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{\an8}"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
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"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
Good evening. This is Kon, the director.
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{\an8}"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
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"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
Now then, for the second evening,
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{\an8}"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
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"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.
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{\an8}"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
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"Perfect Blue" Lecture - Second Night
Lecturer: Satoshi Kon
Assistant: Runa Nagai
However, due to that,
a virtual Mirna suddenly appears,
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However, due to that,
a virtual Mima suddenly appears,
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"Perfect Blue" Lecture - Second Night
- The appearance of the virtual Mirna ~
However, due to that,
a virtual Mirna suddenly appears,
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{\an8}"Perfect Blue" Lecture - Second Night
- The appearance of the virtual Mima ~
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"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.
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{\an8}"Perfect Blue" Lecture - Second Night
- The appearance of the virtual Mima ~
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'> . "7~v/ ' m. ' ..' <_"
@ 7 m L» . \ 7 “~" w».
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As today is the second night,
continuing from yesterday,
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we will have the Director, Satoshi Kon,
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talk about the various stories
related to the film.
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-Thank you for today as well.
-I look forward to it.
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Now then, please enjoy the second night
of the "Perfect Blue" lecture.
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In order to figure out the mystery of
what was written on the fan letter,
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Mima's Room
In order to figure out the mystery of
what was written on the fan letter,
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{\an8}
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Mima's Room
Mirna asks her manager, Rumi,
to set up a computer for her.
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{\an8}
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Mima's Room
She comes face to face with
the "Mima's Room" that is online,
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She comes face to face with
the "Mima's Room" that is online,
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and there are detailed accounts
written about her daily life,
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which only Mirna would know about.
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Yes, so that being said,
the computer enters the picture.
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Yes.
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So, do you have a computer?
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I do have one.
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-|t's a very useful thing, right?
-Yes, it is.
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Well, so when I was still
making this 10 years ago,
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honestly, computers didn't have the
machine power yet, like they do today.
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Above all, well, seriously,
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it was incredibly difficult
to get connected to the Internet.
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' “
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So, I brought this to the
Berlin International Film Festival,
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and it was allowed to be screened
in the Forum category.
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So, just as I expected, well,
when the German audience saw the scene,
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where this computer was being set up
and connected to the Internet,
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well, they thought it was funny.
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So, near the end of this scene, Mirna says,
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"Because they said it was easy!"
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And at that part, the people of Berlin
were also like, "Ha ha ha!"
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So, I really felt like this was
difficult for Germans as well.
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But seriously, at that time,
compared to like now,
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there wasn't like software
that connects to the Internet,
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that was already setup in the computer.
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Okay.
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So, it all had to be set up one by one.
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Well, I had a really tough time as well.
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So then, this here is easy to understand.
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There's the TV in the upper left, the
tropical fish tank, and then the computer.
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You see, these are all in the 4:3 ratio,
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and they're meant to symbolize windows.
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So then, as a device
to watch or be watched,
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well, I thought the computer was
a truly perfect device for that.
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So then, on the computer, there's the
"Mima's Room" that was created online.
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Yes, so even here, the window is perceived
as the so-called 4:3 monitor-type image.
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In other words,
this is someone's point of view.
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Someone is probably surveilling her.
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It might be the sta|ker's perspective.
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So then, within that,
as Mirna is being watched by someone,
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what does she end up watching?
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She's watching her own room,
which someone created.
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So then, the scene has become
extremely twisted.
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And then, here is "Mima's Room."
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She clicks on it, and well, at the time,
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it wasn't fast like this, but, here it is.
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-A mirror?
-There's a mirror behind her.
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In other words, the sign that the other
Mirna is going to be born is here.
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Now, there are some doubts
as to if a mirror was really placed there,
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the image would show in this way,
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but what's important is to show it, and
moreover, that it looks a little crooked.
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So, in regard to the other Mima,
she isn't necessarily her equal,
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and may not be someone
who is properly understood.
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And maybe,
because she is crooked like that,
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she therefore might be the Mima
who is interpreted differently.
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I was drawing images
with things like that in mind,
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and thinking with that kind of reasoning.
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' “
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And then, this is where even events
that happened today are noted,
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that only Mirna herself should know about.
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So, at first, she can laugh and have fun
with this kind of simulated stuff,
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but gradually,
it's no longer a laughing matter.
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So then, it's like,
"Who would create something like this!?"
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Mirna is shocked and
when she clicks further,
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she conversely ends up getting asked back,
"Who are you?"
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This is where the effect of the mirror
becomes greater, with the "other Mima."
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-Is this the same scene as the first one?
-Yes, that's correct.
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Actually, maybe someone was watching
her there as well, or something like that.
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Who is doing something like this?
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In the end, who was watching her?
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I wonder who it was, you know?
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That was--
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-We||, probably, there was the stalker.
-I wonder which one it was.
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There were probably parts
where he was watching,
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and, well, there were things that only
Rumi the manager knew about.
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So then, of course, even here as well,
uneasiness invades from the window.
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Although earlier,
it was just the view from the window,
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this time, it's specifically in the
form of the wind, as uneasiness enters.
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So then, later on in the latter half,
Mima ends up in the center of an incident,
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and the media shows up uninvited
to where she is, right?
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Well, a lot of media shows up uninvited,
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and they even try to barge in from
the side of Mima's entranceway.
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In other words, for both the
window side and the entrance side,
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there are essentially numerous people
who are trying to break into her room.
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Therefore, it's not only the window,
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as people are trying to enter
from the opposite entranceway.
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And that basically means Mima
begins to have nowhere to escape.
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And that is the kind of thing
I wanted to depict,
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so while it was just the window side
at the beginning, from this point on,
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things can invade from the
entranceway side as well,
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,7 _
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' “
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Due to the intention of the scriptwriters,
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Indications of a Split
Due to the intention of the scriptwriters,
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{\an8}Indications of a Split
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Indications of a Split
Mima ends up being required to do
a graphic scene in the drama.
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{\an8}Indications of a Split
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Indications of a Split
The intense conflict tears Mima apart,
and her feelings of wanting to refuse
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The intense conflict tears Mima apart,
and her feelings of wanting to refuse
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appears for an instant,
in the form of her pop idol self.
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All right.
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-Well . . .
-Yes?
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One moment...
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All right. Even here as well, there are
Mima's doubts, which have appeared before.
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-Yes.
-On both sides.
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The two of them are placed there,
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where they have their respective
positions and different opinions.
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Mima's doubts are depicted
concretely in this way.
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So then, after this...
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Mima has graduated from being a pop idol.
