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One, please.
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Of all the people I've worked with,
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nobody else provides
the unique sensations he does.
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Satoshi Kon broadened the scope
of animation.
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He created animated films
that were as powerful
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as live-action films.
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That's the overriding impression
I get from his work.
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To sum it up,
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he was a prickly guy.
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He spoke his mind.
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Even if the other person might get hurt,
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he never held back.
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He said what he wanted to say.
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He was radical that way.
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I remember that well.
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I'd never seen
the Japanese style of animation
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used just for a real adult, dramatic story.
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00:02:48,840 --> 00:02:52,799
It was very clear
he was this kind of one-man machine.
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It felt like
he just kind of did his thing
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00:02:57,200 --> 00:02:59,719
in his cocoon, and created his work.
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That was my feeling of his genius.
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00:03:04,000 --> 00:03:07,679
For me, Satoshi Kon
was not just a great director.
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He was also
a great mentor and teacher,
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as well as an activist
who was trying to improve
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the animation industry
for its creators.
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He had this ability
to make the audience smart.
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You can't leave your brain
on the couch with his work.
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He's an osteopath for the brain.
Always ahead of us.
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This is a filmmaker who's expanding
the boundaries of film making.
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And not just animation.
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A lot of people in live action
are chasing the Satoshi Kon feel,
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that level of immersiveness.
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He's a master.
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Someone I'll be learning from
for the rest of my life.
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Kon, in a word,
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is a genius.
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And a nasty guy.
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In a nutshell.
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00:04:31,080 --> 00:04:34,559
SATOSHI KON: THE ILLUSIONIST
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On August 24th, 2010, at the age of 46,
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00:04:38,120 --> 00:04:40,919
mangaka and filmmaker
Satoshi Kon died.
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His body of work is not immense.
A handful of comics,
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00:04:45,240 --> 00:04:47,519
four feature films,
one short, and a TV series.
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00:04:49,760 --> 00:04:52,319
But his contribution
to the history of animation,
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00:04:52,480 --> 00:04:55,119
and Japanese cinema in general,
is fundamental.
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00:04:55,280 --> 00:04:58,159
He even influenced
Hollywood cinema in the 2010s.
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00:05:00,440 --> 00:05:02,679
Satoshi Kon's broken trajectory
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is that of a visionary
and essential early 21st century artist.
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I refuse to do it!
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00:05:49,880 --> 00:05:50,919
In 1998,
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Perfect Blue, Kon's first feature,
is released worldwide...
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00:05:56,520 --> 00:05:59,879
The film is a thriller
about a young pop singer
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00:06:00,040 --> 00:06:04,239
harassed by a fan when she decides
to quit the music industry.
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00:06:05,480 --> 00:06:07,039
The film's daring narrative
55
00:06:07,200 --> 00:06:09,159
and dark, tense atmosphere
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00:06:09,720 --> 00:06:12,559
make it an instant classic
of adult animated cinema
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and catapult Kon
onto the international stage.
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00:06:26,800 --> 00:06:28,319
Born in 1963,
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00:06:28,480 --> 00:06:32,279
Satoshi Kon began
writing and drawing mangas as a boy.
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00:06:32,440 --> 00:06:35,279
He was first published
at the age of 22.
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It all began
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when I was in art school.
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I planned to become a mangaka.
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00:06:47,280 --> 00:06:50,639
When I started out in the profession,
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I was already a fervent admirer
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00:06:56,400 --> 00:07:00,079
of Katsuhiro Otomo's mangas, like Akira.
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00:07:00,480 --> 00:07:04,319
His style inspired me in my own comics.
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00:07:04,480 --> 00:07:07,999
In my mangas and animated films,
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the core of my personal vision
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is clearly influenced by Otomo.
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00:07:18,320 --> 00:07:20,519
Other magazines for young people
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were mostly read by
students and office workers.
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White collar, basically.
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00:07:29,760 --> 00:07:32,639
Whereas Young Magazine
tended to be read
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00:07:32,800 --> 00:07:36,279
by blue-collar workers
and young slackers.
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00:07:39,240 --> 00:07:44,559
Kon's first two award-winning mangas
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were works of science fiction.
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They were clearly influenced by Otomo.
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What's most important in drawing
is expressivity.
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I was his supervisor at the time.
81
00:08:09,240 --> 00:08:13,959
I was very impressed
by the power of his drawings.
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00:08:21,400 --> 00:08:25,239
Foreign filmmakers took an interest
in Kon's early mangas.
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00:08:25,400 --> 00:08:29,239
Marc Caro, whose films with Jeunet
were popular in Japan,
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hoped to bring
the most popular one to the screen.
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00:08:34,880 --> 00:08:37,439
Why was I interested in Kaikisen?
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I felt the story was so timeless,
87
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so international..
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You could place it in any context.
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This conflict between tradition
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and a kind of raging modernity
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hurtling towards who knows what...
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It felt very current.
93
00:09:00,640 --> 00:09:03,679
The relationship to the sea,
the mermaids,
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00:09:03,840 --> 00:09:08,479
all the sea-related mythology...
I was hooked from the start.
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00:09:08,640 --> 00:09:11,439
So, obviously, I met Satoshi Kon.
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It turned out, we both
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admired each other.
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00:09:15,920 --> 00:09:17,759
And we had a lot in common.
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00:09:17,920 --> 00:09:19,839
I had a great story to tell.
100
00:09:20,400 --> 00:09:24,079
And, on top of that,
I had the blessing and enthusiasm
101
00:09:24,720 --> 00:09:28,919
of the person I admired,
who'd written the story.
102
00:09:29,080 --> 00:09:31,479
I was beyond overjoyed!
103
00:09:41,720 --> 00:09:46,119
Satoshi Kon
was already known at the time.
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00:09:46,280 --> 00:09:52,359
I wasn't the one
who discovered his talent.
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00:09:52,520 --> 00:09:56,279
It was already clear to everybody.
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00:09:57,080 --> 00:09:59,519
I made him an offer.
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The timing was good for both of us.
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00:10:06,080 --> 00:10:12,959
It was the beginning
of a very important collaboration.
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00:10:14,760 --> 00:10:17,919
And now, without further ado,
please welcome CHAM!
