All language subtitles for perfectblue00003.track_4608

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
Good evening.

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
I am Satoshi Kon, the director.

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
"Perfect Blue" is a
very twisted animation movie.

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
There are visual devices scattered
all over the movie,

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
so for this occasion, I would like to
focus and showcase those elements.

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
However, this is purely how
I was personally thinking,

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
so it doesn't mean it is the only
correct interpretation of the movie.

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai

"Perfect Blue" Lecture - First Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
Now then, for the first evening,

Now then, for the first evening,

I'd like to explain about the protagonist,
Mima Kirigoe, and her daily life,

"Perfect Blue" Lecture - First Night
- Mima: From pop idol to actor ~
I'd like to explain about the protagonist,
Mirna Kirigoe, and her daily life,

"Perfect Blue" Lecture - First Night
- Mima: From pop idol to actor ~

"Perfect Blue" Lecture - First Night
- Mima: From pop idol to actor ~
up to the point where
she is at the crossroads

"Perfect Blue" Lecture - First Night
- Mima: From pop idol to actor ~

"Perfect Blue" Lecture - First Night
~ Mima: From pop idol to actor ~
of planning a career change
from a pop idol to an actor.

"Perfect Blue" Lecture - First Night
- Mima: From pop idol to actor ~

Good evening.
Welcome to the "Perfect Blue" lecture!

For 3 consecutive nights starting today,
for the animation movie, "Perfect Blue,"

we have invited Director Satoshi Kon to
showcase the numerous devices in the film,

which one may not understand
just by watching it once.

I am looking forward to working with you.

I look forward to working with you.

I am Satoshi Kon,
the director of "Perfect Blue."

Satoshi Kon
I am Satoshi Kon,
the director of "Perfect Blue."

L;}' \
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Satoshi Kon
So, as of now, "Perfect Blue" was a movie
that I made about 10 years ago.

Born on October 12, 1963.
So, as of now, "Perfect Blue" was a movie
that I made about 10 years ago.

Born on October 12, 1963.

Born on October 12, 1963.
At that time,
when "Perfect Blue" was released,

Originally from Hokkaido.
At that time,
when "Perfect Blue" was released,

While enrolled at Musashino Art University
At that time,
when "Perfect Blue" was released,

While enrolled at Musashino Art University

While enrolled at Musashino Art University
there was this album by Susumu Hirasawa
called "Technique of Relief."

He debuted as a manga artist.
there was this album by Susumu Hirasawa
called "Technique of Relief."

He debuted as a manga artist.

He debuted as a manga artist.
Later on, when I directed
"Mi||enium Actress," "Paranoia Agent,"

At the same time, with "Roujin Z,"
Later on, when I directed
"Mi||enium Actress," "Paranoia Agent,"

he first participated in animation,
Later on, when I directed
"Mi||enium Actress," "Paranoia Agent,"

he first participated in animation,

he first participated in animation,
and "Paprika,"
which was released last year,

in background art design.
and "Paprika,"
which was released last year,

in background art design.

In background art design.
Hirasawa-San was in charge
of the music for those,

in background art design.
and this was his seventh album,
"Technique of Relief."

"Hashire Melos!"
and this was his seventh album,
"Technique of Relief."

ii

"Hashire Melos!"
So, this was the flyer for it,

"Memories (Magnetic Rose)"
So, this was the flyer for it,

"Memories (Magnetic Rose)"

"Memories (Magnetic Rose)"
and I was fortunate to be asked to write
a promotional message for it.

For these anime, he was in charge of
and I was fortunate to be asked to write
a promotional message for it.

For these anime, he was in charge of

For these anime, he was in charge of
You see? The other people were
Kentaro Mira who did the "Berserk" manga,

background art design and layout.
You see? The other people were
Kentaro Mira who did the "Berserk" manga,

background art design and layout.

Background art design and layout.
Yuko Miyamura or Miyamu, the voice actor,
and Ryoko Yamagishi.

With "Perfect Blue," he achieved his
Yuko Miyamura or Miyamu, the voice actor,
and Ryoko Yamagishi.

With "Perfect Blue," he achieved his

With "Perfect Blue," he achieved his
And then, there was me.

Directorial debut, and then there was:
And then, there was me.

Directorial debut, and then there was:

directorial debut, and then there was:
It lists Kentaro Mira as a manga artist,
and Yuko Miyamura as a voice actor.

"Millennium Actress"
It lists Kentaro Mira as a manga artist,
and Yuko Miyamura as a voice actor.