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After all, Mirna herself
has been thinking that,
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and as an actor, she has to
challenge herself with her new work.
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So, with that being said, well,
even as she obviously has doubts,
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she probably has to undertake it for sure.
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In general, Mirna is probably the kind
of person who can't say "no," right?
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So, this feeling of not being able to
properly refuse, is this lie here.
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When these "mirrors of herself"
kind of thing appear,
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it generally has a meaning of dual nature.
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-We||, let's see...
-Something is being shown here...
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So, she has her true feelings...
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Well, her face shows she's smiling,
as she says, "It's all right."
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But her true feelings are
that she doesn't feel that way,
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and it's that part that is of often
expressed by the format of "mirrors."
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' “
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So, Mima's true feelings
that she is suppressing,
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began to appear here,
well, for just an instant.
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And what's said is,
"I absolutely REFUSE to do it!"
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So, well, this is normally impossible.
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-Right.
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So, within Mirna, it's about this moment...
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-There's a split. Yes.
-That begins.
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So then...
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There's that kind of, well...
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So, you begin to enter into
Mima's subjective view.
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A moment ago, the mirror reflects
Mima's subjective view,
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in the form of a virtual pop idol Mirna,
that one begins to see.
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However, when one is entering into that
kind of subjective view of a person,
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or like flashback scenes
are also this way too,
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but if it's done suddenly,
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where it's connected abruptly
compared to the flow of things until then,
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well, it doesn't work well.
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Well, if it's connected suddenly,
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then you end up not understanding
what's going on, right?
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That's why, for example,
often in flashback-type scenes,
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well, how do I put this...?
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There's like a "Speaking of which,
that time..." kind of thing,
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with a close-up of the person, and then...
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The screen goes out of focus and
it connects to the flashback scene.
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Well, there are those kinds of
really cheesy methods too, right?
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So then, for those so-called times when
you're entering into someone's inner self,
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there has to be like an approach path,
or rather, a protocol. Otherwise...
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I see. It won't connect.
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So then, for the situation from earlier,
although it's done casually,
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well, there's the rail car's noise,
like the sound of the train moving,
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where it's monotonously repeated,
or there's passing scenery.
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And that's where for just a moment,
something bright enters the scene.
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Well, probably, it's like neon lights
on a billboard kind of thing.
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So then, there's a "We're about to go into
Mima's subjective view," kind of thing,
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so we're technically
giving notice about that.
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You see, if we do that too calculatingly,
for example, if the surrounding voices
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a person was hearing begin to fade and the
scene appears after a gradual entrance,
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then in this case, that would be too
overly planned, so it wouldn't work well.
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Given that, what's necessary is to
subtly provide a notice,
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and then enter into the subjective view.
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So then, for example,
well, in this previous scene...
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After Mima left, the group called CHAM!
has done rather well with a record sale,
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and they're delighted, while on
Mima's side, things aren't going too well.
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So then, as the reborn CHAM! members are
setting off party poppers to celebrate,
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due to the sound of those poppers
going off, this time around,
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the fun memories of when Mima was
a part of CHAM! are interjected.
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So, in this case, the poppers are used,
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and that creates an approach path,
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and you swiftly enter into
her subjective view.
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After that, well...
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After Mirna finishes the
graphic scene, well...
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She repeatedly sobs, and the word "Help!"
is repeatedly flooded on the website,
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and those kinds of things have
the same effect as well.
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So, after there is that kind of
approach path to her subjective view,
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usually that's when virtual Mirna appears,
and that's kind of how it's set up.
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So, although this work has unexpectedly
unaccommodating ways of connecting cuts,
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in actuality,
it is providing notice, little by little.
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With that being said,
when you watch the movie again,
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if you can pay attention
to things like that,
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and especially for people who are
aspiring to work in filmmaking,
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\ ,7 I HP
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Mima challenges herself and
goes all out for the rape scene.
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Death of a Pop Idol
Mima challenges herself and
goes all out for the rape scene.
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{\an8}Death of a Pop Idol
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Death of a Pop Idol
During the intense filming,
Mima's consciousness is in a hazy state,
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{\an8}Death of a Pop Idol
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Death of a Pop Idol
where she finds out she has parted ways
with her past pop idol self.
221
00:12:02,989 --> 00:12:03,556
Where she finds out she has parted ways
with her past pop idol self.
222
00:12:03,690 --> 00:12:09,462
Well, this scene attracted attention in
many ways, both in a good and bad way.
223
00:12:09,462 --> 00:12:11,631
224
00:12:11,664 --> 00:12:14,601
Well... Yeah, I overdid it.
225
00:12:15,335 --> 00:12:15,702
226
00:12:16,369 --> 00:12:17,036
227
00:12:17,036 --> 00:12:17,837
Oh, is that so?
228
00:12:17,870 --> 00:12:19,005
-When you think about it now?
-Yes.
229
00:12:19,205 --> 00:12:21,908
Well, yes. So...
230
00:12:22,342 --> 00:12:26,713
At the time, it was originally
going to be a video animation.
231
00:12:26,713 --> 00:12:27,347
232
00:12:27,413 --> 00:12:31,150
So, I didn't assume that
it would be released in theaters.
233
00:12:31,150 --> 00:12:31,584
' “
234
00:12:31,584 --> 00:12:34,420
So, it had to stand out
as much as possible.
235
00:12:34,821 --> 00:12:41,427
And when it comes to OVAs,
they don't get promoted,
236
00:12:41,461 --> 00:12:43,363
so I thought I should create
some kind of intense scene.
237
00:12:43,563 --> 00:12:44,330
Okay.
238
00:12:44,330 --> 00:12:46,432
And that's why I put that in there, but--
239
00:12:46,432 --> 00:12:47,533
It was pretty intense.
240
00:12:47,533 --> 00:12:48,635
241
00:12:49,168 --> 00:12:53,740
So, from the start,
things like beautiful girls, erotica,
242
00:12:53,806 --> 00:12:59,012
violence, murders, or stalkers,
are trashy material.
243
00:12:59,679 --> 00:13:01,681
They're like material meant
for tabloid shows.
244
00:13:01,881 --> 00:13:04,751
So then, how does one configure that?
245
00:13:04,751 --> 00:13:06,686
If that can be innovated,
246
00:13:07,053 --> 00:13:13,893
even if the material being used is
a so-called trashy and trite thing,
247
00:13:13,926 --> 00:13:17,230
depending on how it's put together,
it could become something new.
248
00:13:17,430 --> 00:13:21,934
So, that's what I thought
and tried doing, but...