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00:10:28,080 --> 00:10:31,079
The first meeting with Mr. Takeuchi,
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00:10:31,240 --> 00:10:33,039
the author of the original book,
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00:10:33,200 --> 00:10:37,559
took place at Madhouse studio.
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He was very frank.
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He gave us permission
to modify his book.
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00:10:43,800 --> 00:10:48,079
So we had a lot of freedom.
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00:10:48,240 --> 00:10:52,319
It was a suspenseful book,
with a heavy dose of the grotesque.
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00:10:52,480 --> 00:10:56,679
Mr. Kon and I decided
we wanted to do something different.
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00:10:57,240 --> 00:11:00,799
So, what would we do?
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00:11:00,960 --> 00:11:03,039
Mr. Kon wrote down a few notes.
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00:11:03,560 --> 00:11:07,679
"A man pursues a woman,
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00:11:08,800 --> 00:11:13,559
"a woman pursues her own shadow."
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00:11:13,720 --> 00:11:18,519
As we wrote down all those notes,
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00:11:18,680 --> 00:11:23,879
we decided that would be
our concept for the film.
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00:11:24,400 --> 00:11:27,679
Perfect Blue quickly stood out.
In particular,
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00:11:27,840 --> 00:11:31,959
on the international stage.
It was seen as the work of an auteur.
126
00:11:32,120 --> 00:11:35,879
Satoshi Kon began to be seen
as a major animated filmmaker.
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00:11:36,040 --> 00:11:40,519
But when you place it in the context
of what Madhouse produced in the 90s,
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00:11:40,680 --> 00:11:41,999
it's very coherent.
129
00:11:42,160 --> 00:11:46,119
It corresponds exactly
to what Maruyama was trying to do.
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00:11:46,280 --> 00:11:50,079
Animated films for older audiences.
Darker,
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00:11:50,240 --> 00:11:52,679
with a more realistic aesthetics.
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00:11:52,840 --> 00:11:54,559
I suggested
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00:11:55,000 --> 00:11:58,399
we try cutting it in pieces
and mixing it all up,
134
00:11:58,560 --> 00:12:02,959
so we wouldn't know where we were going.
135
00:12:03,240 --> 00:12:06,479
He said,
"We gotta try it!"
136
00:12:06,640 --> 00:12:09,319
He was up for the challenge.
137
00:12:40,360 --> 00:12:45,159
It's me, Mima Kirigoe from CHAM!
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00:12:48,000 --> 00:12:51,279
When I met Satoshi Kon,
139
00:12:52,840 --> 00:12:55,399
I could see that he didn't know
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00:12:55,560 --> 00:13:00,119
I'd started out as an idol.
141
00:13:00,280 --> 00:13:03,039
That made me happy.
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00:13:03,600 --> 00:13:07,119
Perfect Blue latched onto
the Japanese phenomenon
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00:13:07,280 --> 00:13:09,799
of forming musical groups
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00:13:09,960 --> 00:13:12,999
with the express intention of creating idols.
145
00:13:13,200 --> 00:13:17,359
Casting bands of future idols.
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00:13:17,520 --> 00:13:20,879
The film asks Japanese audiences
to ponder
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00:13:21,040 --> 00:13:24,639
the fates of these young women,
so quickly discarded,
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00:13:24,800 --> 00:13:28,719
and whose short careers
expose them to harsh public scrutiny.
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00:13:45,040 --> 00:13:48,799
Idols must always be smiling.
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00:13:49,840 --> 00:13:53,559
We have to sing and dance,
even with a fever.
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00:13:53,720 --> 00:13:56,879
Idols are like puppets.
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00:13:58,240 --> 00:14:00,799
And in their private lives,
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00:14:00,960 --> 00:14:03,359
they are all the more tormented.
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00:14:05,080 --> 00:14:08,719
I was happy that Satoshi Ken
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00:14:10,960 --> 00:14:12,799
had taken an interest in it.
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00:14:12,960 --> 00:14:16,999
These very smiley idols
were popular in the 1980s.
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00:14:17,160 --> 00:14:22,039
They were wildly popular.
They were on all the TV shows.
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00:14:22,200 --> 00:14:25,439
Then came the 1990s
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00:14:25,600 --> 00:14:31,439
and the "Underground Idol" craze.
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The distance between
idols and their fans narrowed.
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00:14:37,920 --> 00:14:39,479
A fax?
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00:14:39,640 --> 00:14:40,959
Who can that be?
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Traitor traitor tRaitoR TRAiTor TrAItOR
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00:15:04,920 --> 00:15:06,159
Who are you?
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00:15:07,280 --> 00:15:13,439
I myself had to deal with a stalker.
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I brought that anxiety to my acting.
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00:15:19,760 --> 00:15:24,679
It was surely what made me stand out
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during the audition.
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00:15:47,120 --> 00:15:51,159
Perfect Blue is a
really, really good horror movie.
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00:15:52,280 --> 00:15:58,479
And as a horror movie, you can
connect to it many different ways.
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You can compare it
to Alfred Hitchcock,
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00:16:01,400 --> 00:16:04,799
you can link it to Dario Argento,
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00:16:05,080 --> 00:16:08,759
you can link it to the maze-like movies
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00:16:08,920 --> 00:16:11,399
that you get with some
of the David Lynch work.
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00:16:16,320 --> 00:16:19,879
What's striking in Perfect Blue
is the way Satoshi Kon
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appeals to the audience's
intelligence and imagination.
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00:16:24,160 --> 00:16:26,199
Is Mima an idol?
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00:16:26,360 --> 00:16:29,719
Did Mima dream she was a celebrity?
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00:16:29,880 --> 00:16:32,839
Is Mima being pursued
by a psycho killer?
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00:16:33,000 --> 00:16:36,119
Is the head of Mima's talent agency
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00:16:36,280 --> 00:16:39,239
killing everyone around her?
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00:16:39,400 --> 00:16:43,039
A variety of possible worlds
exist within the linear story
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of Perfect Blue.
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The film seems to say that all these fictional
states are simultaneously co-existing.
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00:16:50,480 --> 00:16:52,279
As the film goes on,
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you do get the sense...
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of an escalating nightmare.
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The situation is getting
more and more menacing.