' Kiwi' g," H I v' /

"Millennium Actress"
Okay...

"Tokyo Godfathers"
Okay...

"Tokyo Godfathers"

"Tokyo Godfathers"
It has Ryoko Yamagishi as a manga artist.

"Tokyo Godfathers"

"Tokyo Godfathers"
Okay.

"Tokyo Godfathers"

"Tokyo Godfathers"
And I'm the only one listed as
the director of "Perfect Blue."

"Paprika"
And I'm the only one listed as
the director of "Perfect Blue."

He successively worked on
And I'm the only one listed as
the director of "Perfect Blue."

He successively worked on

He successively worked on
-So...
-That flyer...

He successively worked on

He successively worked on
Yes, it lists my occupation as:
the director of "Perfect Blue."

These theatrical releases, which received
Yes, it lists my occupation as:
the director of "Perfect Blue."

These theatrical releases, which received

these theatrical releases, which received
So, I have been narrowly defined.

These theatrical releases, which received

these theatrical releases, which received
For me, that means
I'm an expert to that extent.

High praise at home and abroad.
For me, that means
I'm an expert to that extent.

High praise at home and abroad.

High praise at home and abroad.
So, for today, I think I'd like to
show myself at my best with this lecture.

High praise at home and abroad.

High praise at home and abroad.
Okay.

Okay.

By the way, I am Runa Nagai,
and I will be serving as an assistant.

Now then, onto the first night
of the "Perfect Blue" lecture.

Actually...

Horoscope: Accepting Directing Debut Story
Yes?

Horoscope: Accepting Directing Debut Story

Horoscope: Accepting Directing Debut Story
As I was heading out today,
I was reading the newspaper.

As I was heading out today,
I was reading the newspaper.

So, I'm a Libra and I'm not the type of
guy who believes in stuff like horoscopes.

Well, when I looked at the Libra part...

Let's see, "today you might teach people
something that's incorrect."

It says if I realize that,
I should correct that as soon as possible.

Okay.

Well, I'm thinking it kind of might be
talking about this lecture,

'~'~

As for you, Nagai-kun.

Rumor has it,
and based on information I obtained...

You are a Gernini-

Yes.

So, just in case,
I took notes on the Gemini part.

"When a secret gets out..."

-As in, today?
-Yes.

7_; ',_';

"Be ready to have an excuse
or be armed with logic.“ Okay?

All right. It's like--

It kind of feels like
it's spot-on, you know?

I'm starting to feel nervous,
even though we just started, you know?

Yes.

-Right?
-|'|| do my best.

So, I hope to proceed without getting
lost into a "Perfect B|ue"-like labyrinth.

Yes.

So, as I introduced
a little bit about it earlier,

in regard to "Perfect Blue,"
it was released in 1998.

So, I was making it around the latter
half of 1995, until the summer of '97.

Well, the original budget was 100 million
yen, for a 7O minute video anime.

Budget 100 million yen -
Total 7O minutes - OVA - 1 year time limit
Well, the original budget was 100 million
yen, for a 70 minute video anime.

Budget 100 million yen -
Total 7O minutes - OVA - 1 year time limit

Budget 100 million yen -
Total 7O minutes - OVA - 1 year time limit
And I was told the production period
would be one year, but...

And I was told the production period
would be one year, but...

Well, the budget went over
the 100 million yen.

Budget ? million yen - Total 82 minutes -
Theatrical release - 2 years to make
Well, the budget went over
the 100 million yen.

Budget? million yen - Total 82 minutes -
Theatrical release - 2 years to make

Budget ? million yen - Total 82 minutes -
Theatrical release - 2 years to make
And the total was planned for 70 minutes,
but this also went over to 82 minutes.

Budget? million yen - Total 82 minutes -
Theatrical release - 2 years to make

Budget? million yen - Total 82 minutes -
Theatrical release - 2 years to make
So, it was supposed to be an OVA, but...

Budget? million yen - Total 82 minutes -
Theatrical release - 2 years to make

Budget? million yen - Total 82 minutes -
Theatrical release - 2 years to make
It ended up being a theatrical release.

It ended up being a theatrical release.

Not only that, even though it was
an animation, it was R15+.

Do you know what that is?

Yes, age 15 and under can't watch it.
Is it 15--

-They can't watch it.
-Age 14 and under, or 15?

If you're age 14 and under,
you can't watch it.

Yeah... So, the issue was who the target
audience was, that I was making this for.

Seriously, it was like "bam!"
and it got branded by EIRIN as R15+.