249
00:13:22,969 --> 00:13:24,837
Well, just for this part,
I made it way too intense.
250
00:13:24,971 --> 00:13:30,877
So, honestly, when I see this
in the even larger theatrical size,
251
00:13:30,910 --> 00:13:32,779
even I end up looking away.
252
00:13:32,779 --> 00:13:34,080
-Because you're embarrassed.
-Yes.
253
00:13:34,580 --> 00:13:35,081
So then...
254
00:13:35,948 --> 00:13:40,887
Well, we'll take a moment to
look back at this here.
255
00:13:41,454 --> 00:13:44,424
Well, It's like this, and...
256
00:13:46,392 --> 00:13:50,063
Okay, so this is where "We're ready
to shoot!" is said, and after that...
257
00:13:53,199 --> 00:13:54,300
The camera goes "up," you know?
258
00:13:55,735 --> 00:13:56,336
You know'?
259
00:13:56,469 --> 00:13:58,805
Yeah, it's something like that, you know?
260
00:14:01,607 --> 00:14:02,275
Okay?
261
00:14:02,809 --> 00:14:04,811
If I say it too much,
it'll end up being sexual harassment.
262
00:14:06,346 --> 00:14:11,751
So then for here, after all, there's like
an embarrassed pose kind of thing.
263
00:14:11,784 --> 00:14:12,151
Okay.
264
00:14:12,151 --> 00:14:13,986
But it has to be a closed stance pose.
265
00:14:14,921 --> 00:14:17,423
At first, she's closed-off.
She can't be waiting here, like this.
266
00:14:17,924 --> 00:14:21,594
After all, what's important is to
have that closed pose be forced open.
267
00:14:21,627 --> 00:14:22,095
Okay.
268
00:14:22,095 --> 00:14:26,566
So, even for just that one pose,
innovations have been made.
269
00:14:26,599 --> 00:14:27,200
Okay.
270
00:14:27,834 --> 00:14:28,768
I 5f ~Q~ |,!.,,!| ffi; .~ 1,1; 275;; 5/; z 1,5,1 11.,
271
00:14:28,835 --> 00:14:30,803
No, I'm learning a lot.
272
00:14:30,803 --> 00:14:32,672
Should I do all the talking here, then?
273
00:14:32,705 --> 00:14:34,240
Oh, no, that's okay.
274
00:14:34,907 --> 00:14:38,211
So, when there are things like this,
and I've actually heard about it,
275
00:14:38,244 --> 00:14:40,046
but when there's this type
of scene being filmed,
276
00:14:40,079 --> 00:14:42,548
as expected, it seems the
number of observers increases.
277
00:14:43,349 --> 00:14:44,417
-Oh, is that so?
-Yes.
278
00:14:44,450 --> 00:14:47,854
So, actually, there was one cut earlier
where the observers had increased,
279
00:14:47,920 --> 00:14:51,057
and there were people who'd come,
who had nothing to do with the film.
280
00:14:51,090 --> 00:14:52,859
-So there was just one cut like that.
-Oh, I see.
281
00:14:52,992 --> 00:14:55,027
So, it seems things like that happen.
282
00:14:56,396 --> 00:14:57,764
Of course, people would go see that.
283
00:14:59,565 --> 00:15:00,032
Yeah...
284
00:15:07,473 --> 00:15:09,742
So then... Well, there are people,
285
00:15:09,776 --> 00:15:11,878
who probably can't bear
something like that, right?
286
00:15:11,944 --> 00:15:12,645
Yes.
287
00:15:13,179 --> 00:15:14,013
And, not only that...
288
00:15:15,681 --> 00:15:19,519
Every time there's a mistake,
this has to be repeated again.
289
00:15:19,886 --> 00:15:23,022
-So then...
-This scene is very painful to watch.
290
00:15:23,089 --> 00:15:26,125
You're right. Honestly, I'm like...
291
00:15:26,259 --> 00:15:27,894
-"What in the world have I done!?"
-I feel so bad for her.
292
00:15:30,396 --> 00:15:32,765
But you know, for something like this,
while she's actually
293
00:15:32,799 --> 00:15:35,701
going through a terrible experience,
well, this is part of the job, right?
294
00:15:35,701 --> 00:15:36,135
Yes.
295
00:15:36,202 --> 00:15:39,572
But then, after all, the people around her
are being considerate.
296
00:15:39,605 --> 00:15:42,542
Given that,
it's like she then can't cause trouble.
297
00:15:42,542 --> 00:15:42,909
Yes.
298
00:15:43,042 --> 00:15:46,212
And on the contrary,
the more they're nice to her--
299
00:15:46,212 --> 00:15:49,248
-Like this man, who's being considerate.
-Yes.
300
00:15:49,515 --> 00:15:51,284
But you know, when it's like that, well...
301
00:15:51,751 --> 00:15:55,288
You feel glad, but actually, there's the
part that kind of gets to you, you know?
302
00:15:55,388 --> 00:15:56,856
Because one is being treated kindly,
303
00:15:56,856 --> 00:15:58,524
-that makes it even tougher.
-Then you have to do your best.
304
00:15:58,524 --> 00:16:00,426
There are both sides to that, right?
305
00:16:00,560 --> 00:16:02,628
That really is an intense scene.
306
00:16:02,662 --> 00:16:05,565
Yes, but it's clear that
I was having fun writing this.
307
00:16:08,000 --> 00:16:12,271
Well, originally, there was more based off
the storyboard, but that was too much.
308
00:16:12,271 --> 00:16:13,873
Honestly, it's intense.
309
00:16:14,740 --> 00:16:17,577
There was talk that I was
probably just having fun.
310
00:16:18,244 --> 00:16:18,878
» ' '
311
00:16:21,047 --> 00:16:26,586
Still, for this part, above all, by
challenging herself to this kind of scene,
312
00:16:26,619 --> 00:16:32,625
Mirna, as a pop idol, ends up dying.
313
00:16:33,059 --> 00:16:35,161
This is the scene where
she meets her end as a pop idol.
314
00:16:35,495 --> 00:16:38,965
That's why her costume here,
the stripper outfit,
315
00:16:39,031 --> 00:16:42,268
is also somewhat reminiscent of
her CHAM! costumes.
316
00:16:42,401 --> 00:16:46,539
I wanted to emphasize that a pop idol was
being killed; that she was going to die.
317
00:16:46,672 --> 00:16:49,308
That's why I went for that
kind of racy costume.
318
00:16:49,775 --> 00:16:51,444
I'm the one who came up with it.