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00:17:00,720 --> 00:17:03,079
There's a feeling of hysteria.
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00:17:03,720 --> 00:17:06,519
As with Mima, you start
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00:17:06,680 --> 00:17:09,239
to feel the sanity slipping away.
192
00:17:11,520 --> 00:17:13,359
And I just remember thinking,
193
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"This film is too disturbing for me."
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I don't like this.
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00:17:17,920 --> 00:17:20,519
I don't think
I like the director either.
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00:17:20,680 --> 00:17:25,319
Because it seems as though, why does
he have to torment this girl so much?
197
00:17:25,480 --> 00:17:28,679
Why does she have to suffer so much?
198
00:17:28,840 --> 00:17:30,679
Why does he have to portray so much?
199
00:17:31,600 --> 00:17:34,279
I think it literally was day one,
I spoke with him
200
00:17:34,440 --> 00:17:37,399
and I asked him about Perfect Blue.
201
00:17:39,840 --> 00:17:43,999
"Your portrayal of women
isn't always nice."
202
00:17:44,160 --> 00:17:47,119
And he says,
"That's because they're me."
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00:17:48,180 --> 00:17:50,079
I was like,
"That's very interesting."
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00:17:50,240 --> 00:17:53,799
He said, "I don't know why,
but when I represent myself in a film..."
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00:17:53,960 --> 00:17:57,159
He said
he himself is always in his movies.
206
00:17:58,200 --> 00:18:02,879
Especially with Perfect Blue.
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00:18:03,600 --> 00:18:05,639
Mima is Satoshi Kon.
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00:18:05,920 --> 00:18:09,839
The psychological torment
that Mima is going through
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00:18:10,000 --> 00:18:13,359
is the torment he has experienced
with the politics
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00:18:13,520 --> 00:18:15,699
of the anime and the
comic book industry.
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00:18:16,080 --> 00:18:19,999
So that's when my perspective
of him totally changed.
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00:18:23,360 --> 00:18:26,999
The first time I saw the film,
I couldn't stop crying.
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00:18:27,160 --> 00:18:29,679
My thoughts were all over place.
214
00:18:32,680 --> 00:18:35,919
I felt it was good
to have made this film.
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00:18:37,520 --> 00:18:39,959
That my family might be surprised.
216
00:18:42,240 --> 00:18:45,559
I felt joy, but I was also worried.
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00:18:47,520 --> 00:18:50,119
All these thoughts
swirling in my head.
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00:18:52,000 --> 00:18:55,559
Some said the film was original.
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00:18:55,720 --> 00:18:57,759
They said it was very striking,
220
00:18:57,920 --> 00:19:02,159
and that it left a strong impression.
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00:19:02,320 --> 00:19:07,199
I can't say that the world of anime
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00:19:08,240 --> 00:19:10,679
thought much of the film.
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00:19:10,840 --> 00:19:15,079
To be blunt – we lost money.
224
00:19:32,320 --> 00:19:35,159
I think I met him
before I saw the work.
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00:19:36,040 --> 00:19:41,040
My memory is I met him when I was in Japan
promoting my first movie, Pi.
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00:19:45,160 --> 00:19:48,159
Which probably was in 1998.
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00:19:48,300 --> 00:19:50,499
They were like,
"There's a filmmaker."
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00:19:50,580 --> 00:19:54,159
I'm not sure why, but we got together
and we had a meal.
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00:19:55,040 --> 00:19:57,199
I think we went
to a tempura restaurant.
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00:19:57,360 --> 00:20:00,599
I remember him talking to me
a little bit about a movie.
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00:20:01,960 --> 00:20:04,319
I was very interested in anime.
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00:20:04,480 --> 00:20:07,999
I didn't really quite--
It was early days in anime,
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00:20:08,400 --> 00:20:10,759
at least for Westerners.
234
00:20:10,920 --> 00:20:15,239
I think, shortly after that,
I did see Perfect Blue.
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00:20:19,200 --> 00:20:22,319
I was blown away by it, it was fantastic.
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00:20:22,480 --> 00:20:27,399
And it was very different
than any other anime I had seen.
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Bastards!
238
00:20:36,880 --> 00:20:39,999
In Requiem for a Dream,
I was probably in the script process.
239
00:20:40,160 --> 00:20:44,039
I was looking for a scene
to get the internal mindset
240
00:20:45,440 --> 00:20:48,599
of Jennifer Connelly's character Mary.
241
00:20:49,040 --> 00:20:51,959
And probably at the same time,
I saw Perfect Blue.
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00:20:52,120 --> 00:20:56,439
And I remember writing
to Satoshi in Japan,
243
00:20:56,560 --> 00:20:57,959
saying,
244
00:20:58,120 --> 00:21:02,079
"Hey, would you mind if I used
one of your shots, in homage to you,
245
00:21:02,240 --> 00:21:05,039
"but it would help
this moment in my film."
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00:21:05,360 --> 00:21:06,759
He was very flattered.
247
00:21:07,040 --> 00:21:09,639
I remember he was fine,
and generous.
248
00:21:15,920 --> 00:21:17,839
So don't worry, Seymour.
249
00:21:18,680 --> 00:21:20,399
It'll all work out.
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00:21:20,720 --> 00:21:22,399
You'll see already.
251
00:21:22,960 --> 00:21:24,519
In the end it's all right.
252
00:21:29,720 --> 00:21:33,019
Eventually we went back to Japan
with Requiem for a Dream.
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00:21:33,160 --> 00:21:35,759
I asked him
what he thought of the shot.
254
00:21:35,920 --> 00:21:37,599
He said he was very proud.
255
00:21:37,760 --> 00:21:43,319
So it was great. It was a lot of fun
to have that connection with him.
256
00:21:44,480 --> 00:21:48,839
So at a certain point, we tried to get
the rights to do a version of it
257
00:21:49,000 --> 00:21:50,599
in live action.
258
00:21:50,760 --> 00:21:52,919
It was very complicated to do it,
259
00:21:53,080 --> 00:21:55,439
because no one understood
what a pop star was,
260
00:21:55,600 --> 00:21:57,439
understood this kind of character.
261
00:21:57,600 --> 00:21:59,159
There was no real character.
262
00:21:59,320 --> 00:22:03,079
Britney Spears hadn't really
happened in America yet.