So, I'd like to gradually touch upon
why things ended up like that and such.

And, well...

So, there is an original work novel
for "Perfect Blue" by Yoshikazu Takeuchi.

Well, the thing is, even now,
I haven't read the original work.

Did you intentionally not read it?

If I said I intentionally didn't read it,
it kind of sounds all creative and such.

But when I asked him to show it to me,
he said he didn't have it.

He told me he was going to
start writing it now.

Yeah, well, the truth is, apparently, he
had written something quite a while ago.

But, well, at that time,
it hadn't been published yet in book form,

so I couldn't read it.

So, there was a script that was said to be
very close to the original work novel.

And I did read that, but...

That was rather full of bloodshed and
the content was like a splatter horror.

-Oh, is that so?
-Yes.

That being said, there was
quite a bit of bloodshed in mine,

but that type of stuff
just really wasn't for me.

Therefore, well, based on the
original work, it had to be a horror.

And the protagonist had to be
a B-list pop idol.

"'11

So, as long as I kept these 3 things,
I was free to do whatever with the story.

Okay.

And, at the same time, I was totally
hooked by the bait of a directorial debut.

So, that's how I accepted the work.

And, actually, I had been a
manga artist until just before that.

So, I got involved in animation work
when I was about 25 or 26 years old.

And then from that point on,
I was doing animation work for some time.

And then after that, I returned once again
to the life of a manga artist.

So then, as I was drawing manga,

I received the offer for
this "Perfect Blue" work.

So, first of all,
as I was thinking it'd be impossible

to do a serialized manga
while making an animation,

well, the magazine serializing my manga
ended up going out of business.

So, it ceased publication.

' “

So then, you know, this was clearly a
stroke of luck, like a godsend.

So, I accepted the animation work.

This scene is at a theme park, where a
sentai-type show for kids is being held,

First Scene
This scene is at a theme park, where a
sentai-type show for kids is being held,

i '

First Scene
and on the outside of that, fans of
the pop idol group CHAM! are hanging out,

i '

First Scene
as they amuse themselves with gossip.

As they amuse themselves with gossip.

Yes.

So, well, for any movie,
the first scene is important, right?

Yes.

If the first scene is boring,
then people won't be interested in it,

and they won't be drawn into it, right?

So then, for someone who makes movies,

the first scene is a part that
one always uses one's head for.

So, well, this was the first movie
for me as a director.

And given that,
I really had to rack my brain.

So, first of all, as I spoke a bit about
it earlier, this is a psycho-thriller.

Yes.

So, I knew even during production, that
when this "Perfect Blue" was completed,

it would probably be called something like
a psycho-thriller anime.

It's not as if I was intending
to create a psycho-thriller.

But, well, things can get labeled
in a certain way, you know?

-So then, during production, well...
-Yes?

It really wasn't as if I was intending
on creating a psycho-thriller.

But, well, when it would be completed,
people would probably say that it was.

So then, at that time,
I was making it as an OVA.

And, well, people who usually want
to rent and watch an anime video,

will go to a video rental store
on the weekends.

And they'd be like, "Oh! There's kind of a
scary anime, and it seems realistic."

And then, let's suppose that they got it.

So then, they go home and they're like,
"Okay, I think I want to watch this."

But if this image appeared,
they may think they rented the wrong one.

At first,
I thought it was that type of movie.

Like this kind of sentai-type.

-You're like a good audience.
-Oh! Well...

\ Hfi “ 5% ' 'is I;iz'f\( I;I¢f,q Hi-

That's what I thought at first,
until a certain point.

Ffight'?

Yes.

That was a scene where I was also
aiming for that kind of trick.

' “

You'd be like,
"Oh, this is meant for children."

Yes.

I mean, this is for children, but made
for the "big older brother" kind of child.

On! Okay...

Ffight'?

Yeah, so it is that kind of movie.

So then, while there are those kinds
of intentions, at the same time...

There are probably people
inside these, right?

If this was real, right?

In other words, they're wearing disguises.

Disguises...

w <1; j M' Vii; V',

Mask (Persona)
It's a mask.

Mask (Persona)

Mask (Persona)
-A mask.
-Yes.

Mask (Persona)

Mask (Persona)
A mask--

Mask (Persona)
So, that theme is going to be
involved in the movie.

So, that theme is going to be
involved in the movie.

Exactly!
Well, you are a super quick learner.

So, there's the beginning of the movie.

Yes.

And, well, although it's called a movie,
it's a creative work.

Okay.

So then, for example, it's like a thesis.