319
00:16:52,712 --> 00:16:54,280
I drew the settings too.
320
00:16:54,480 --> 00:16:58,284
And this is even though I received
criticism that it was such a racy costume.
321
00:16:58,584 --> 00:16:59,585
Is it supposed to be an apron?
322
00:16:59,585 --> 00:17:01,587
I guess so, most likely.
323
00:17:04,891 --> 00:17:05,525
This is...
324
00:17:05,591 --> 00:17:07,326
-It's really awful, isn't it?
-It is awful.
325
00:17:07,660 --> 00:17:08,461
She's crying.
326
00:17:09,362 --> 00:17:11,797
-Those are real tears.
-She's not acting, is she?
327
00:17:12,164 --> 00:17:15,134
So, it's right here. Well, it's this.
328
00:17:15,768 --> 00:17:16,769
One moment please.
329
00:17:20,873 --> 00:17:23,276
Here. So, this here.
330
00:17:25,011 --> 00:17:28,014
Well, there's that kind of vigorous
repetitive movement being done.
331
00:17:28,014 --> 00:17:31,450
Repetitive movement
Well, there's that kind of vigorous
repetitive movement being done.
332
00:17:31,450 --> 00:17:32,018
{\an8}Repetitive movement
333
00:17:32,018 --> 00:17:33,853
Repetitive movement
So, that was one of the cuts
that got flagged.
334
00:17:33,853 --> 00:17:36,522
So, that was one of the cuts
that got flagged.
335
00:17:36,889 --> 00:17:40,192
-So it's not like I went to EIRIN, but...
-This is for...? Okay.
336
00:17:40,293 --> 00:17:46,032
Well, they said we can't have that kind of
repetitive movement in the same cut.
337
00:17:47,366 --> 00:17:52,238
So, if there hadn't been that repetitive
movement, it might've been okay?
338
00:17:52,238 --> 00:17:54,040
This is really just a story I heard, so...
339
00:17:54,040 --> 00:17:54,740
Okay.
340
00:17:55,141 --> 00:17:55,174
{\an8}Repetitive movement - 2 times is OK?
341
00:17:55,174 --> 00:17:57,510
Repetitive movement - 2 times is OK?
Apparently, it's okay if the
repetitive movement is up to 2 times.
342
00:17:57,510 --> 00:17:57,977
{\an8}Repetitive movement - 2 times is OK?
343
00:17:59,178 --> 00:18:01,847
It seems it's a no-go,
if it's done more than 3 times.
344
00:18:01,881 --> 00:18:02,048
-So, it's okay if it's 2 times.
- I guess so.
345
00:18:02,048 --> 00:18:04,750
Repetitive movement - 2 times is OK?
-So, it's okay if it's 2 times.
- I guess so.
346
00:18:04,750 --> 00:18:05,051
-So, it's okay if it's 2 times.
- I guess so.
347
00:18:05,051 --> 00:18:09,221
I thought they were kidding about that,
but in other words,
348
00:18:09,221 --> 00:18:13,426
it's a no-go if that kind of obvious act
349
00:18:13,426 --> 00:18:18,664
is depicted through repetitive movement.
350
00:18:20,499 --> 00:18:23,369
At the very least, it seems like it's
okay if it's just one time, you know?
351
00:18:23,402 --> 00:18:26,772
Right. So... Okay...
352
00:18:27,239 --> 00:18:29,375
Once is too short. But enough about that.
353
00:18:29,709 --> 00:18:30,977
So then...
354
00:18:32,979 --> 00:18:37,950
Since "Perfect Blue" has
numerous trashy motifs,
355
00:18:38,084 --> 00:18:42,722
well, I thought the R15
rating was rather lenient.
356
00:18:43,022 --> 00:18:45,691
I thought it is what it is,
if it had been adult designated.
357
00:18:45,691 --> 00:18:48,995
That's right. It's okay to watch
if you're 15 and over.
358
00:18:48,995 --> 00:18:52,765
Yes. But I mean, why would anyone
show this to a high schooler, you know?
359
00:18:54,033 --> 00:18:55,801
So then, well...
360
00:18:57,903 --> 00:19:00,239
In that sense,
it appears they comprehended,
361
00:19:00,272 --> 00:19:02,074
HqU hi' wfl-H ~ ; , HI.»
362
00:19:02,341 --> 00:19:06,112
So, there were a few spots.
I believe that if we fixed 2 or 3 spots,
363
00:19:06,178 --> 00:19:10,583
then we were told it would be okay
as a movie for general audiences.
364
00:19:10,583 --> 00:19:11,083
Okay.
365
00:19:11,083 --> 00:19:15,254
And among the spots we needed to fix
was that scene from earlier,
366
00:19:15,287 --> 00:19:18,290
with the repetitive movements
from a bird's-eye view.
367
00:19:19,291 --> 00:19:21,160
By the way, in the end,
368
00:19:21,193 --> 00:19:23,996
the one who edited the repetitive movement
on the key animation was me.
369
00:19:24,063 --> 00:19:24,630
' “
370
00:19:26,999 --> 00:19:28,134
You see, it's my fault.
371
00:19:28,134 --> 00:19:28,668
Okay.
372
00:19:28,801 --> 00:19:31,671
I should've kept it to once.
Or maybe up to 2 times.
373
00:19:32,138 --> 00:19:33,439
Well, enough of about that.
374
00:19:33,439 --> 00:19:36,442
So, here as well, we have Mima's
consciousness going into a hazy state,
375
00:19:36,475 --> 00:19:40,513
and that is done by short cuts and lights
that are then connected together.
376
00:19:40,546 --> 00:19:44,150
So, this is the approach path to
her subjective view, from earlier.
377
00:19:44,216 --> 00:19:44,684
Okay.
378
00:19:44,717 --> 00:19:46,952
That's why this kind of image cut appears.
379
00:19:46,986 --> 00:19:47,286
okay,
380
00:19:47,286 --> 00:19:50,790
And then,
this era that was bathed in light...
381
00:19:52,925 --> 00:19:55,061
-Where is this?
-Gets switched off.
382
00:19:56,128 --> 00:19:59,165
-Oh! The dressing room. Okay.
-Yes.
383
00:19:59,165 --> 00:20:04,070
-Now then, Mima's outfit at this time...
-Yes? Oh...
384
00:20:06,038 --> 00:20:08,174
-What does it--
-|t's blackish, right?
385
00:20:08,374 --> 00:20:09,942
So, this has to be mourning attire.
386
00:20:11,343 --> 00:20:12,945
It means the death of a pop idol.