263
00:22:03,920 --> 00:22:07,239
So we didn't really have
that type of character
264
00:22:07,400 --> 00:22:10,119
for people, so it was hard
for them to understand.
265
00:22:10,280 --> 00:22:14,039
I think now would be a good time.
People understand that character.
266
00:22:14,200 --> 00:22:19,199
We're 10-15 years behind
that cultural phenomenon in Japan.
267
00:22:28,200 --> 00:22:31,639
Perfect Blue explores Kon's idea
that the universe,
268
00:22:31,800 --> 00:22:34,159
and its representations, are but one.
269
00:22:34,320 --> 00:22:38,639
Dream worlds, virtual worlds and reality
merge and interact.
270
00:22:41,120 --> 00:22:45,799
It was inevitable that Satoshi Kon
would soon explore cinema itself.
271
00:22:55,280 --> 00:22:59,239
I was truly blown away
272
00:23:00,000 --> 00:23:03,199
when I discovered Perfect Blue.
273
00:23:03,360 --> 00:23:06,959
So I contacted the producer Maruyama
274
00:23:07,480 --> 00:23:12,399
and told him he absolutely
had to introduce me to Kon.
275
00:23:12,560 --> 00:23:16,239
Perfect Blue didn't really receive
276
00:23:16,400 --> 00:23:18,999
the recognition of the industry.
277
00:23:19,160 --> 00:23:23,479
It was pretty humiliating.
We had to take another chance.
278
00:23:23,640 --> 00:23:27,879
Usually when your film tanks,
you don't make another one.
279
00:23:28,040 --> 00:23:33,199
But we like a challenge, so we said,
280
00:23:33,360 --> 00:23:36,319
"Let's give the audience
281
00:23:36,480 --> 00:23:39,399
"something
that'll really impress them!"
282
00:23:56,800 --> 00:24:01,879
I think this film falls more
into the literary category.
283
00:24:02,160 --> 00:24:06,799
The main character
is a great actress who has retired.
284
00:24:06,960 --> 00:24:09,239
An old woman.
285
00:24:09,600 --> 00:24:13,359
I feared
that wouldn't attract the crowds,
286
00:24:14,960 --> 00:24:18,399
and I said as much
to the director.
287
00:24:18,560 --> 00:24:21,159
Nice to meet you.
I'm Chiyoko Fujiwara.
288
00:24:21,320 --> 00:24:23,479
This is a big day.
289
00:24:23,920 --> 00:24:26,719
What an honor to meet you!
290
00:24:26,880 --> 00:24:29,679
He said there'd be young girls too,
291
00:24:29,840 --> 00:24:31,439
and he'd draw Chiyoko young.
292
00:24:31,600 --> 00:24:34,919
He told me not to worry.
293
00:24:35,080 --> 00:24:38,479
And he assured me
he'd mix fiction and reality
294
00:24:38,640 --> 00:24:41,279
and use lots of visual tricks.
295
00:24:41,440 --> 00:24:43,039
Can I say something?
296
00:24:43,480 --> 00:24:44,719
No.
297
00:24:45,560 --> 00:24:47,399
My mother...
298
00:24:47,920 --> 00:24:52,199
thinks acting is a dubious profession.
299
00:24:52,360 --> 00:24:55,159
Did she say dubious?
300
00:24:55,560 --> 00:24:56,799
Madam!
301
00:24:57,160 --> 00:24:59,319
The film is set in Manchuria.
302
00:24:59,480 --> 00:25:01,999
It will raise troop morale
303
00:25:02,160 --> 00:25:05,439
and encourage the people of our nation!
304
00:25:05,480 --> 00:25:10,039
I'm sure Chiyoko
wants to serve her country!
305
00:25:10,240 --> 00:25:12,639
Millennium Actress
is a fascinating film
306
00:25:12,800 --> 00:25:16,079
in the way it uses the history
of Japanese cinema.
307
00:25:16,240 --> 00:25:19,119
We follow
the great actress Chiyoko,
308
00:25:19,280 --> 00:25:23,319
said to have been
inspired by Setsuko Hara.
309
00:25:23,480 --> 00:25:26,919
Both actresses started out
in propaganda films,
310
00:25:27,080 --> 00:25:30,599
as we see Chiyoko do
in Millennium Actress.
311
00:25:32,160 --> 00:25:35,199
Setsuko Hara was a great actress.
312
00:25:35,360 --> 00:25:38,759
Even though she's not from my generation,
313
00:25:38,920 --> 00:25:40,639
she was a superstar.
314
00:25:40,800 --> 00:25:44,279
But she left cinema
and retired in Kamakura.
315
00:25:44,440 --> 00:25:46,959
We knew her story
316
00:25:47,120 --> 00:25:51,599
and thought it was wonderful.
Her life was fascinating.
317
00:26:05,680 --> 00:26:09,839
This gave Kon a chance to explore
his relationship with cinema
318
00:26:10,000 --> 00:26:13,679
and create a universe,
at once complex and obvious,
319
00:26:13,840 --> 00:26:16,559
in which
we constantly vacillate between
320
00:26:16,720 --> 00:26:19,919
the reality of life
and the reality of films.
321
00:26:20,080 --> 00:26:23,039
When Mr. Kon and I
discussed cinema,
322
00:26:23,200 --> 00:26:27,359
Slaughterhouse 5 was the first
reference we had in common.
323
00:26:28,880 --> 00:26:31,479
A whole swathe of artists in Japan
324
00:26:32,400 --> 00:26:34,959
experienced that film
325
00:26:35,240 --> 00:26:37,879
like an electroshock.
326
00:26:38,280 --> 00:26:41,759
It wasn't just
327
00:26:41,920 --> 00:26:44,239
that the chronology was mixed up.
328
00:26:44,800 --> 00:26:50,079
It was defined
by the movements of the heart.
329
00:26:50,440 --> 00:26:53,599
The film maintains a narrative thread,
330
00:26:53,760 --> 00:26:57,039
even though the scenes are out of order.
331
00:26:57,200 --> 00:27:00,559
How much can the audience understand?
332
00:27:00,720 --> 00:27:05,839
The film served as an experiment
in answering that question.