I hear you're struggling right now.

-With your thesis, right?
-Yes.

So, when you write a thesis, first of all,
there's an overview, or rather...

-An introduction.
-There's an introduction, right?

Yes.

So, you describe what
you'll be writing about.

Yes.

You do write about that,
at the beginning, right?

In other words, this is that.

-It plays that role.
-Yes.

So, the story that's about to begin
from here is about masks.

, 4? I:.

Was that done intentionally because
you wanted the audience to realize it,

or was it something only you
wanted to find out about?

Or, rather than find out,

was it something that it was okay
if only you understood it?

In regard to that,
I didn't realize it at all, so...

That's okay.

U H.11- I

You see, for this kind of thing,
for those on the side of creating,

it's an important part of what kind of
approach we'll take when we're directing.

So, for the audience,
it would be nice if they can realize it,

when they see it for the second time.

-So, a mask also means persona, right?
-Right. Yes.

Mask (Persona)
-So, a mask also means persona, right?
-Right. Yes.

Mask (Persona)

Mask (Persona)
Do you know what a persona is?

Mask (Persona)

Mask (Persona)
It also has a meaning of "role," right?

Mask (Persona)

Mask (Persona)
-That's right.
-The part that one plays.

-That's right.
-The part that one plays.

-|t's Latin. It's originally Latin.
-Yes. Right.

-It does mean "mask."
-Okay.

So, in English, it refers to "person."

Yes.

As in, personality.

Yes.

So, it's spelled P-E-R-S-O-N.

And that comes from the word, persona.

-They're all derived from "persona."
-Right.

In other words, it implies there is
the connotation of a mask,

along with how it is represented in
people and their personalities.

Okay.

So, the point is,
this movie, "Perfect Blue,"

is a story about the personas
that people create.

So, that kind of obscure thing was drawn
in this way, in images meant for children,

but there's not a lot of meaning to that.

But, well, after all, one does think to
that extent, when it comes to creating.

So, I do think I was able to infuse
that kind of personal motivation here.

By the way, well, they're set up as RGB.

R (Red) G (Green) B (Blue)
By the way, well, they're set up as RGB.

R (Red) G (Green) B (Blue)

R (Red) G (Green) B (Blue)
You see?

R (Red) G (Green) B (Blue)

R (Red) G (Green) B (Blue)
Red. Green. Blue.

R (Red) G (Green) B (Blue)

R (Red) G (Green) B (Blue)
You see? RGB.
Just in case, I named them Powertron.

You see? RGB.
Just in case, I named them Powertron.

Powertron
You see? RGB.
Just in case, I named them Powertron.

_'_ I J I I/Vi“

Powertron
So, this is when they're fighting, and...

So, this is when they're fighting, and...

Well, when they say, "Special Attack!"...

This is the guy who's being defeated.

-Oh!
-This is King Buug.

King Buug (the King of Bugs)
-Oh!
-This is King Buug.

King Buug (the King of Bugs)

King Buug (the King of Bugs)
I named him that.

King Buug (the King of Bugs)

King Buug (the King of Bugs)
Okay.

King Buug (the King of Bugs)

King Buug (the King of Bugs)
So, as to where the name King Buug
came from, it's from "bug."

King Buug (the King of Bugs)

King Buug (the King of Bugs)
It means the "King of Bugs."

King Buug (the King of Bugs)

In other words, what RGB of Powertron
is up against, is in the Internet.

Most likely, they're fighting for peace,
in order to protect peace and order.

And that's where the King of Bugs appears;
essentially, a network bug.

So then, the Internet is in disorder
and that is what they're fighting against.

In other words, that in itself describes

how Mima, the protagonist,
interacts with network media,

and due to a bug,
as in a malicious or rather warped fan,

a bug begins to steadily grow within
aspects like her personality and humanity.

And that's the kind of meaning I included.

But it's not as if people
can understand that, right?

, D“, V, ,.
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But if I make movies
while thinking in that way, well,

then I can answer anything confidently.

You see, after all, a director
is asked about a variety of things.

There are times I'm asked by the staff,
"What's the point of this?"

You see, there's quite a lot of hardship
involved in making animation.

So, when we're going to
deliberately do something difficult,

I'll say, "|t has this kind of meaning!"

I'll speak clearly.

That being said, the horoscope saying I
might teach people something incorrect,

just crossed my mind, but...

Well, but I really did direct while I was
thinking about things like that.

So then, are those kinds of directorial
intent included in all sorts of scenes?