387
00:20:12,978 --> 00:20:16,182
Not only that, it's the pose for
praying for the deceased.
388
00:20:17,917 --> 00:20:19,952
-Oh!
-You see? Like, "Please rest in peace."
389
00:20:20,519 --> 00:20:22,755
-So, that's what's being depicted.
-I see.
390
00:20:23,255 --> 00:20:25,725
So, in this way,
when one draws with confidence,
391
00:20:25,758 --> 00:20:29,395
well, even if it's a scene
with just a little motion,
392
00:20:29,428 --> 00:20:31,330
one can say, "that's why this works here."
393
00:20:31,430 --> 00:20:35,434
For that part there, does the mirror
have nothing particular to do with it?
394
00:20:35,434 --> 00:20:38,070
-Oh! You're good. That's--
-In the dressing room.
395
00:20:38,204 --> 00:20:38,771
Yes.
396
00:20:39,872 --> 00:20:43,809
-Huh? Hang on. What the...?
-I think a mirror is shown there, so...
397
00:20:48,447 --> 00:20:50,950
There's a cut missing,
but that can't be true.
398
00:20:51,083 --> 00:20:53,552
'{'~VHD' :
399
00:20:53,786 --> 00:20:55,855
Seriouslyl?
Isn't that a pretty big problem--
400
00:20:55,855 --> 00:20:57,990
Oh! My apologies. That was a deleted cut.
401
00:20:58,324 --> 00:21:00,359
It's just the storyboard has always
been imprinted in my mind.
402
00:21:00,359 --> 00:21:00,793
Oh, okay.
403
00:21:00,793 --> 00:21:07,233
Actually, originally, after this, well...
404
00:21:09,702 --> 00:21:13,239
There were a number of cuts of
the twisted Mima drawing near her,
405
00:21:13,305 --> 00:21:15,307
but these were ones I just drew on my own.
406
00:21:15,574 --> 00:21:19,111
My apologies. It's not as if they could
disappear from the DVD on their own.
407
00:21:21,213 --> 00:21:23,115
All right. Let's see...
408
00:21:29,321 --> 00:21:34,627
So then, Mirna is honestly
extremely exhausted, and...
409
00:21:34,927 --> 00:21:38,197
She also has regrets, but she's trying to
act cheerful, as much as possible.
410
00:21:38,230 --> 00:21:40,666
And that is what makes her a
rather considerate girl.
411
00:21:40,833 --> 00:21:45,504
So, this guy here, whose name is Tadokoro,
is also a rather good person, actually.
412
00:21:45,504 --> 00:21:46,806
He tries to say something here, right?
413
00:21:46,806 --> 00:21:50,309
Yes. He's going to say he's sorry.
414
00:21:50,342 --> 00:21:55,815
But given that Mirna is intentionally
trying to act cheerful,
415
00:21:56,282 --> 00:21:59,752
and because he knows
she's trying to be considerate,
416
00:21:59,785 --> 00:22:01,320
he ends up not being able to say anything.
417
00:22:01,754 --> 00:22:04,123
Depressed. The only one
who's gloomy is this person.
418
00:22:05,558 --> 00:22:10,563
So then, after this,
an exhausted Mima gets home.
419
00:22:10,830 --> 00:22:14,667
And well, what she realizes is...
420
00:22:17,036 --> 00:22:19,805
The Neon Tetra.
It is the deaths of her tropical fish.
421
00:22:23,876 --> 00:22:26,145
-Why did they a||--
-At the time, I had them as pets.
422
00:22:26,178 --> 00:22:28,214
-Oh! The same kind?
-Neon Tetra. Yes.
423
00:22:28,214 --> 00:22:29,682
So, they turn white when they die.
424
00:22:30,716 --> 00:22:32,585
Suddenly all at once, like that?
425
00:22:32,585 --> 00:22:33,786
They can all die like that.
426
00:22:33,786 --> 00:22:37,189
I mean, it's not really like they'll
do that all at once like that,
427
00:22:37,189 --> 00:22:39,658
but after all, it kind of has to do with
room and water temperatures.
428
00:22:39,692 --> 00:22:44,864
-If you're sloppy managing that, then...
-I guess they're delicate.
429
00:22:45,030 --> 00:22:46,532
They do die quite often.
430
00:22:46,932 --> 00:22:47,833
So then, after this...
431
00:22:47,867 --> 00:22:48,467
Okay.
432
00:22:48,534 --> 00:22:51,303
Well, she tears apart her room.
433
00:22:51,704 --> 00:22:55,941
So, at any rate, for this room,
as described by this movie,
434
00:22:55,975 --> 00:22:58,110
well, the room is the character herself.
435
00:22:58,277 --> 00:22:59,945
-Her inner self.
-It is.
436
00:22:59,979 --> 00:23:02,948
Well, in other words,
her mind is messed up.
437
00:23:02,982 --> 00:23:05,551
-Right.
-So, she wants to mess things up too.
438
00:23:05,885 --> 00:23:08,153
So, that's what this means here.
439
00:23:09,054 --> 00:23:11,390
So then, as she gasps
and starts to cry here,
440
00:23:11,423 --> 00:23:15,294
this is again the approach path
to go further into her inner self.
441
00:23:15,294 --> 00:23:16,528
-Okay.
-And...
442
00:23:16,562 --> 00:23:21,133
Because she's gasping and sobbing,
what can happen next,
443
00:23:21,166 --> 00:23:24,136
is that she begins to hear
the voice of the virtual Mirna.
444
00:23:24,169 --> 00:23:28,073
And then she ends up seeing that
on the computer monitor.
445
00:23:30,109 --> 00:23:33,012
The virtual Mima is an awful woman, right?
446
00:23:33,012 --> 00:23:33,812
Yes.
447
00:23:35,047 --> 00:23:40,219
So then, we have these
two remaining Neon Tetras.
448
00:23:40,419 --> 00:23:46,225
Well, this is the LaserDisc boxed edition
that came out at the time.
449
00:23:47,226 --> 00:23:49,395
These guys here. From this drawing.
450
00:23:50,496 --> 00:23:53,532
This drawing became the motif and
it was used to make this jacket.
451
00:23:54,366 --> 00:23:57,369
In other words, it's important to know
why it's these two fish, right?
452
00:23:57,836 --> 00:23:58,637
, D“, V, ,.
w» \
453
00:23:58,637 --> 00:23:59,939
-So, in other words--
-Why is it important?
454
00:23:59,939 --> 00:24:03,575
Because the two Neon Tetras
are inside Mirna,
455
00:24:03,609 --> 00:24:06,345
essentially, this is the
same concept, right?