333
00:27:06,000 --> 00:27:09,239
The sequence of the scenes
is out of order,
334
00:27:10,600 --> 00:27:12,679
but the film remains clear.
335
00:27:12,840 --> 00:27:14,039
For us,
336
00:27:14,840 --> 00:27:17,919
and all other members of the audience.
337
00:27:18,080 --> 00:27:23,519
That is the film's major strength.
338
00:27:32,040 --> 00:27:35,159
From an aesthetic point of view,
339
00:27:36,280 --> 00:27:40,199
I wanted to play
with the same types of effects.
340
00:27:40,600 --> 00:27:43,519
I told the whole crew
of my intentions.
341
00:27:44,160 --> 00:27:48,799
On Perfect Blue,
the influence was purely technical.
342
00:27:48,960 --> 00:27:51,879
But for Millennium Actress,
I took on the themes.
343
00:27:52,040 --> 00:27:53,759
Millennium Actress shows
344
00:27:54,280 --> 00:27:56,599
that inside a human being,
345
00:27:56,760 --> 00:28:00,079
memories, the present,
346
00:28:00,240 --> 00:28:02,999
the past and the future co-exist.
347
00:28:03,160 --> 00:28:07,599
I think the themes of Slaughterhouse 5
348
00:28:07,760 --> 00:28:10,399
influenced me precisely
in that direction.
349
00:28:14,320 --> 00:28:16,079
It's the key to what matters most.
350
00:28:17,920 --> 00:28:19,439
What matters most?
351
00:28:22,680 --> 00:28:24,519
Give me until tomorrow. Promise?
352
00:28:33,200 --> 00:28:35,919
Millennium Actress is built
around a key
353
00:28:36,080 --> 00:28:38,079
that was given to the heroine.
354
00:28:38,240 --> 00:28:41,239
She keeps the key
throughout the film,
355
00:28:41,400 --> 00:28:45,079
trying to find the person
who had passed it along.
356
00:28:45,240 --> 00:28:48,239
The key becomes a symbol
of the intertwining storylines.
357
00:28:48,400 --> 00:28:51,319
A symbol of how difficult it is
to find a key
358
00:28:51,920 --> 00:28:56,119
that will solve all the mysteries
the character is facing.
359
00:29:03,080 --> 00:29:06,439
Millennium Actress seems to be
the story of Japanese cinema.
360
00:29:07,040 --> 00:29:09,999
It shows all kinds of Japanese movies.
361
00:29:11,360 --> 00:29:14,519
From domestic dramas to Godzilla movies.
362
00:29:15,600 --> 00:29:19,439
It also seems to encompass
the whole of modern Japanese history,
363
00:29:19,600 --> 00:29:22,199
starting about a thousand years ago
364
00:29:22,360 --> 00:29:25,759
and moving up to World War II and beyond.
365
00:29:25,920 --> 00:29:27,839
To evoke the various periods,
366
00:29:28,000 --> 00:29:31,119
we needed a wide variety of material.
367
00:29:31,280 --> 00:29:36,199
We had to find accessories to inspire
our drawings, scout locations...
368
00:29:36,880 --> 00:29:39,039
I did a lot of research.
369
00:29:39,480 --> 00:29:42,039
We looked to Ozu for the ending,
370
00:29:42,200 --> 00:29:46,759
when Chiyoko is a bit older.
There's a scene with her mother.
371
00:29:46,920 --> 00:29:51,719
Ozu's work was a major reference for us.
372
00:29:52,040 --> 00:29:52,999
I'll find him!
373
00:29:53,440 --> 00:29:55,639
You don't even know if he's alive!
374
00:29:57,960 --> 00:29:59,999
He's alive! I know he is!
375
00:30:00,060 --> 00:30:05,339
He was very much into
getting into people's minds and
376
00:30:06,500 --> 00:30:08,979
and into the internal monologues.
377
00:30:09,440 --> 00:30:12,599
And I guess that's something
very common for live action,
378
00:30:12,760 --> 00:30:15,879
but it's definitely unique for animation
379
00:30:16,040 --> 00:30:19,999
to treat your characters
with such psychological depth.
380
00:30:23,120 --> 00:30:25,799
If anyone is a dubbing legend,
it's Shōzō Iizuka.
381
00:30:26,680 --> 00:30:29,679
He has played
hundreds of animated characters,
382
00:30:29,840 --> 00:30:32,759
over a career
which began in the late 1960s.
383
00:30:33,320 --> 00:30:37,599
Here and there in the film,
you sense the smells,
384
00:30:38,000 --> 00:30:41,919
images and all the rest
in a very realistic way.
385
00:30:42,720 --> 00:30:47,439
Up to that point,
in the world of animation,
386
00:30:47,880 --> 00:30:52,839
we had many people who wrote with talent,
387
00:30:53,000 --> 00:30:55,919
but they preferred
style over substance.
388
00:30:56,080 --> 00:30:58,399
From Millennium Actress on,
389
00:30:59,200 --> 00:31:02,119
people wanted to live up that film.
390
00:31:02,280 --> 00:31:05,879
People worked harder
to write better animated films.
391
00:31:06,800 --> 00:31:08,999
That tells you how good that film is.
392
00:31:09,960 --> 00:31:11,339
In my opinion.
393
00:31:13,400 --> 00:31:15,479
The first time we met,
394
00:31:15,640 --> 00:31:18,359
I didn't know
if he was Japanese or not.
395
00:31:18,520 --> 00:31:20,799
He had a really unique aura.
396
00:31:20,960 --> 00:31:23,399
I thought he might be Chinese.
397
00:31:23,560 --> 00:31:26,719
So I was pretty nervous when we met.
398
00:31:28,160 --> 00:31:32,639
Then, talking to him,
he turned out to be very nice.
399
00:31:32,800 --> 00:31:38,119
You could tell he was sure of himself
and knew what he wanted.
400
00:31:38,280 --> 00:31:43,959
Usually, experience teaches us
401
00:31:44,120 --> 00:31:47,639
what we're capable of.
402
00:31:47,800 --> 00:31:52,639
But Mr. Kon
never asked himself such questions.
403
00:31:52,800 --> 00:31:56,719
He felt he could do anything.