'W I, "1

Are there any scenes where
there isn't anything like that?

The thing about animation, is that things
aren't present if you don't draw them.

Right? With live-action, it's possible for
things to get accidentally shown, right?

Of course, one is filming with intent.

But just because it's being
filmed with intent,

one can't say, for example,

that the shape of the clouds floating
in the sky was intentional, right?

In the case of animation,
it's all intentional.

So, anything without intent won't appear.

Well, there are cases where it's
poorly drawn, and it's like, "Oops!"

But fundamentally,
everything needs to be drawn with intent.

After all, when drawing, there has to be
some kind of intent or one can't draw.

So then, when you were
drawing manga as well,

was there always something
like that for every panel?

Well... In the beginning,
I was just drawing without thinking.

But, as I began to do a variety of work,

well, I did realize that
everything has to have intention.

So then, I was gradually able to
not produce inattentive drawings.

' “

During the CHAM! concert scene,
the protagonist Mima Kirigoe's daily life,

The CHAM! Concert Scene
During the CHAM! concert scene,
the protagonist Mima Kirigoe's daily life,

\ “I; Ll7\ M i1“;<“;\IT~

The CHAM! Concert Scene
and the situation where
she is at the crossroads

\ “I; Ll7\ M i1“;<“;\IT~

The CHAM! Concert Scene
of planning a career change from
pop idol to actor is introduced.

Of planning a career change from
pop idol to actor is introduced.

Mirna announces in front of her fans
that she is graduating from CHAM!

As Mima sings a solo ballad,

the state of the fans who're lamenting her
graduation and her route home are shown.

All right. So, this scene alternates,

between showing the stage scene
and Mima's daily life.

Yes.

So... Well, it's an unusual representation,
you know? A little bit.

So, it's a concert and a big moment,
so there was a way of showing it grandly.

However, for this scene, it was drawn
to alternate between the concert,

which would be a big moment for Mirna,
versus her daily life,

which is the so-called ordinary part of
the concept of special and ordinary days.

Okay.

So, that's saying, "That is her life."

Okay.

So, I wanted to draw to show that she has
both extremely grand things in her life,

at the same time as routine daily things.

So, from this scene where
she's taking the train...

It goes to...

Like here, where her movements are
synchronized to a different scene.

-Oh! I didn't notice that.
-You see?

- So, normally...
-What she did on the train... I see.

When one action is split between two cuts,
which are connected together,

that method is called "cutting on action."

Cutting on action
that method is called "cutting on action."

Cutting on action

Cutting on action
Okay.

Cutting on action

Cutting on action
So, when the cut is connected in this way,
it combines very smoothly.

So, when the cut is connected in this way,
it combines very smoothly.

Well, normally it's not used for
scene changes, but for "Perfect Blue,"

there's a whole lot of this kind of scene
change method and way to connect cuts.

Yeah, when there is something
that normally doesn't connect,

I use this cutting in action
to rather forcibly make it connect.

So, actually, there's a movie that I love.

It's a movie called "Slaughterhouse-Five."

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)
It's a movie called "Slaughterhouse-Five."

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)
So, this was based off the original work,

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)
of the author, Kurt Vonnegut,
who recently passed away.

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)

"Slaughterhouse-Five"
(Director: George Roy Hill / 1972 release)
And the director, George Roy Hill,
adapted it into a movie.

And the director, George Roy Hill,
adapted it into a movie.

So, well, the protagonist in this movie,

is in a situation where he's
experiencing various time periods,

such as the past,
or his experiences in the past,

and being abducted and held captive
by aliens from the planet Tralfamadore.

So then, for those kinds of time and space
that are normally different,

things such as cutting on action
were used heavily,

to make it very smooth and
make it all flow together as one.

So, I wanted to do things like that,
so for "Perfect Blue,"

I heavily used cutting on action
to connect things.

' “

Mima's room is introduced,
which is overflowing with knickknacks.

Mima's Room
Mima's room is introduced,
which is overflowing with knickknacks.

Mima's Room
Her own room is where she's supposed
to be able to feel the most secure,

Mima's Room
but an unsettling message is delivered,

Mima's Room
and Mirna feels uneasy,
as if she is being watched.

So, in regard to Mima's room...

-Yes?
-There are a wide variety of things.

It's as if things like the seasonings
make it feel very realistic.

Yes, I really struggled with that scene.

So, of course, one could even say, well...

-It is one of the main characters.
-Right.

It being Mima's room, and eventually,
"Mima's room" appears on a website too.

Right. Yes.