456
00:24:06,645 --> 00:24:10,883
-Well, inside Mirna, there are--
-Two people.
457
00:24:10,883 --> 00:24:14,053
Yes. The two Mimas. The virtual Mima,
458
00:24:14,086 --> 00:24:18,857
and the Mima who is trying to make it
as an actor and is trying to change.
459
00:24:18,891 --> 00:24:19,224
460
00:24:19,224 --> 00:24:23,862
So, originally there was going to be
some chasing around here,
461
00:24:23,896 --> 00:24:27,166
where it'd seem like the two fish
were chasing each other,
462
00:24:27,199 --> 00:24:29,702
and that would've given off
more of that vibe.
463
00:24:29,935 --> 00:24:35,607
The point is, after this, these remaining
two are the two Mima who are inside her.
464
00:24:35,708 --> 00:24:38,043
And they're going to
compete for survival, so to speak.
465
00:24:38,444 --> 00:24:40,813
And that is the kind of story
that will unfold.
466
00:24:40,846 --> 00:24:41,480
Yes.
467
00:24:43,015 --> 00:24:44,049
The thoughts on the Mima's Room site and
those of the real Mima are worlds apart.
468
00:24:44,049 --> 00:24:47,653
The Split-off of the Virtual Mirna
The thoughts on the Mima's Room site and
those of the real Mima are worlds apart.
469
00:24:47,653 --> 00:24:48,120
{\an8}The Split-off of the Virtual Mirna
470
00:24:48,120 --> 00:24:52,791
The Split-off of the Virtual Mirna
This is an important scene, where the
Mirna who's still in a pop idol form
471
00:24:52,791 --> 00:24:52,825
{\an8}The Split-off of the Virtual Mirna
472
00:24:52,825 --> 00:24:54,927
The Split-off of the Virtual Mirna
appears from the computer monitor,
in front of a rattled Mirna.
473
00:24:54,927 --> 00:24:55,561
Appears from the computer monitor,
in front of a rattled Mima.
474
00:24:57,029 --> 00:25:04,336
Yes. Finally, we have the
pop idol form Mirna,
475
00:25:04,370 --> 00:25:07,206
the virtual Mirna,
who had been shown occasionally,
476
00:25:07,239 --> 00:25:11,477
who is now actually appearing in the room,
in Mima's room.
477
00:25:12,011 --> 00:25:13,712
So then, just now...
478
00:25:17,049 --> 00:25:17,850
NUT» mm 1 "\\\J'\'\'
479
00:25:17,850 --> 00:25:21,186
After there's this kind of
monotonous repetition,
480
00:25:21,387 --> 00:25:24,023
the rule from earlier has been
applied here as well,
481
00:25:24,056 --> 00:25:27,359
where we start to go into the
world of her subjective view.
482
00:25:28,193 --> 00:25:30,095
So then, Mirna says,
"|'m not writing any of this!"
483
00:25:30,863 --> 00:25:36,035
And obviously,
compared to the appearances up until now,
484
00:25:36,068 --> 00:25:41,306
the other Mirna takes a step forward and
clearly appears and starts a conversation.
485
00:25:41,573 --> 00:25:42,741
In other words,
486
00:25:43,842 --> 00:25:47,146
as this is after all the
two Mima who are inside her,
487
00:25:47,413 --> 00:25:49,381
the fact that they're engaging in dialogue
488
00:25:49,681 --> 00:25:51,850
means this is a dialogue
she's having within herself.
489
00:25:52,117 --> 00:25:57,923
So then, this is where the virtual Mima
tells her, "You're a filthy woman now."
490
00:25:58,123 --> 00:26:03,262
And even though she thinks that
it's not true, she curls up.
491
00:26:03,662 --> 00:26:07,299
What's important here, is that
she actually has to be in the shadows.
492
00:26:09,168 --> 00:26:10,402
3 ,_ N". ' , \ V
,. I .
H“ 44W I ,, H»;
493
00:26:10,402 --> 00:26:12,237
-This side. This Mima does.
-Oh! Okay.
494
00:26:12,271 --> 00:26:13,272
That's why, for here,
495
00:26:13,305 --> 00:26:17,409
well, for inside the room,
there's a white sheet placed behind her,
496
00:26:17,609 --> 00:26:20,679
and not only that, she's kind of backlit
by the light that's hitting her.
497
00:26:21,180 --> 00:26:23,549
So for this Mirna, she's also kind of
backlit by the light hitting her,
498
00:26:23,615 --> 00:26:24,917
but obviously the tone is higher.
499
00:26:24,983 --> 00:26:27,853
After all, this is a contrast
between light and shadow,
500
00:26:28,087 --> 00:26:34,426
so then for here,
Mima herself has to be in the shadows.
501
00:26:34,860 --> 00:26:37,396
-So, this other Mima is in the light.
-In the light.
502
00:26:37,429 --> 00:26:38,764
That's why even if she's out like this,
503
00:26:38,797 --> 00:26:40,599
she's in a constant state of
being bathed in light.
504
00:26:43,102 --> 00:26:45,170
So then, there's this.
505
00:26:45,270 --> 00:26:49,408
1M
v i»: *~'\ii\mlV'Vl=. \
506
00:26:49,441 --> 00:26:52,044
The constant area of shadow she's in
has become bigger.
507
00:26:57,382 --> 00:27:02,020
So then, basically, while "Perfect Blue"
has extremely intense scenes,
508
00:27:02,054 --> 00:27:09,928
or suspenseful thrillers,
or psycho-thriller type aspects,
509
00:27:09,962 --> 00:27:14,600
fundamentally, this movie is a depiction
about a woman called Mima Kirigoe,
510
00:27:14,666 --> 00:27:20,072
who is growing up
as she advances to another level.
511
00:27:20,172 --> 00:27:24,042
That's why, somewhere in the steps
that people take to grow up,
512
00:27:24,076 --> 00:27:27,112
when people are achieving growth,
513
00:27:27,146 --> 00:27:30,182
there's definitely a time when
you're having dialogue within yourself.
514
00:27:30,449 --> 00:27:33,485
There'|I be like a, "What should I do?"
515
00:27:33,519 --> 00:27:35,053
-A conflict.
-Like a conflict within yourself.
516
00:27:35,154 --> 00:27:40,526
So then, specifically, the virtual Mima
thinks the way she was before was better,
517
00:27:40,826 --> 00:27:45,097
while Mirna thinks that even if things
are tough, she wants to move forward.
518
00:27:45,197 --> 00:27:47,232
-|t's a conflict between the two of them.
