Original subtitles

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

"Perfect Blue" Lecture - Second Night Lecturer: Satoshi Kon Assistant: Runa Nagai Good evening. This is Kon, the director.

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

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

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

"Perfect Blue" Lecture - Second Night Lecturer: Satoshi Kon Assistant: Runa Nagai Mirna breaks away from being a pop idol, as she plans a career change to an actor.

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

"Perfect Blue" Lecture - Second Night Lecturer: Satoshi Kon Assistant: Runa Nagai However, due to that, a virtual Mirna suddenly appears,

However, due to that, a virtual Mima suddenly appears,

"Perfect Blue" Lecture - Second Night - The appearance of the virtual Mirna ~ However, due to that, a virtual Mirna suddenly appears,

"Perfect Blue" Lecture - Second Night - The appearance of the virtual Mima ~

"Perfect Blue" Lecture - Second Night - The appearance of the virtual Mirna ~ and I'd like to explain the situation as Mirna herself is pushed to the limit.

"Perfect Blue" Lecture - Second Night - The appearance of the virtual Mima ~

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As today is the second night, continuing from yesterday,

we will have the Director, Satoshi Kon,

talk about the various stories related to the film.

-Thank you for today as well. -I look forward to it.

Now then, please enjoy the second night of the "Perfect Blue" lecture.

In order to figure out the mystery of what was written on the fan letter,

Mima's Room In order to figure out the mystery of what was written on the fan letter,

Mima's Room Mirna asks her manager, Rumi, to set up a computer for her.

Mima's Room She comes face to face with the "Mima's Room" that is online,

She comes face to face with the "Mima's Room" that is online,

and there are detailed accounts written about her daily life,

which only Mirna would know about.

Yes, so that being said, the computer enters the picture.

Yes.

So, do you have a computer?

I do have one.

-|t's a very useful thing, right? -Yes, it is.

Well, so when I was still making this 10 years ago,

honestly, computers didn't have the machine power yet, like they do today.

Above all, well, seriously,

it was incredibly difficult to get connected to the Internet.

' “

So, I brought this to the Berlin International Film Festival,

and it was allowed to be screened in the Forum category.

So, just as I expected, well, when the German audience saw the scene,

where this computer was being set up and connected to the Internet,

well, they thought it was funny.

So, near the end of this scene, Mirna says,

"Because they said it was easy!"

And at that part, the people of Berlin were also like, "Ha ha ha!"

So, I really felt like this was difficult for Germans as well.

But seriously, at that time, compared to like now,

there wasn't like software that connects to the Internet,

that was already setup in the computer.

Okay.

So, it all had to be set up one by one.

Well, I had a really tough time as well.

So then, this here is easy to understand.

There's the TV in the upper left, the tropical fish tank, and then the computer.

You see, these are all in the 4:3 ratio,

and they're meant to symbolize windows.

So then, as a device to watch or be watched,

well, I thought the computer was a truly perfect device for that.

So then, on the computer, there's the "Mima's Room" that was created online.

Yes, so even here, the window is perceived as the so-called 4:3 monitor-type image.

In other words, this is someone's point of view.

Someone is probably surveilling her.

It might be the sta|ker's perspective.

So then, within that, as Mirna is being watched by someone,

what does she end up watching?

She's watching her own room, which someone created.

So then, the scene has become extremely twisted.

And then, here is "Mima's Room."

She clicks on it, and well, at the time,

it wasn't fast like this, but, here it is.

-A mirror? -There's a mirror behind her.

In other words, the sign that the other Mirna is going to be born is here.

Now, there are some doubts as to if a mirror was really placed there,

the image would show in this way,

but what's important is to show it, and moreover, that it looks a little crooked.

So, in regard to the other Mima, she isn't necessarily her equal,

and may not be someone who is properly understood.

And maybe, because she is crooked like that,

she therefore might be the Mima who is interpreted differently.

I was drawing images with things like that in mind,

and thinking with that kind of reasoning.

' “

And then, this is where even events that happened today are noted,

that only Mirna herself should know about.