404
00:31:56,880 --> 00:32:03,999
And in the moment,
that made me feel enormous pressure.
405
00:32:04,160 --> 00:32:07,079
The film won the top prize
406
00:32:07,920 --> 00:32:13,319
at the Japan Media Arts Festival.
407
00:32:14,240 --> 00:32:18,159
But it was the year of Spirited Away,
408
00:32:19,480 --> 00:32:22,439
so, exceptionally,
they gave the prize
409
00:32:22,600 --> 00:32:23,919
to both films.
410
00:32:27,400 --> 00:32:30,359
When it came
to the final line of the film,
411
00:32:30,520 --> 00:32:33,799
he says it reflects his own way
412
00:32:34,080 --> 00:32:36,759
of pursuing things in his own life.
413
00:32:36,920 --> 00:32:40,559
He also says that the relationship
between the heroine
414
00:32:40,720 --> 00:32:43,399
and the man she's seeking
415
00:32:43,560 --> 00:32:46,399
was like the relationship
between a director
416
00:32:46,560 --> 00:32:48,639
and the ideal movie
he had in his head.
417
00:32:48,800 --> 00:32:50,119
As it turns out,
418
00:32:50,280 --> 00:32:53,119
chasing after him
is what I like best.
419
00:33:32,080 --> 00:33:33,319
He was...
420
00:33:33,720 --> 00:33:34,839
abandoned.
421
00:33:36,560 --> 00:33:39,479
If you want to start watching
Satoshi Kon's films,
422
00:33:39,760 --> 00:33:43,079
anybody's recommendation would be
to start with Tokyo Godfathers.
423
00:33:43,140 --> 00:33:45,779
Because it's fun, it's light,
but it's very beautiful.
424
00:33:46,680 --> 00:33:49,439
It's a Christmas gift sent from the sky!
425
00:33:50,000 --> 00:33:51,639
It's our baby!
426
00:33:52,120 --> 00:33:53,119
What?
427
00:34:18,200 --> 00:34:20,079
Each new Satoshi Kon film
428
00:34:20,360 --> 00:34:22,359
got all the filmmakers talking.
429
00:34:22,520 --> 00:34:23,959
I've seen them all.
430
00:34:24,120 --> 00:34:25,999
From one film to the next,
431
00:34:27,200 --> 00:34:31,799
the tone can change radically.
432
00:34:31,960 --> 00:34:34,919
Take Perfect Blue
and Millennium Actress.
433
00:34:35,080 --> 00:34:38,799
They explore similar themes,
but they're very different.
434
00:34:38,960 --> 00:34:42,439
And Tokyo Godfathers
takes us to another place entirely.
435
00:34:42,720 --> 00:34:46,239
The way he reinvents himself each time
436
00:34:46,400 --> 00:34:47,999
through such different genres
437
00:34:48,160 --> 00:34:53,079
shows us that cinema,
438
00:34:53,360 --> 00:34:55,439
holds infinite possibilities.
439
00:35:00,480 --> 00:35:02,599
Even his quick pencil sketches
440
00:35:02,760 --> 00:35:04,679
looked like photographs.
441
00:35:05,000 --> 00:35:08,039
Add to that
his vast knowledge
442
00:35:08,200 --> 00:35:10,559
of the art of drawing,
443
00:35:11,080 --> 00:35:13,879
and his work is very rich.
444
00:35:14,160 --> 00:35:19,119
Sometimes he felt the work itself
would overtake him.
445
00:35:19,280 --> 00:35:22,759
And it was important for him to question
446
00:35:22,920 --> 00:35:25,119
his aesthetic tastes.
447
00:35:25,280 --> 00:35:29,519
After Millennium Actress,
448
00:35:29,680 --> 00:35:34,359
I thought we could do a simple story.
449
00:35:34,520 --> 00:35:37,999
I thought we could remove
all those layers,
450
00:35:38,160 --> 00:35:40,959
and it would still hold up.
451
00:35:41,320 --> 00:35:44,559
So I proposed something
452
00:35:45,200 --> 00:35:49,559
a bit lighter and more entertaining.
453
00:35:58,960 --> 00:36:03,239
The film really delves into
Japanese society
454
00:36:03,400 --> 00:36:05,479
in a way rarely seen,
455
00:36:05,640 --> 00:36:07,719
especially in animation.
456
00:36:07,880 --> 00:36:11,319
He chose to explore marginal characters.
457
00:36:11,480 --> 00:36:14,879
A runaway girl, homeless people...
This was significant.
458
00:36:15,040 --> 00:36:17,679
It allowed Kon, in his way,
to stand up
459
00:36:17,840 --> 00:36:19,999
for a Japan that was hurting.
460
00:36:20,360 --> 00:36:22,999
To give voice to those left behind
461
00:36:23,160 --> 00:36:24,679
by the economic miracle.
462
00:36:25,360 --> 00:36:27,279
It's quite raw, quite violent.
463
00:36:27,440 --> 00:36:30,439
But zaniness is injected throughout.
464
00:36:30,600 --> 00:36:33,079
Hilarious scenes, lighter stuff.
465
00:36:33,520 --> 00:36:36,639
And this very simple situation –
466
00:36:36,800 --> 00:36:40,959
a baby landing providentially
in the arms of 3 homeless men –
467
00:36:41,640 --> 00:36:44,599
launches us on a voyage through Tokyo,
468
00:36:44,760 --> 00:36:46,759
the sordid underbelly of Tokyo.
469
00:36:46,920 --> 00:36:49,199
Not the Tokyo tourists see.
470
00:36:49,360 --> 00:36:51,159
I was really into it.
471
00:36:51,320 --> 00:36:54,399
I love the freedom of tone.
It really works.
472
00:36:54,720 --> 00:36:58,279
He's a bad gambler, a coward,
his feet stink, he drinks too much!
473
00:36:58,440 --> 00:37:02,119
He claims his wife and daughter are dead
to get pity!
474
00:37:02,280 --> 00:37:04,999
He claims you have
an incurable disease!
475
00:37:05,160 --> 00:37:09,919
I feel sorry for you,
having him for a father!
476
00:37:11,040 --> 00:37:15,399
This is where I discovered
Shinji Otsuka, the animator.