So, the inside of this room,

where Mirna Kirigoe the protagonist
lives in, is vitally important.

So, well, I wrote a whole lot of notes,
and I drew it meticulously with intent.

It's in a lot of scenes,
so I had to draw it repeatedly a lot.

At any rate, there had to be
a lot of things there.

So, that being said...

Let's take a quick look.

The point was to draw her daily life.

This was in order to show,
that this was how she was living.

So, that's why I showed it with a
huge focus on the various knickknacks.

By the way, for this layout...

Mirna is watching the tropical fish.

Yes.

So, within "Perfect Blue,"
this is a fundamental layout.

So... The side that's watching;
the side that's being watched.

This begins to breakdown.

And that is the fundamental motif
for "Perfect Blue."

In other words,
Mirna is watching the tropical fish,

as someone is watching Mima
through their point of view,

as someone else is again
watching all of that.

So, this relationship between watching
and being watched becomes very important.

So then, let's continue on
with the discussion about the room.

Here. This is a long shot of the room,
which appears several times.

So, well, no matter what,
it has to be overflowing with things.

So then, afterwards...

At the time, there was this LaserDisc.

Okay.

It's a sample.

It was given to me.

And regarding that topic, this design was
used on a poster at the time too.

-I see.
-|t's this one here.

-What was it trying to look like?
-|t's on the whole thing, you see?

The whole thing is buried in knickknacks.

There are parts that are a
little transparent, right?

-Yes.
- Is this part of the design?

That's right. These knickknacks, in other
words, were essentially her daily life.

So, in actuality, these knickknacks
are what support her daily life.

In other words, for Mima, she starts to
feel uneasy for many reasons after this.

She has worries and she begins to feel
doubts about her own sense of existence.

However, even with all that,
it is these knickknacks,

that just barely manage to
keep her connected to reality.

Well, frankly speaking,
they're not organized, you know?

, D“, V, ,.
w» \

» ' '

So, there's absolutely
no sense of uniformity.

\ m; w

That's right. And after this...

Honestly, if there's anything that
she likes even a little, she'll buy it.

Or maybe she received these from her fans,
and she can't help but place them here.

-|t's totally disorganized.
-That's true.

And actually, she herself is the one
who is disorganized.

This presents Mirna as not being organized
within herself yet, and hasn't been,

and her personality itself
can't get organized,

and that is symbolized
with these varied knickknacks.

So then, well, the inside of this room
was rather difficult to draw.

It was rather difficult to bring out the
sense of being cramped, through drawings.

And I had to draw this image quite a lot.

For today, let's see...

I brought the drawings from that time.

i| .ii "n ..

-These are like the inside of the room.
-Which stage?

Which stage is that drawing from?

This is the drawing from the stage
that's called the layout.

-So then...
-Are these yours?

Ii"

So, for "Perfect Blue.,"
overall, it was about 1,000 cuts,

‘J .

So, about 1,100 were drawn, with 100 cuts
that were deleted and 1,000 used.

Of those 1,000 cuts,
I corrected 90% of them during layout.

I literally turned into a machine.

Day in and day out...

Well, for these inside-the-room ones...

I was drawing them.

So then...

From that, let's see...

In comparison to this kind of layout...

It ultimately ends up
like this screen image.

-Wow...
-It's a cel.

So, it's extremely miraculous
that a cel from 10 years ago,

remains in this condition,
where one can still see it.

It was unearthed a while back,
from a certain place.

A "certain place," huh?

They all came out.
So, well, for anyone who wants cels,

if you search around Mandarake-type spots,
the "Perfect Blue" ones might show up.

So, seriously, at the time, and well,

everything is done digitally now,
but at the time it was still cels.

i| .ii "n ..

They were done like this,
and that's how they were completed.

As to why the layout was prioritized...

-Yes?
-We||...

The budget didn't quite go as planned.

-Okay.
-We||...

It was not a situation where I could like
pursue the richness of animation.

Okay.

So...

Well, if there was a lot of movement,
then of course that ends up costing money.

So, we decided to setup
the configuration properly,

so the images would last,
without having to use too much motion.

And by doing that, well...

I had thought we could stay within
the extremely small budget.

But the one who had to take responsibility
for all the consequences was me.

I feel for you.

There were some rather tough moments.

But the thing is, normally for animation
that'll be released in theaters now,

well, for blockbusters, they can use
like 200,000 drawings or more.

-That is a huge number.
-Yes.

While I shouldn't say it was "only,"
I was told I could only use 30,000.

