Production
The anime was directed by Isao Takahata. He chose to hold this version true to the original source material, although his two previous works (Heidi, Girl of the Alps and 3000 Leagues in Search of Mother) had been adapted and altered.[1]
Montgomery's novel was already extremely popular in Japan at the time of production, having been first introduced to Japanese readers in 1952 through Hanako Muraoka's translation. However, the screenwriters decided to use Taeko Kamiyama's 1973 translation, as it was considered more faithful to the original text.[2]
By the late 1970s, Anne of Green Gables was widely seen in Japan as a "girls' book," a perception shared by Isao Takahata when first approached to adapt it. Initially uninterested and doubtful about its suitability for animation due to its dialogue-heavy and uneventful nature, Takahata reluctantly accepted the project, partly due to internal studio politics. However, as he delved deeper into the novel, he grew to appreciate its subtlety and found it an engaging creative challenge. This contrasted with other staff members—like Masahiro Ioka and Yoshifumi Kondō—who were already fans of the book.[3]
In July 1978, Isao Takahata, Yoshifumi Kondō, and the production team traveled to Prince Edward Island, Canada, to conduct research for Anne of Green Gables. They visited key locations like the Green Gables house and Orwell Corner Historic Village, taking photos, sketches, and notes to capture the landscape, architecture, and atmosphere of the late 19th century. Soil samples were even brought back to Japan to ensure accurate color reproduction. This trip provided essential visual reference material, contributing significantly to the historical authenticity of the anime.[3]
Hayao Miyazaki did the scene setting and layout. Previously, he had worked on 3000 Leagues in Search of Mother, although he left the production and Nippon Animation after the first 15 episodes. Miyazaki noticed a difference in Takahata's philosophy of animation; Takahata stuck to controlled, realistic acting at the time, similar to his former work. Miyazaki had not intended to do other work with Takahata, but he had also not planned on becoming independent at this stage of his career.[1]
Miyazaki, who was also unfamiliar with the novel and unimpressed by it, contributed to the adaptation in its early episodes but remained detached from the story’s tone and themes. Takahata aimed to stay true to the novel’s realistic and everyday-life tone, focusing on sober direction and delicate animation. Miyazaki, on the other hand, favored a highly expressive and dynamic animation style, as seen in Future Boy Conan, which led to clashes between his layouts and Takahata’s storyboards. Moreover, Anne’s character—unidealized in appearance, impulsive in personality, and lacking a male point of view—contrasted sharply with the idealized, “protective” image of girls that Miyazaki was beginning to shape in his works. Anne thus stood in opposition not only to characters like Fiorina and Heidi, but also to Miyazaki’s own emerging vision of female protagonists. After Miyazaki's departure, the production rapidly declined, with the following episodes marked by more static animation and the use of still frames, and the reduction of the series from 52 to 50 episodes due to delays.[3]
Yoshifumi Kondō was selected for character design and animation director over Yoichi Kotabe, who had stopped work with Takahata after 3000 Leagues in Search of Mother of the previous work. Kondo went on to work with Takahata on the films Grave of the Fireflies and Only Yesterday. After the Canada trip, Kondō and Takahata began designing Anne. Kondō initial shōjo-style drawings, based on the first 1952 translation of the novel, were rejected by Takahata, who preferred a more realistic look based on the 1973 translation and inspired by Mia Farrow performance in Peyton Place. Anne’s design was gradually refined to appear less stylized and to show her beauty developing naturally over time.[3]
The voice of Anne was provided by Eiko Yamada, who would become a staple of World Masterpiece Theater anime, going on to play Lavinia in Princess Sara and Jo March in Tales of Little Women (the latter of which also featured character designs by Kondo). In her very first anime role, Yamada was personally chosen by Takahata to voice Anne, finding that her high-pitched, inexperienced delivery perfectly matched Anne’s expressive and impulsive personality, despite other staff members—such as Miyazaki—preferring a cuter voice. Other notable cast members included Gara Takashima as Diana, in her first major role, and veteran Ryūji Saikachi as Matthew. Fumie Kitahara, voicing Marilla, had prior dubbing experience but no anime background. Unlike the tense atmosphere among animators, the recording sessions were positive, thanks to the support of recording director Yasuo Urakami and Saikachi, who helped guide Yamada's performance.[3][4]
