According to Mamoru Oshii, it was Miyazaki’s longtime colorist, the formidable Michiyo Yasuda – a “tough lady” whom Miyazaki “would never go against” – who persuaded Miyazaki to use digital paint for Princess Mononoke, thus setting up the adoption of digital methods for the rest of the film. Oshii and Ueno. “Miyazaki no ko ̄zai,” 89.