-Wow.. .
-Yeah.

It was a rather tight financial situation.

That's true. That is very small--

Actually, I was told using even 30,000
was a little too much.

So, we decided to be very careful
with the drawings, no matter what.

Okay.

So, the strategy was, if we were careful
of the angles and composition,

we might be able to create the
tense atmosphere of a movie.

So then, for this scene...

This is what I really want to showcase.

Switching Between Safety and Uneasiness

Switching Between Safety and Uneasiness
Well, this is where we have the letter
that Mima received from a fan,

Switching Between Safety and Uneasiness
and it says they are
"looking into Mima's room."

and it says they are
"looking into Mima's room."

And then...

She feels uneasy and she looks outside.

At first, I also thought the
"looking into" had that kind of meaning.

-Right?
-Yes.

"Looking into."
ls someone looking into the room?

Someone was using a camera or something,
from some building to look in.

-That could be true.
-That's what I thought.

So then, this is when the phone rings
and she's startled.

Yes.

-So, it's a phone call from her mom.
-Her mom. Right.

-She's still uneasy when she answers it.
-Yes.

She's thinks, "Oh! It's Mom!"
And then, it's this view.

Okay.

So, there has been a rule here,
from a moment ago.

Well, this is a drawing where
you can't see the window, right?

This is the view of the drawing
for when she's feeling safe.

So, when she's feeling uneasy,
the drawing shows the window.

Oh, is that so?

Rule: Window scenes depict "uneasiness"
Oh, is that so?

Rule: Window scenes depict "uneasiness"

Rule: Window scenes depict "uneasiness"
I had decided more or less on
that kind of rule, when making this.

Rule: Window scenes depict "uneasiness"

After this part...

This rule continues after this part too.

So then, this is where the
bathtub fills up with hot water,

and that is when she goes back once
to the tub to turn off the water,

and then she returns again.

So, there is always uneasiness
when the window appears.

Was that done to establish a rule, and not
because there was some meaning to it?

That's right.

So, I always had the image in my mind,

that the uneasiness always comes
from the side of the window view.

Moreover, this idea of looking in from
the window, makes the window important,

within the relationship between
watching and being watched.

So, in regard to the window,
and for example, this is also one.

So...

-Is this when the silent call happens?
-That's right.

When there's the silent call, she now
feels uneasy, so this window is shown.

So then, for the window, something that
was paid attention to more or less,

'~ ;1IJ"|

Rule: The window ratio is 4:3
was that the window's ratio would be 4:3.

Rule: The window ratio is 4:3
4:3. In other words, like a TV monitor.

4:3. In other words, like a TV monitor.

As of now, the 16:9 format
widescreen size has become standard.

But at the time, it was still the 4:3.

It was those TVs of the past
with a slightly narrower width.

Okay.

In other words, that window and
the windows seen on the outside,

:11 Y < flu mifww

So through the monitor that is the window,
one is watching and being watched.

If one can see from this side, then it's
possible someone can see from that side.

So then, one can look into a different
world from the TV that's in Mima's room,

and that also refers to the computer
that appears later on,

and actually, the fish tank she keeps the
tropical fish in is also set-up as 4:3.

-This is in terms of ratio.
-Right.

So, it's like they're all monitors.

In other words, what I wanted
to symbolize was that this movie,

was about the relationship between
watching and being watched,

and that's why I worked hard to be careful
with "windows" as I was making this.

A variety of symbols appear, don't they?

Yes.

At the filming location for "Double Bind,"
the play within a play,

Play Within a Play, "Double Bind"
At the filming location for "Double Bind,"
the play within a play,

Play Within a Play, "Double Bind"

Play Within a Play, "Double Bind"
Mirna is nervous as she is surrounded by
veteran actors and backstage crew.

Mima is nervous as she is surrounded by
veteran actors and backstage crew.

"Who are you?" The moment Mima was about
to utter that one and only line,

the letter that was delivered
and addressed to her explodes.

This scene has the drama's front stage and
backstage occur concurrently with the

issue surrounding Mirna and the play within
a play, and they begin to intersect.

All right. So, shooting for a TV drama.

Well, I often use this kind of
play within a play in my movies.

Okay.

So... It can be very complicated.

It's also one of the factors of why
a movie becomes complicated.

So then, the movie's story and the play
within a p|ay's story begin to overlap.

Thereby the complexity begins to increase
and that is the device being used.

So, well, this drama's filming site

wasn't something that can be easily
drawn just from imagination.