So, at first, she can laugh and have fun with this kind of simulated stuff,

but gradually, it's no longer a laughing matter.

So then, it's like, "Who would create something like this!?"

Mirna is shocked and when she clicks further,

she conversely ends up getting asked back, "Who are you?"

This is where the effect of the mirror becomes greater, with the "other Mima."

-Is this the same scene as the first one? -Yes, that's correct.

Actually, maybe someone was watching her there as well, or something like that.

Who is doing something like this?

In the end, who was watching her?

I wonder who it was, you know?

That was--

-We||, probably, there was the stalker. -I wonder which one it was.

There were probably parts where he was watching,

and, well, there were things that only Rumi the manager knew about.

So then, of course, even here as well, uneasiness invades from the window.

Although earlier, it was just the view from the window,

this time, it's specifically in the form of the wind, as uneasiness enters.

So then, later on in the latter half, Mima ends up in the center of an incident,

and the media shows up uninvited to where she is, right?

Well, a lot of media shows up uninvited,

and they even try to barge in from the side of Mima's entranceway.

In other words, for both the window side and the entrance side,

there are essentially numerous people who are trying to break into her room.

Therefore, it's not only the window,

as people are trying to enter from the opposite entranceway.

And that basically means Mima begins to have nowhere to escape.

And that is the kind of thing I wanted to depict,

so while it was just the window side at the beginning, from this point on,

things can invade from the entranceway side as well,

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' “

Due to the intention of the scriptwriters,

Indications of a Split Due to the intention of the scriptwriters,

Indications of a Split

Indications of a Split Mima ends up being required to do a graphic scene in the drama.

Indications of a Split

Indications of a Split The intense conflict tears Mima apart, and her feelings of wanting to refuse

The intense conflict tears Mima apart, and her feelings of wanting to refuse

appears for an instant, in the form of her pop idol self.

All right.

-Well . . . -Yes?

One moment...

All right. Even here as well, there are Mima's doubts, which have appeared before.

-Yes. -On both sides.

The two of them are placed there,

where they have their respective positions and different opinions.

Mima's doubts are depicted concretely in this way.

So then, after this...

Mima has graduated from being a pop idol.

After all, Mirna herself has been thinking that,

and as an actor, she has to challenge herself with her new work.

So, with that being said, well, even as she obviously has doubts,

she probably has to undertake it for sure.

In general, Mirna is probably the kind of person who can't say "no," right?

So, this feeling of not being able to properly refuse, is this lie here.

When these "mirrors of herself" kind of thing appear,

it generally has a meaning of dual nature.

-We||, let's see... -Something is being shown here...

So, she has her true feelings...

Well, her face shows she's smiling, as she says, "It's all right."

But her true feelings are that she doesn't feel that way,

and it's that part that is of often expressed by the format of "mirrors."

' “

So, Mima's true feelings that she is suppressing,

began to appear here, well, for just an instant.

And what's said is, "I absolutely REFUSE to do it!"

So, well, this is normally impossible.

-Right.

So, within Mirna, it's about this moment...

-There's a split. Yes. -That begins.

So then...

There's that kind of, well...

So, you begin to enter into Mima's subjective view.

A moment ago, the mirror reflects Mima's subjective view,

in the form of a virtual pop idol Mirna, that one begins to see.

However, when one is entering into that kind of subjective view of a person,

or like flashback scenes are also this way too,

but if it's done suddenly,

where it's connected abruptly compared to the flow of things until then,

well, it doesn't work well.

Well, if it's connected suddenly,

then you end up not understanding what's going on, right?

That's why, for example, often in flashback-type scenes,

well, how do I put this...?

There's like a "Speaking of which, that time..." kind of thing,

with a close-up of the person, and then...

The screen goes out of focus and it connects to the flashback scene.

Well, there are those kinds of really cheesy methods too, right?

So then, for those so-called times when you're entering into someone's inner self,

there has to be like an approach path, or rather, a protocol. Otherwise...

I see. It won't connect.

