France, under Disney's Buena Vista Home Entertainment label, despite Laputa (La puta) having no meaning in either English or French (however the French La pute is quite close). Curiously, although the word Laputa was removed from the title, it appeared on the rear cover of the DVD, and was used throughout the film, without modification.
The film's full name was later restored in Britain, in February 2006, when Optimum Asia - a division of London-based Optimum Releasing - acquired the UK distribution rights to the Studio Ghibli collection.
Additionally, during the late 1980s and early 1990s, the aforementioned pre-Disney dub was screened in the UK, as an Art-house film, under the alternative title Laputa: The Flying Island. It was also shown at least twice on British television, but some scenes were cut.
There are three instances of morse code in the film, which were never decoded fully. In the Japanese show Tsukai! Akashiya TV a former soldier reveals their hidden meaning. The first code can be heard in the first chapter of the film. Muska makes a call, before he is knocked out by Sheeta, who hits him over the head with an empty wine bottle.
In the past, fans have dismissed this message as gibberish, recording it as a repetition of a series of dots and dashes [..._ ..._ ..._], which translates to nothing more than V V V. However, Sakai and his fellow soldiers, who have experience in deciphering codes with no definite beginning and end, discovered that the message contained the code [.._. .. _.. . ._.. .. _ _._ _ ], which spells out the word fidelity.
There are two more messages. For more information read SoraNews24.
- Ofuji Award; Mainichi Movie Competition
- First Place; Pia Ten (Best Films of the Year)
- First Place; Japanese Movies; City Road
- First Place; Japanese Movies; Eiga Geijyutsu (Movie Art)
- First Place; Japanese Films Best 10; Osaka Film Festival
- Eighth Place; Japanese Films; Kinema Junpo Best 10
- Second Place; Readers' Choice; Kinema Junpo Best 10
- Best Anime; 9th Anime Grand Prix
- Special Recommendation; The Central Committee for Children's Welfare
- Special Award (to Miyazaki & Takahata); Revival of Japanese Movies
- Best Design Award; Anime
Differences between versions
- Australia: G
- United Kingdom: PG
- United States: PG
Disney English Alterations
Although the plot and much of the script was left intact, Disney's English dub of Laputa: Castle in the Sky contains some changes.
- A significant quantity of background chatter and one-liners were added (even more so than in Disney's dub of Kiki's Delivery Service), filling in moments of silence and increasing the frenetic appearance of certain scenes.
- Composer Joe Hisaishi was commissioned to rework and extend his original synthesizer-composed 37-minute soundtrack into a 90-minute piece for symphony orchestra in an effort to make the movie more accessible to U.S. audiences who are accustomed to a more substantial musical accompaniment.
- Pazu and Sheeta, as portrayed by James Van Der Beek and Anna Paquin, are made to sound as several years older, placing them in their mid-teens, rather than their pre-teens.
- Several modifications were made to dialogue spoken to/about Sheeta by members of the Dola's Gang, including a declaration of love from one of the pirates. In the original Japanese version, the dialogue presented Sheeta as a potential mother figure for the pirates, instead of a potential romantic interest.
- References to Robert Louis Stevenson's Treasure Island were removed, as was the reference to Jonathan Swift's Gulliver's Travels.
Although all these alterations were approved by Studio Ghibli and Miyazaki, there have been a number of critics and fans who called them into question. In particular, some fans pointed out that the new soundtrack placed music in scenes that previously involved the dramatic use of natural silence, as in the opening airship raid or when Pazu and Sheeta pass through the storm-cloud. On the other hand, Miyazaki himself is said to have approved of Hisaishi's reworking; his compliments were echoed by several reviewers.
- The Gkids edition removes some of the English Disney dialogue. For example, Pazu no longer says "knock it off, I'm trying to talk to the lady" when his birds are flocking around him.
- Many believe that the characters from Miyazaki's 1978 series Future Boy Conan were prototypes for the characters of Laputa: Castle in the Sky. Moreover, according to Hideaki Anno, the original bill of the project of this movie was what Miyazaki had presented to NHK in the broadcasting station as the following work while producing Future Boy Conan. Illustration "Pazu, the child of the sea, 海の子パズー" collected to "Hayao Miyazaki image board collection, 宮崎駿イメージボード集" (issued in November, 1983) might be it (the composition that the boy who resembled Pazu looks up at the girl in the water tank in a dark room). In the plan, the original bill was SF novel "Twenty Thousand Leagues Under the Sea" by Jules Verne, but when making it into a film, Miyazaki might have changed it to Jonathan Swift's novel "Gulliver's Travels". In addition, Miyazaki's plot outline for Castle in the Sky was also re-imagined by Toho as a TV series. The result was Nadia: The Secret of Blue Water, a 1990-91 TV series aired on NHK, made by the Gainax studio and directed by Hideaki Anno (who reportedly considers Miyazaki one of his idols) and Shinji Higuchi (the predecessor to the same team's hugely successful Neon Genesis Evangelion).
- It is thought by some that the setting of Castle in the Sky is possibly the same setting as another of Miyazaki's movies, Nausicaä of the Valley of the Wind, but in an earlier period of history.
- Although it is mentioned that Castle in the Sky was originally conceived in the wake of Nausicaä's success as a possible follow-up in Viz Media's 2016 art and production book, there was much internal debate on both Animage and Mr. Miyazaki's parts as to whether or not they should indeed make it a sequel or go for something more different. It is never confirmed that the worlds are the same.
- Jamie Hewlett, the artist behind the band Gorillaz, said on a South Bank Show special about anime that he found inspiration from the film for his art.
- In the part where the robot comes back to Pazu and Sheeta with a flower for the Laputian grave marker, it shows four of the same animals - Fox Squirrels - that Nausicaä had befriended running & playing on the robot.
- The Legend of Zelda: Twilight Princess for the Wii and GameCube home video game consoles contains several elements inspired by Laputa, including a puzzle featuring two ancient robots covered in foliage, as well as the final level featuring a sky castle.
- The truck in this film is similar to a Troublesome Truck from Thomas and Friends.
→ See also cast
|Character name||Japanese voice actor|
|Sheeta (Princess Lusheeta Toel Ul Laputa)||Keiko Yokozawa|
|Captain Dola||Kotoe Hatsui|
|Colonel Muska (Romska Palo Ul Laputa)||Minori Terada|
|Uncle Pom||Fujio Tokita|
|General Mōro||Ichiro Nagai|
|Boss/Mr. Duffi||Hiroshi Ito|
|Directed and written by||Hayao Miyazaki|
|Produced by||Isao Takahata|
|Starring||Mayumi Tanaka, Keiko Yokozawa, Kotoe Hatsui, Minori Terada|
|Music by||Joe Hisaishi|
|Edited by||Takeshi Seyama, Yoshihiro Kasahara|
- Laputa: Castle in the Sky on Ghibli.jp
- Laputa: Castle in the Sky on Anime News Network
- Laputa: Castle in the Sky on Rotten Tomatoes
- Laputa: Castle in the Sky Disney
- Laputa: Castle in the Sky on IMDb
- Laputa: Castle in the Sky on Wikipedia