-Right.
519
00:27:47,299 --> 00:27:48,534
So, I like these kinds of things.
520
00:27:49,468 --> 00:27:53,272
So, last year,
the movie "Paprika" was released.
521
00:27:53,305 --> 00:27:56,074
And that also had a similar composition.
522
00:27:56,208 --> 00:28:01,180
So, within this one person,
there is a character called Atsuko Chiba,
523
00:28:01,213 --> 00:28:03,415
and a character called Paprika,
who both appear.
524
00:28:03,549 --> 00:28:06,185
These two are very contrasting characters,
525
00:28:06,385 --> 00:28:10,022
and there is a scene where they
specifically struggle with each other.
526
00:28:10,155 --> 00:28:14,293
Well, the two of them debate.
In other words, they disagree.
527
00:28:14,393 --> 00:28:17,262
So basically,
that is a conflict within an individual.
528
00:28:17,496 --> 00:28:24,036
These kinds of conflicts within an
individual are difficult to draw onscreen.
529
00:28:24,469 --> 00:28:26,772
If it was a novel,
there could be a monologue,
530
00:28:27,072 --> 00:28:29,775
or one can do a psychological description.
531
00:28:29,975 --> 00:28:32,844
However, to some extent,
to do a monologue,
532
00:28:32,878 --> 00:28:37,416
or express inner conflict,
just doesn't look good onscreen.
533
00:28:37,683 --> 00:28:42,454
So, I used a tactic of having a different
character appear in concrete form,
534
00:28:42,487 --> 00:28:46,091
in order to have an individual
express their inner conflict.
535
00:28:46,124 --> 00:28:46,692
' “
536
00:28:49,294 --> 00:28:50,362
The scriptwriter for the "Double Bind"
drama has been killed by someone,
537
00:28:50,362 --> 00:28:52,798
The First Murder
The scriptwriter for the "Double Bind"
drama has been killed by someone,
538
00:28:52,798 --> 00:28:53,065
{\an8}, ' ' ':,\ ilflL,
539
00:28:53,065 --> 00:28:56,969
The First Murder
so the incident surrounding Mirna
has ultimately ended up with a murder.
540
00:28:56,969 --> 00:28:57,069
{\an8}, ' ' ':,\ ilflL,
541
00:28:57,069 --> 00:28:58,704
The First Murder
Yes. So, while it's been called
a thriller or psycho-thriller,
542
00:28:58,704 --> 00:29:01,607
Yes. So, while it's been called
a thriller or psycho-thriller,
543
00:29:01,640 --> 00:29:07,412
it's only been to the extent of
sending faxes or exploding letters,
544
00:29:07,446 --> 00:29:11,049
so there hasn't been a definitive
big incident that has happened.
545
00:29:11,083 --> 00:29:13,952
However, finally,
this is where a murder incident occurs;
546
00:29:13,986 --> 00:29:16,321
'I / <7 '< “H N' “/I'J~». ',>\ “ , \
“x /\ 1' UM 'W5 f' z I
547
00:29:16,388 --> 00:29:18,724
So, for here as well...
548
00:29:21,093 --> 00:29:26,098
This entrance to the underground
parking lot is really filled with light.
549
00:29:26,131 --> 00:29:28,033
-This is also in 4:3 ratio.
-Oh! Here as well.
550
00:29:28,734 --> 00:29:34,606
In other words, even a murder incident
is almost like an event happening on TV.
551
00:29:34,673 --> 00:29:38,443
Well, you know, recently, repeatedly,
it's been day after day of that.
552
00:29:38,510 --> 00:29:41,380
-We||, so many incidents like that.
-That's true.
553
00:29:41,480 --> 00:29:44,516
And not only that, well...
554
00:29:47,219 --> 00:29:51,790
The murder being committed
is using things like music,
555
00:29:51,823 --> 00:29:57,195
and it's really kind of becoming
game-like, or as if it were fake.
556
00:29:57,229 --> 00:30:00,799
And I think it's that kind of thing
I was feeling on a daily basis,
557
00:30:01,300 --> 00:30:03,201
.. " .
558
00:30:03,302 --> 00:30:06,204
The fact it's this kind of method
is really, well...
559
00:30:06,672 --> 00:30:11,376
Granted, as it is, this itself is an event
happening in an animation movie,
560
00:30:11,610 --> 00:30:16,014
but the person who's rigging this up,
561
00:30:16,014 --> 00:30:17,282
in other words, the murderer,
562
00:30:17,316 --> 00:30:22,788
has already thought considerably
about showing this off to people.
563
00:30:23,188 --> 00:30:25,023
And it's that part that makes one wonder,
564
00:30:25,057 --> 00:30:31,229
if even murders have become
very much a spectacle-like thing.
565
00:30:31,730 --> 00:30:36,001
And that was my intention,
when I used this kind of gimmick.
566
00:30:36,435 --> 00:30:39,604
You see? Just the D, I, E,
in "Double Bind" is highlighted.
567
00:30:39,771 --> 00:30:42,941
Actually, for this too, that kind of idea
came from the movie, "Batman Returns."
568
00:30:42,941 --> 00:30:44,810
"Batman Returns"
(Director: Tim Burton / 1992 release)
Actually, for this too, that kind of idea
came from the movie, "Batman Returns."
569
00:30:44,810 --> 00:30:45,077
{\an8}"Batman Returns"
(Director: Tim Burton / 1992 release)
570
00:30:45,077 --> 00:30:48,313
"Batman Returns"
(Director: Tim Burton / 1992 release)
It's where Michelle Pfeiffer
becomes Catwoman,
571
00:30:48,313 --> 00:30:48,413
{\an8}"Batman Returns"
(Director: Tim Burton / 1992 release)
572
00:30:48,513 --> 00:30:53,251
And there's a neon sign that says,
"HELLO THERE,"
573
00:30:53,518 --> 00:30:58,323
but she trashes her room and it becomes
"HELL HERE," with 2 letters missing.
574
00:30:58,724 --> 00:31:00,325
So the sign becomes "HELL HERE."
575
00:31:00,992 --> 00:31:03,695
Well, this is a reference to that.
576
00:31:04,062 --> 00:31:07,632
So, I often reference movies, or rather,
577
00:31:07,833 --> 00:31:09,835
calling it an homage makes it sound good,
578
00:31:10,068 --> 00:31:13,538
but there's lots of parts
where I incorporate ideas,
579
00:31:13,572 --> 00:31:17,442
and the elevator scene
after this is one of them.