So then, for the situation from earlier, although it's done casually,

well, there's the rail car's noise, like the sound of the train moving,

where it's monotonously repeated, or there's passing scenery.

And that's where for just a moment, something bright enters the scene.

Well, probably, it's like neon lights on a billboard kind of thing.

So then, there's a "We're about to go into Mima's subjective view," kind of thing,

so we're technically giving notice about that.

You see, if we do that too calculatingly, for example, if the surrounding voices

a person was hearing begin to fade and the scene appears after a gradual entrance,

then in this case, that would be too overly planned, so it wouldn't work well.

Given that, what's necessary is to subtly provide a notice,

and then enter into the subjective view.

So then, for example, well, in this previous scene...

After Mima left, the group called CHAM! has done rather well with a record sale,

and they're delighted, while on Mima's side, things aren't going too well.

So then, as the reborn CHAM! members are setting off party poppers to celebrate,

due to the sound of those poppers going off, this time around,

the fun memories of when Mima was a part of CHAM! are interjected.

So, in this case, the poppers are used,

and that creates an approach path,

and you swiftly enter into her subjective view.

After that, well...

After Mirna finishes the graphic scene, well...

She repeatedly sobs, and the word "Help!" is repeatedly flooded on the website,

and those kinds of things have the same effect as well.

So, after there is that kind of approach path to her subjective view,

usually that's when virtual Mirna appears, and that's kind of how it's set up.

So, although this work has unexpectedly unaccommodating ways of connecting cuts,

in actuality, it is providing notice, little by little.

With that being said, when you watch the movie again,

if you can pay attention to things like that,

and especially for people who are aspiring to work in filmmaking,

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Mima challenges herself and goes all out for the rape scene.

Death of a Pop Idol Mima challenges herself and goes all out for the rape scene.

Death of a Pop Idol

Death of a Pop Idol During the intense filming, Mima's consciousness is in a hazy state,

Death of a Pop Idol

Death of a Pop Idol where she finds out she has parted ways with her past pop idol self.

Where she finds out she has parted ways with her past pop idol self.

Well, this scene attracted attention in many ways, both in a good and bad way.

Well... Yeah, I overdid it.

Oh, is that so?

-When you think about it now? -Yes.

Well, yes. So...

At the time, it was originally going to be a video animation.

So, I didn't assume that it would be released in theaters.

' “

So, it had to stand out as much as possible.

And when it comes to OVAs, they don't get promoted,

so I thought I should create some kind of intense scene.

Okay.

And that's why I put that in there, but--

It was pretty intense.

So, from the start, things like beautiful girls, erotica,

violence, murders, or stalkers, are trashy material.

They're like material meant for tabloid shows.

So then, how does one configure that?

If that can be innovated,

even if the material being used is a so-called trashy and trite thing,

depending on how it's put together, it could become something new.

So, that's what I thought and tried doing, but...

Well, just for this part, I made it way too intense.

So, honestly, when I see this in the even larger theatrical size,

even I end up looking away.

-Because you're embarrassed. -Yes.

So then...

Well, we'll take a moment to look back at this here.

Well, It's like this, and...

Okay, so this is where "We're ready to shoot!" is said, and after that...

The camera goes "up," you know?

You know'?

Yeah, it's something like that, you know?

Okay?

If I say it too much, it'll end up being sexual harassment.

So then for here, after all, there's like an embarrassed pose kind of thing.

Okay.

But it has to be a closed stance pose.

At first, she's closed-off. She can't be waiting here, like this.

After all, what's important is to have that closed pose be forced open.

Okay.

So, even for just that one pose, innovations have been made.

Okay.

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No, I'm learning a lot.

Should I do all the talking here, then?

Oh, no, that's okay.

So, when there are things like this, and I've actually heard about it,

but when there's this type of scene being filmed,

as expected, it seems the number of observers increases.

-Oh, is that so? -Yes.

So, actually, there was one cut earlier where the observers had increased,

and there were people who'd come, who had nothing to do with the film.

-So there was just one cut like that. -Oh, I see.

So, it seems things like that happen.