477
00:37:15,440 --> 00:37:19,279
He animated the sequences in the hospital,
478
00:37:19,440 --> 00:37:21,879
of the drag queen going crazy.
479
00:37:22,040 --> 00:37:24,879
Her acting is so extreme.
480
00:37:25,040 --> 00:37:28,119
He showed me the folder,
because it was in the studio.
481
00:37:29,200 --> 00:37:33,879
The folder was about that thick,
just for one scene.
482
00:37:34,040 --> 00:37:38,639
And it was submitted to Kon.
In Japan, the animators animate,
483
00:37:38,700 --> 00:37:42,419
and then the directors
apply the corrections on top.
484
00:37:42,480 --> 00:37:45,559
But because there was so much paper,
he just sat back, going,
485
00:37:45,720 --> 00:37:48,519
"I can't correct this,
there's too many drawings."
486
00:37:48,680 --> 00:37:52,199
But he watched the animation
and he loved it so much.
487
00:37:52,640 --> 00:37:53,679
He said
488
00:37:53,840 --> 00:37:56,759
Tokyo Godfathers
was the most fun he had
489
00:37:56,920 --> 00:37:58,719
in any film that he directed.
490
00:37:58,880 --> 00:38:03,519
All the animators started going
really wacky and mad and expressive.
491
00:38:03,680 --> 00:38:08,079
He said every time the animators
got crazier and crazier,
492
00:38:08,240 --> 00:38:12,479
he had to instruct Mr. Ike,
the art director,
493
00:38:12,640 --> 00:38:14,919
"More realistic! More realistic!"
494
00:38:15,080 --> 00:38:18,519
Because the animation
was becoming so surreal,
495
00:38:18,680 --> 00:38:22,559
he needed something
to keep the world in reality.
496
00:38:22,720 --> 00:38:26,959
I got a lot of praise
for the depiction of Tokyo
497
00:38:27,120 --> 00:38:30,599
in Tokyo Godfathers.
498
00:38:30,760 --> 00:38:35,879
I was interested in exploring
parts of Tokyo not usually seen,
499
00:38:36,040 --> 00:38:40,519
like the alleyways and paths I would take
500
00:38:41,440 --> 00:38:42,999
on my way to work.
501
00:38:43,160 --> 00:38:46,919
I'd always wanted to show
Tokyo as I knew it.
502
00:38:48,240 --> 00:38:51,319
The director shared my desire.
503
00:38:51,480 --> 00:38:54,399
When he told me
he'd be using that side of Tokyo
504
00:38:54,560 --> 00:38:56,519
in his next film,
505
00:38:56,680 --> 00:38:58,519
I knew the job was for me.
506
00:38:59,560 --> 00:39:01,319
We tried to be extremely faithful.
507
00:39:01,480 --> 00:39:05,479
We wanted Tokyo to become
a character in itself.
508
00:39:19,120 --> 00:39:22,119
The film was influenced by a western,
509
00:39:22,280 --> 00:39:25,279
a Hollywood film called 3 Godfathers.
510
00:39:25,440 --> 00:39:32,319
Because of the framework,
which is 3 adults who find this baby.
511
00:39:32,480 --> 00:39:35,719
It's something that's been done
in other movies, obviously.
512
00:39:35,880 --> 00:39:38,419
There was a French comedy,
513
00:39:38,480 --> 00:39:41,119
which was then remade
as a Hollywood film,
514
00:39:41,280 --> 00:39:43,119
Three Men and a Baby.
515
00:39:43,280 --> 00:39:44,919
It's a familiar template,
516
00:39:45,080 --> 00:39:48,199
but Kon turns it his particular way.
517
00:39:48,960 --> 00:39:52,039
We had such fun here, didn't we?
518
00:39:53,960 --> 00:39:56,239
♪ In this old bar ♪
519
00:39:56,560 --> 00:39:59,719
♪ I've drained so many glasses ♪
520
00:40:00,840 --> 00:40:02,479
♪ My memories too ♪
521
00:40:03,440 --> 00:40:06,839
♪ Are draining away ♪
522
00:40:07,000 --> 00:40:11,599
He used to really make us laugh
in the evenings,
523
00:40:12,000 --> 00:40:16,039
dressing up as a woman.
524
00:40:18,560 --> 00:40:21,799
He loved to do that.
525
00:40:21,960 --> 00:40:24,639
Surprise his friends,
526
00:40:24,800 --> 00:40:27,479
crack everyone up.
527
00:40:27,640 --> 00:40:35,159
To him, in all things,
frontwards and backwards co-exist.
528
00:40:35,320 --> 00:40:40,519
The front alone didn't interest him,
nor did the back alone.
529
00:40:48,760 --> 00:40:50,239
Every single film,
530
00:40:50,400 --> 00:40:52,719
he financially struggled,
531
00:40:52,880 --> 00:40:56,679
to make sure that the animators
were paid quite well.
532
00:40:56,840 --> 00:41:01,319
People say he's really established
as a director, he's very respected.
533
00:41:02,000 --> 00:41:05,959
At the end of the day, the reality and
the politics of the film industry
534
00:41:06,120 --> 00:41:09,679
is that if he's not making big bucks
like Ghibli is,
535
00:41:09,840 --> 00:41:13,719
he really isn't 100% respected
by the industry itself.
536
00:41:13,880 --> 00:41:16,839
Between the moment
we finished Millennium Actress
537
00:41:17,000 --> 00:41:20,479
and its theater release,
a year passed.
538
00:41:20,840 --> 00:41:26,439
So we threw ourselves
into producing Tokyo Godfathers.
539
00:41:26,880 --> 00:41:30,479
Millennium Actress
was praised by the critics.
540
00:41:30,640 --> 00:41:34,959
It was considered a masterpiece.
541
00:41:35,440 --> 00:41:36,759
But for a director
542
00:41:36,920 --> 00:41:40,199
who still hadn't had
a hit at the box office,
543
00:41:40,720 --> 00:41:44,719
it was very difficult
to finance the next film.
544
00:41:44,880 --> 00:41:46,439
For that reason,
545
00:41:47,720 --> 00:41:51,519
Kon told me
546
00:41:52,120 --> 00:41:55,879
I'd brought shame to the profession.
