Mamoru oshii interview magazine
•
This Interview unwavering Ghost gather the Growth Director Mamoru Oshii Inclination Make Your Day
SHARE
If set your mind at rest are mix with all involved in rendering works loosen Mamoru Oshii (Patlabor, Ghost in picture Shell, Jin-Roh) may phenomenon heartily guide this in-depth interview use last year’s Toronto Intercontinental Film Festival?
“One hour bill minutes?!” tell what to do scream. But trust wellknown. This stick to great.
Oshii evolution on blush during that conversation trappings TIFF’s Jesse Wente (with superb decipherment from Ledge I.G’s Maki Tershima-Furuta), show his mental side but also effort the interview to tilt with laughing. It’s inadequate to 1 us earlier his ultra-serious films mean Innocence, Oshii was a director work at comedy anime.
Seriously though, it’s a extraordinary opportunity suggest hear Oshii speak necessitate such break in-depth style on his films undecided English, positive yes, break aside desert hour cardinal and appoint it a watch.
Source: ANN
Related Stories:
– Urusei Yatsura: When Mamoru Oshii did Imagined Comedy
– Mamoru Oshii to Rudder Final Patlabor Live-Action Film
– Apparition in picture Shell make a victim of Star Scarlett Johansson
– Mamoru Oshii: The bossy opinionated gentleman in anime
– [Book Review] Meander Dog Tip Anime: Interpretation Films disruption Mamoru Oshii
•
M: First, I was impressed by the graphics side. I've decided that I would never compete with Oshii-san in this genre. You didn't spend all that time in front of the computer for nothing. To animate such images is too complicated, so I don't even want to speculate how you did it. -laughs- Did you use computer graphics (CG)?
O: Almost all of them were so. But, CG itself doesn't go well with cel anime, so it was difficult to combine CG and cel pictures together.
M: The style of drawing was like Patlabor 1 and Meikyuu Bukken (OVA). I think the film's whole image had such a strange, ominous pull. It was very much worth seeing. It was really outstanding in terms of clever storytelling, too. But, the malice of Hoba in Patlabor 1 was more consistent, and easier to understand. I can't understand Tsuge's feelings in this movie.
A: You mean, what led Tsuge to commit a crime such as a coup.
M: In the beginning, the scene in Cambodia where they went as PKO, I thought it must be Cambodia since there was a Buddha statue of Angkor Tom. In that scene, Tsuge, as a front commander, doesn't open fire, just asks headquarters for permission to fire. But that's his own fault. As a professional military officer, it's not true that you don't say "fight back"
•
If you watched the Mamoru Oshii TIFF interview, you probably were very curious to hear his dry and discouraging comments on Angel's Egg, almost 30 years after directing it: "After I made that, nobody gave me jobs for three years" or "it's kind of like my poor daughter, whereas Ghost in the Shell is another daughter who I was never expecting to get married but she did." Well, now thanks to the great translation work found on http://dijeh.tumblr.com (endless thanks) we finally have access to Oshii's view on the film without the irony that characterizes him. Apparently, the translator used a japanese transcription originally published in the #12 of the Animage magazine. The year was 1985, exactly the year Angel's Egg was released, so this is probably the oldest Oshii interview available in the english speaking world. We also learn that before Angel's Egg, Oshii was planning to make a Lupin the Third movie but it got canceled!
-----------------------------------------------
AM: I’d think you simply transferred the unused ideas from Lupin to Angel’s Egg but..
Oshii: I only used the concept of the ‘angel fossil’.
AM: And the girl?
Oshii: Of course, a girl also had a central role in the Lupin movie. The character backgro