Of course, people would go see that.

Yeah...

So then... Well, there are people,

who probably can't bear something like that, right?

Yes.

And, not only that...

Every time there's a mistake, this has to be repeated again.

-So then... -This scene is very painful to watch.

You're right. Honestly, I'm like...

-"What in the world have I done!?" -I feel so bad for her.

But you know, for something like this, while she's actually

going through a terrible experience, well, this is part of the job, right?

Yes.

But then, after all, the people around her are being considerate.

Given that, it's like she then can't cause trouble.

Yes.

And on the contrary, the more they're nice to her--

-Like this man, who's being considerate. -Yes.

But you know, when it's like that, well...

You feel glad, but actually, there's the part that kind of gets to you, you know?

Because one is being treated kindly,

-that makes it even tougher. -Then you have to do your best.

There are both sides to that, right?

That really is an intense scene.

Yes, but it's clear that I was having fun writing this.

Well, originally, there was more based off the storyboard, but that was too much.

Honestly, it's intense.

There was talk that I was probably just having fun.

» ' '

Still, for this part, above all, by challenging herself to this kind of scene,

Mirna, as a pop idol, ends up dying.

This is the scene where she meets her end as a pop idol.

That's why her costume here, the stripper outfit,

is also somewhat reminiscent of her CHAM! costumes.

I wanted to emphasize that a pop idol was being killed; that she was going to die.

That's why I went for that kind of racy costume.

I'm the one who came up with it.

I drew the settings too.

And this is even though I received criticism that it was such a racy costume.

Is it supposed to be an apron?

I guess so, most likely.

This is...

-It's really awful, isn't it? -It is awful.

She's crying.

-Those are real tears. -She's not acting, is she?

So, it's right here. Well, it's this.

One moment please.

Here. So, this here.

Well, there's that kind of vigorous repetitive movement being done.

Repetitive movement Well, there's that kind of vigorous repetitive movement being done.

Repetitive movement

Repetitive movement So, that was one of the cuts that got flagged.

So, that was one of the cuts that got flagged.

-So it's not like I went to EIRIN, but... -This is for...? Okay.

Well, they said we can't have that kind of repetitive movement in the same cut.

So, if there hadn't been that repetitive movement, it might've been okay?

This is really just a story I heard, so...

Okay.

Repetitive movement - 2 times is OK?

Repetitive movement - 2 times is OK? Apparently, it's okay if the repetitive movement is up to 2 times.

Repetitive movement - 2 times is OK?

It seems it's a no-go, if it's done more than 3 times.

-So, it's okay if it's 2 times. - I guess so.

Repetitive movement - 2 times is OK? -So, it's okay if it's 2 times. - I guess so.

-So, it's okay if it's 2 times. - I guess so.

I thought they were kidding about that, but in other words,

it's a no-go if that kind of obvious act

is depicted through repetitive movement.

At the very least, it seems like it's okay if it's just one time, you know?

Right. So... Okay...

Once is too short. But enough about that.

So then...

Since "Perfect Blue" has numerous trashy motifs,

well, I thought the R15+ rating was rather lenient.

I thought it is what it is, if it had been adult designated.

That's right. It's okay to watch if you're 15 and over.

Yes. But I mean, why would anyone show this to a high schooler, you know?

So then, well...

In that sense, it appears they comprehended,

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So, there were a few spots. I believe that if we fixed 2 or 3 spots,

then we were told it would be okay as a movie for general audiences.

Okay.

And among the spots we needed to fix was that scene from earlier,

with the repetitive movements from a bird's-eye view.

By the way, in the end,

the one who edited the repetitive movement on the key animation was me.

' “

You see, it's my fault.

Okay.

I should've kept it to once. Or maybe up to 2 times.

Well, enough of about that.

So, here as well, we have Mima's consciousness going into a hazy state,

and that is done by short cuts and lights that are then connected together.

So, this is the approach path to her subjective view, from earlier.

Okay.

That's why this kind of image cut appears.

okay,

And then, this era that was bathed in light...

-Where is this? -Gets switched off.