580
00:31:17,743 --> 00:31:21,413
So then,
this is where the scriptwriter, Shibuya,
581
00:31:21,446 --> 00:31:23,415
gradually becomes overwhelmed
with uneasiness,
582
00:31:23,515 --> 00:31:25,617
and as he's thinking that
maybe something's wrong,
583
00:31:26,184 --> 00:31:26,985
it's just a cassette player.
584
00:31:26,985 --> 00:31:27,719
585
00:31:27,786 --> 00:31:30,088
So then, this is where
there's a momentary lull.
586
00:31:30,522 --> 00:31:31,223
It's like, "Oh..."
587
00:31:31,790 --> 00:31:34,860
Even the audience is like, "Oh...",
because they've gotten that nervous too.
588
00:31:34,926 --> 00:31:37,863
Just as everyone is thinking, "Oh...",
suddenly, he's already been killed.
589
00:31:38,096 --> 00:31:39,231
He just had to get on the elevator.
590
00:31:39,231 --> 00:31:42,234
So, this kind of thing is a common trick.
591
00:31:42,401 --> 00:31:44,803
Well, for example...
592
00:31:45,237 --> 00:31:48,173
When there's a sad scene coming up,
593
00:31:48,407 --> 00:31:50,675
then a fun scene is put in before it.
594
00:31:51,410 --> 00:31:53,378
So, you're aiming for that contrast.
595
00:31:53,412 --> 00:31:55,747
If you want to emphasize a
fun scene that's coming up,
596
00:31:55,781 --> 00:31:59,117
then you put something like
a sad scene before it.
597
00:31:59,151 --> 00:32:02,287
If you do that, then the scene that comes
after it, will be even more emphasized.
598
00:32:02,587 --> 00:32:05,056
That's why in this case,
if you want to create shock,
599
00:32:05,090 --> 00:32:08,460
then you put in an "Oh..." kind of cut
in between, that puts people at ease,
600
00:32:08,493 --> 00:32:10,495
and then suddenly it connects to this,
which is a huge shock.
601
00:32:10,796 --> 00:32:14,699
The thing is, this part where the elevator
opens with a person having been killed,
602
00:32:14,800 --> 00:32:22,441
is like a reference to another
certain movie, similar to earlier.
603
00:32:22,607 --> 00:32:23,875
So, this is from the director,
John Frankenheimer,
604
00:32:23,875 --> 00:32:25,510
"Black Sunday"
(Director: John Frankenheimer I 1977 release)
So, this is from the director,
John Frankenheimer,
605
00:32:25,510 --> 00:32:25,544
{\an8}"Black Sunday"
(Director: John Frankenheimer / 1977 release)
606
00:32:25,544 --> 00:32:28,613
"Black Sunday"
(Director: John Frankenheimer I 1977 release)
who made the movie, "Black Sunday."
607
00:32:28,613 --> 00:32:28,847
{\an8}"Black Sunday"
(Director: John Frankenheimer / 1977 release)
608
00:32:28,847 --> 00:32:32,150
"Black Sunday"
(Director: John Frankenheimer I 1977 release)
So then, I believe it was someone
working for the protagonist,
609
00:32:32,150 --> 00:32:32,184
So then, I believe it was someone
working for the protagonist,
610
00:32:32,217 --> 00:32:36,922
and he gets on a certain elevator
inside a hospital,
611
00:32:36,988 --> 00:32:38,523
with a terrorist disguised as a nurse.
612
00:32:38,757 --> 00:32:41,626
And then, when the elevator door opens,
613
00:32:41,660 --> 00:32:47,866
he has died by having poison injected
into him by the female terrorist.
614
00:32:48,133 --> 00:32:52,437
By just having that elevator door
close once and then open--
615
00:32:52,437 --> 00:32:55,607
-So, you don't depict the actual killing.
-You don't depict it.
616
00:32:55,607 --> 00:32:59,244
It's because it's not depicted,
that conversely, there's shock,
617
00:32:59,377 --> 00:33:00,812
and it stimulates the imagination.
618
00:33:00,846 --> 00:33:05,584
So then, here again, we've gone all out,
starting with the eyeballs.
619
00:33:05,684 --> 00:33:08,787
-His eyes. Are his eyeballs missing here?
-Yes. That's right.
620
00:33:08,820 --> 00:33:11,990
That's right. Later on,
the photographer makes an appearance,
621
00:33:12,023 --> 00:33:14,659
and he is stabbed in the eye
with an ice pick.
622
00:33:14,860 --> 00:33:18,129
So, actually,
probably for this elevator scene as well,
623
00:33:18,163 --> 00:33:20,532
that kind of ice pick was used
to stab the eyeballs.
624
00:33:20,966 --> 00:33:22,767
He'd seen what he wasn't supposed to see.
625
00:33:22,767 --> 00:33:24,302
-Those who have "seen" will be killed.
-I see. Okay.
626
00:33:24,302 --> 00:33:27,973
So then, they can't just be killed
in some random way here, after all.
627
00:33:28,073 --> 00:33:31,376
So, for here,
it has to be the eyes for sure.
628
00:33:31,776 --> 00:33:33,111
The idea of watching.
629
00:33:33,144 --> 00:33:35,747
After all, watching and being watched is
what's important in this movie.
630
00:33:35,981 --> 00:33:38,550
It's about crushing the eyeballs
which function for seeing.
631
00:33:38,717 --> 00:33:42,721
I came to the conclusion that it had to be
that kind of murder method.
632
00:33:43,455 --> 00:33:47,192
Now then, there is Mirna, who is suffering
at the mercy of other adult's desires,
633
00:33:47,225 --> 00:33:49,294
and the virtual Mirna,
who is mocking her for that.
634
00:33:49,361 --> 00:33:52,364
And thus, the incident is
beginning to spread, but...
635
00:33:52,497 --> 00:33:55,734
I think I'd like to leave it at that,
for today's explanation.
636
00:33:59,905 --> 00:34:02,040
The second night of
the "Perfect Blue" lecture.
637
00:34:02,073 --> 00:34:04,209
What did everyone think about it?
638
00:34:04,709 --> 00:34:06,811
After this, there is the outcome of the
incidents that occur in succession,
639
00:34:06,845 --> 00:34:10,048
and the climax where Mima and the
virtual Mima confront each other.
640
00:34:10,081 --> 00:34:13,151
Please look forward to the explanation
for that on the third night.
641
00:34:13,618 --> 00:34:15,687
We look forward to
seeing you again tomorrow.
642
00:34:17,589 --> 00:34:19,758
{\an8}Translator: Ryoko Sarto