So, at the time,
I was able to get a referral,

and I went to observe a
certain show's filming site.

Okay.

So, the result of what I got to see was
diligently drawing the staff in this way.

I really put a lot of effort
into this section as well.

It looks very realistic.

Well, in general,
I'm a person on the backstage side,

so this drawing makes it clear that
the backstage side gets my attention.

So then, well, there's the front stage.

-We||, these people are backstage people.
-Right.

So then, there is the
backstage and the front stage.

So, the cameraman from earlier
is watching this.

Okay.

And what you can see on-screen
is like the front stage.

And then, next up...

It becomes the front stage like this.

So, this is also where I'm showing the
relationship between those who're watching

and those who're being watched,
as the audience follows the cuts.

So then, there's the backstage people and
the front stage people, or as we know,

there's one person who is both,
as shown by her special and ordinary days.

As this is a movie about how that begins
to break down, well, it was decided that

the first thing was to properly write down
and distinguish between things like that.

So, this is what we would call confirming
the syntax for this "Perfect Blue."

-They switch gears really fast, you know?
-Yes.

So then, they begin to walk, but we still
have the backstage guy appearing here.

And then...

When it quickly switches into the show,
by connecting cuts with cutting in action,

I was thinking it could seamlessly go from
the backstage to the front stage side.

I see. Okay.

Light and shadow, front and back, yin and
yang, or true image and mirror image.

I strongly prefer to use those kinds of
dichotomy and that type of motif.

' “

So, later on for "Millennium Actress,"
it was memory and reality.

For "Tokyo Godfathers,"
it was the main street and the back alley.

For "Paranoia Agent,"
it was delusion and reality.

For "Paprika," it was dream and reality.

And therefore, in general, by drawing
in contrast two things like that,

an interesting effect can be obtained.

So then, for example, well...

Even if each one seems very contrived,

the relationship between them is real
and it's possible they can be realistic.

' “

For example, whatever the object is,
when it's drawn...

-Like this is fake, you know? Right?
-Right.

Something like this wouldn't
fly in the sky, right?

But if you draw this as an image
and you draw a shadow underneath it...

Then it looks like it's floating.

So then, neither this
nor the shadow is realistic.

However, a sense of reality can be created
from that relationship itself.

So, if this is utilized, and of course,

I do keep in mind to create these
characters to be as realistic as possible,

but in the end,
this is a drawing, you know?

So, whether or not one uses exaggerated
characters or caricatured characters,

if a sense of reality can be created
in the relationship between characters,

then the world of the movie can change,
so then, there is reality there.

With that being said, well,

while it is important to pursue reality
in the things themselves as they appear,

it is my thought that pursuing
a reality through a relationship

n' PL; a» “T'JH'iViZTYT ~>rii' w» D Li»?

And you, Nagai-kun?

Do you have experience doing a TV show?

Yes.

What was it like when you
first appeared in a show?

In my case, I was never left alone
to that extent, so...

So, you were pampered.

Rather than pampered, for my first time,

there were lots of similar-aged girls
around me, so it didn't end up like this.

But this like really shows the feel of
the lighting and the vibe of the studio.

It's like I can really empathize it would
be a time like this to become nervous.

-You're right.
-I mean, this studio is really realistic.

Very much so.

Gathering this information was worthwhile.

So actually,
when I went to gather this information,

in a sense, that was a first-time
experience for me as well, you know?

Oh. Okay. But--

You see, it was the first time I had gone
to a filming site for a TV show.

' “

So then, after all, I had to make the most
of that first-time experience,

so things that caught my eye were
for the most part reflected here,

and there's no doubt
you can think of it in that way.

So then, well, after all,
if it's like a different industry,

or if it was behind-the-scenes for TV,

well, I guess I could say I had empathy
for the staff who worked there,

and that they moved around very smoothly,
and that they were well-organized.

And I keenly felt that kind of stuff.

Not only that, the camera movements
were just really good.

It was like well-organized.

And I think those are the kinds of things
that were reflected in this scene.

So, in other words, whenever you go
into a place you have never been to,

well, there are the things that you saw
that you were moved by,

or what you found amusing.

And well, if one can honestly
reflect those on the screen,

then, well, I think that scene can become
something that has a lot of depth.

' “

The first night of
the "Perfect Blue" lecture.

How did everyone feel about it?

After this, the "other Mirna" appears
in front of Mirna,

and the incident begins to spread.

The commentary for the drama's midpoint
will be broadcast on the second night.

We look forward to
seeing you again tomorrow.

Translator: Ryoko Sarto