-Oh! The dressing room. Okay. -Yes.

-Now then, Mima's outfit at this time... -Yes? Oh...

-What does it-- -|t's blackish, right?

So, this has to be mourning attire.

It means the death of a pop idol.

Not only that, it's the pose for praying for the deceased.

-Oh! -You see? Like, "Please rest in peace."

-So, that's what's being depicted. -I see.

So, in this way, when one draws with confidence,

well, even if it's a scene with just a little motion,

one can say, "that's why this works here."

For that part there, does the mirror have nothing particular to do with it?

-Oh! You're good. That's-- -In the dressing room.

Yes.

-Huh? Hang on. What the...? -I think a mirror is shown there, so...

There's a cut missing, but that can't be true.

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Seriouslyl? Isn't that a pretty big problem--

Oh! My apologies. That was a deleted cut.

It's just the storyboard has always been imprinted in my mind.

Oh, okay.

Actually, originally, after this, well...

There were a number of cuts of the twisted Mima drawing near her,

but these were ones I just drew on my own.

My apologies. It's not as if they could disappear from the DVD on their own.

All right. Let's see...

So then, Mirna is honestly extremely exhausted, and...

She also has regrets, but she's trying to act cheerful, as much as possible.

And that is what makes her a rather considerate girl.

So, this guy here, whose name is Tadokoro, is also a rather good person, actually.

He tries to say something here, right?

Yes. He's going to say he's sorry.

But given that Mirna is intentionally trying to act cheerful,

and because he knows she's trying to be considerate,

he ends up not being able to say anything.

Depressed. The only one who's gloomy is this person.

So then, after this, an exhausted Mima gets home.

And well, what she realizes is...

The Neon Tetra. It is the deaths of her tropical fish.

-Why did they a||-- -At the time, I had them as pets.

-Oh! The same kind? -Neon Tetra. Yes.

So, they turn white when they die.

Suddenly all at once, like that?

They can all die like that.

I mean, it's not really like they'll do that all at once like that,

but after all, it kind of has to do with room and water temperatures.

-If you're sloppy managing that, then... -I guess they're delicate.

They do die quite often.

So then, after this...

Okay.

Well, she tears apart her room.

So, at any rate, for this room, as described by this movie,

well, the room is the character herself.

-Her inner self. -It is.

Well, in other words, her mind is messed up.

-Right. -So, she wants to mess things up too.

So, that's what this means here.

So then, as she gasps and starts to cry here,

this is again the approach path to go further into her inner self.

-Okay. -And...

Because she's gasping and sobbing, what can happen next,

is that she begins to hear the voice of the virtual Mirna.

And then she ends up seeing that on the computer monitor.

The virtual Mima is an awful woman, right?

Yes.

So then, we have these two remaining Neon Tetras.

Well, this is the LaserDisc boxed edition that came out at the time.

These guys here. From this drawing.

This drawing became the motif and it was used to make this jacket.

In other words, it's important to know why it's these two fish, right?

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-So, in other words-- -Why is it important?

Because the two Neon Tetras are inside Mirna,

essentially, this is the same concept, right?

-Well, inside Mirna, there are-- -Two people.

Yes. The two Mimas. The virtual Mima,

and the Mima who is trying to make it as an actor and is trying to change.

So, originally there was going to be some chasing around here,

where it'd seem like the two fish were chasing each other,

and that would've given off more of that vibe.

The point is, after this, these remaining two are the two Mima who are inside her.

And they're going to compete for survival, so to speak.

And that is the kind of story that will unfold.

Yes.

The thoughts on the Mima's Room site and those of the real Mima are worlds apart.

The Split-off of the Virtual Mirna The thoughts on the Mima's Room site and those of the real Mima are worlds apart.

The Split-off of the Virtual Mirna

The Split-off of the Virtual Mirna This is an important scene, where the Mirna who's still in a pop idol form

The Split-off of the Virtual Mirna

The Split-off of the Virtual Mirna appears from the computer monitor, in front of a rattled Mirna.

Appears from the computer monitor, in front of a rattled Mima.

Yes. Finally, we have the pop idol form Mirna,

the virtual Mirna, who had been shown occasionally,

who is now actually appearing in the room, in Mima's room.

So then, just now...

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After there's this kind of monotonous repetition,

the rule from earlier has been applied here as well,

where we start to go into the world of her subjective view.

So then, Mirna says, "|'m not writing any of this!"

And obviously, compared to the appearances up until now,

the other Mirna takes a step forward and clearly appears and starts a conversation.

In other words,

as this is after all the two Mima who are inside her,

the fact that they're engaging in dialogue

means this is a dialogue she's having within herself.

So then, this is where the virtual Mima tells her, "You're a filthy woman now."

And even though she thinks that it's not true, she curls up.

What's important here, is that she actually has to be in the shadows.

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-This side. This Mima does. -Oh! Okay.

That's why, for here,

well, for inside the room, there's a white sheet placed behind her,

and not only that, she's kind of backlit by the light that's hitting her.

So for this Mirna, she's also kind of backlit by the light hitting her,

but obviously the tone is higher.

After all, this is a contrast between light and shadow,

so then for here, Mima herself has to be in the shadows.

-So, this other Mima is in the light. -In the light.

That's why even if she's out like this,

she's in a constant state of being bathed in light.

So then, there's this.

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The constant area of shadow she's in has become bigger.

So then, basically, while "Perfect Blue" has extremely intense scenes,

or suspenseful thrillers, or psycho-thriller type aspects,

fundamentally, this movie is a depiction about a woman called Mima Kirigoe,

who is growing up as she advances to another level.

That's why, somewhere in the steps that people take to grow up,

when people are achieving growth,

there's definitely a time when you're having dialogue within yourself.

There'|I be like a, "What should I do?"

-A conflict. -Like a conflict within yourself.

So then, specifically, the virtual Mima thinks the way she was before was better,

while Mirna thinks that even if things are tough, she wants to move forward.

-|t's a conflict between the two of them. -Right.

So, I like these kinds of things.

So, last year, the movie "Paprika" was released.

And that also had a similar composition.

So, within this one person, there is a character called Atsuko Chiba,

and a character called Paprika, who both appear.

These two are very contrasting characters,

and there is a scene where they specifically struggle with each other.

Well, the two of them debate. In other words, they disagree.

So basically, that is a conflict within an individual.

These kinds of conflicts within an individual are difficult to draw onscreen.

If it was a novel, there could be a monologue,

or one can do a psychological description.

However, to some extent, to do a monologue,

or express inner conflict, just doesn't look good onscreen.

So, I used a tactic of having a different character appear in concrete form,

in order to have an individual express their inner conflict.

' “

The scriptwriter for the "Double Bind" drama has been killed by someone,

The First Murder The scriptwriter for the "Double Bind" drama has been killed by someone,

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The First Murder so the incident surrounding Mirna has ultimately ended up with a murder.

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The First Murder Yes. So, while it's been called a thriller or psycho-thriller,

Yes. So, while it's been called a thriller or psycho-thriller,

it's only been to the extent of sending faxes or exploding letters,

so there hasn't been a definitive big incident that has happened.

However, finally, this is where a murder incident occurs;

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So, for here as well...

This entrance to the underground parking lot is really filled with light.

-This is also in 4:3 ratio. -Oh! Here as well.

In other words, even a murder incident is almost like an event happening on TV.

Well, you know, recently, repeatedly, it's been day after day of that.

-We||, so many incidents like that. -That's true.

And not only that, well...

The murder being committed is using things like music,

and it's really kind of becoming game-like, or as if it were fake.

And I think it's that kind of thing I was feeling on a daily basis,

.. " .

The fact it's this kind of method is really, well...

Granted, as it is, this itself is an event happening in an animation movie,

but the person who's rigging this up,

in other words, the murderer,

has already thought considerably about showing this off to people.

And it's that part that makes one wonder,

if even murders have become very much a spectacle-like thing.

And that was my intention, when I used this kind of gimmick.

You see? Just the D, I, E, in "Double Bind" is highlighted.

Actually, for this too, that kind of idea came from the movie, "Batman Returns."

"Batman Returns" (Director: Tim Burton / 1992 release) Actually, for this too, that kind of idea came from the movie, "Batman Returns."

"Batman Returns" (Director: Tim Burton / 1992 release)

"Batman Returns" (Director: Tim Burton / 1992 release) It's where Michelle Pfeiffer becomes Catwoman,

"Batman Returns" (Director: Tim Burton / 1992 release)

And there's a neon sign that says, "HELLO THERE,"

but she trashes her room and it becomes "HELL HERE," with 2 letters missing.

So the sign becomes "HELL HERE."

Well, this is a reference to that.

So, I often reference movies, or rather,

calling it an homage makes it sound good,

but there's lots of parts where I incorporate ideas,

and the elevator scene after this is one of them.

So then, this is where the scriptwriter, Shibuya,

gradually becomes overwhelmed with uneasiness,

and as he's thinking that maybe something's wrong,

it's just a cassette player.

So then, this is where there's a momentary lull.

It's like, "Oh..."

Even the audience is like, "Oh...", because they've gotten that nervous too.

Just as everyone is thinking, "Oh...", suddenly, he's already been killed.

He just had to get on the elevator.

So, this kind of thing is a common trick.

Well, for example...

When there's a sad scene coming up,

then a fun scene is put in before it.

So, you're aiming for that contrast.

If you want to emphasize a fun scene that's coming up,

then you put something like a sad scene before it.

If you do that, then the scene that comes after it, will be even more emphasized.

That's why in this case, if you want to create shock,

then you put in an "Oh..." kind of cut in between, that puts people at ease,

and then suddenly it connects to this, which is a huge shock.

The thing is, this part where the elevator opens with a person having been killed,

is like a reference to another certain movie, similar to earlier.

So, this is from the director, John Frankenheimer,

"Black Sunday" (Director: John Frankenheimer I 1977 release) So, this is from the director, John Frankenheimer,

"Black Sunday" (Director: John Frankenheimer / 1977 release)

"Black Sunday" (Director: John Frankenheimer I 1977 release) who made the movie, "Black Sunday."

"Black Sunday" (Director: John Frankenheimer / 1977 release)

"Black Sunday" (Director: John Frankenheimer I 1977 release) So then, I believe it was someone working for the protagonist,

So then, I believe it was someone working for the protagonist,

and he gets on a certain elevator inside a hospital,

with a terrorist disguised as a nurse.

And then, when the elevator door opens,

he has died by having poison injected into him by the female terrorist.

By just having that elevator door close once and then open--

-So, you don't depict the actual killing. -You don't depict it.

It's because it's not depicted, that conversely, there's shock,

and it stimulates the imagination.

So then, here again, we've gone all out, starting with the eyeballs.

-His eyes. Are his eyeballs missing here? -Yes. That's right.

That's right. Later on, the photographer makes an appearance,

and he is stabbed in the eye with an ice pick.

So, actually, probably for this elevator scene as well,

that kind of ice pick was used to stab the eyeballs.

He'd seen what he wasn't supposed to see.

-Those who have "seen" will be killed. -I see. Okay.

So then, they can't just be killed in some random way here, after all.

So, for here, it has to be the eyes for sure.

The idea of watching.

After all, watching and being watched is what's important in this movie.

It's about crushing the eyeballs which function for seeing.

I came to the conclusion that it had to be that kind of murder method.

Now then, there is Mirna, who is suffering at the mercy of other adult's desires,

and the virtual Mirna, who is mocking her for that.

And thus, the incident is beginning to spread, but...

I think I'd like to leave it at that, for today's explanation.

The second night of the "Perfect Blue" lecture.

What did everyone think about it?

After this, there is the outcome of the incidents that occur in succession,

and the climax where Mima and the virtual Mima confront each other.

Please look forward to the explanation for that on the third night.

We look forward to seeing you again tomorrow.

Translator: Ryoko Sarto