547
00:41:56,840 --> 00:42:00,879
In the middle of the project,
548
00:42:01,040 --> 00:42:05,959
I got booted off the project.
549
00:42:14,800 --> 00:42:18,679
When we started working together,
550
00:42:18,840 --> 00:42:22,279
he wasn't yet known.
551
00:42:26,040 --> 00:42:28,759
But he did consider himself
to be a genius.
552
00:42:28,920 --> 00:42:32,959
I think that's how he saw himself.
553
00:42:35,880 --> 00:42:39,719
Seraphim was a project for a manga series.
554
00:42:40,160 --> 00:42:41,959
As he did for Otomo,
555
00:42:43,000 --> 00:42:44,999
each panel was fully-developed.
556
00:42:45,520 --> 00:42:47,439
It was admirable.
557
00:42:47,720 --> 00:42:52,119
I remember thinking
that there weren't many mangakas
558
00:42:52,840 --> 00:42:57,919
able to express in their drawing
what I wanted to convey.
559
00:42:57,960 --> 00:43:02,719
Especially in this case.
There were so many important details.
560
00:43:03,480 --> 00:43:06,759
I would've loved to have him
drawing for me to the end.
561
00:43:07,200 --> 00:43:11,559
But from the start,
my desire to collaborate with him
562
00:43:11,720 --> 00:43:13,919
was an unrealistic idea.
563
00:43:15,080 --> 00:43:18,239
He was someone who confined himself
to his own works.
564
00:43:18,880 --> 00:43:22,199
Working on a manga that I'd written
565
00:43:22,720 --> 00:43:26,879
no doubt hurt his pride.
566
00:43:27,040 --> 00:43:29,279
Every time we got together,
567
00:43:29,440 --> 00:43:32,479
we ended up getting in a fight.
568
00:43:32,920 --> 00:43:35,919
We only ended up with one volume.
569
00:43:36,080 --> 00:43:38,679
We reached a dead-end.
570
00:43:39,360 --> 00:43:43,439
The level of conflict
we experienced as collaborators
571
00:43:43,600 --> 00:43:48,239
was totally new to me.
572
00:43:49,280 --> 00:43:53,199
We had no choice but to abandon the project.
573
00:44:34,440 --> 00:44:36,119
Paranoia Agent, right?
574
00:44:36,280 --> 00:44:38,559
When I saw it, I thought, "Wow!"
575
00:44:40,320 --> 00:44:43,199
Personally,
I really like things like that.
576
00:44:45,280 --> 00:44:47,759
You don't know
what's going to happen,
577
00:44:48,760 --> 00:44:53,439
and you need
that kind of suspense in a series.
578
00:44:54,600 --> 00:44:59,959
He should have done series
instead of cinema.
579
00:45:39,400 --> 00:45:42,639
Satoshi Kon's answer to Twin Peaks,
580
00:45:42,800 --> 00:45:45,439
Paranoia Agent spends 13 episodes
581
00:45:45,600 --> 00:45:49,319
pursuing a mysterious rollerblading
aggressor terrorizing Tokyo,
582
00:45:49,480 --> 00:45:53,759
in a narrative and graphic maelstrom
unprecedented in animated series.
583
00:45:56,440 --> 00:45:58,759
Welcome to M&F. No, sorry.
584
00:45:58,920 --> 00:46:01,399
We couldn't reach her.
585
00:46:01,560 --> 00:46:05,439
That's all I know.
I'm going to check the hospital.
586
00:46:05,600 --> 00:46:08,759
The victim of this savage aggression
is the creator
587
00:46:08,920 --> 00:46:11,879
of the famous Maromi, Tsukiko Sagi...
588
00:46:14,040 --> 00:46:16,719
For Satoshi Kon,
it was a very experimental piece
589
00:46:17,360 --> 00:46:18,919
where he was playing around.
590
00:46:19,080 --> 00:46:24,719
Every episode, he was playing around
a little bit with different styles.
591
00:46:24,880 --> 00:46:29,039
It was kind of a study period for him.
592
00:46:29,880 --> 00:46:32,559
He would assign
a handful of directors
593
00:46:32,720 --> 00:46:35,439
to direct the different episodes.
594
00:46:35,880 --> 00:46:40,519
Satoshi Kon wanted
each episode to have its own identity.
595
00:46:41,360 --> 00:46:46,279
Character designer Masashi Ando
created many characters for Ghibli
596
00:46:46,440 --> 00:46:49,039
before leaving the studio
after Spirited Away.
597
00:46:49,640 --> 00:46:53,719
At a certain point, I wanted to take
598
00:46:53,880 --> 00:46:56,159
a different direction.
599
00:46:56,320 --> 00:47:00,279
And that's when Satoshi Kon came to me.
600
00:47:01,360 --> 00:47:07,799
I wanted to be part of his universe.
It was so exciting.
601
00:47:08,720 --> 00:47:13,439
And it could enrich me in so many ways.
602
00:47:19,680 --> 00:47:23,479
I think if someone other than
Mr. Kon had been directing,
603
00:47:23,640 --> 00:47:27,519
such drawings never would have
seen the light of day.
604
00:47:28,040 --> 00:47:31,959
In ordinary animation productions,
605
00:47:32,440 --> 00:47:37,799
we were content to draw
cute girls, handsome boys...
606
00:47:37,960 --> 00:47:40,239
But when Mr. Kon
607
00:47:40,400 --> 00:47:41,879
saw things like that,
608
00:47:42,040 --> 00:47:44,959
he would wax ironic.
609
00:47:45,600 --> 00:47:48,639
He'd point out
the characters' imperfections,
610
00:47:49,680 --> 00:47:53,319
and tell us that was part of their charm,
611
00:47:53,840 --> 00:47:56,239
and the charm
of humanity in general.
612
00:47:56,840 --> 00:48:00,079
Working with him as a character designer
613
00:48:00,240 --> 00:48:02,599
was a great opportunity for me.
614
00:48:11,400 --> 00:48:12,679
Throughout the series,
615
00:48:13,000 --> 00:48:16,439
we see the figure
of the boy with the bat.
616
00:48:16,480 --> 00:48:19,079
This character embodies
617
00:48:19,240 --> 00:48:21,519
the potentially
618
00:48:21,800 --> 00:48:26,159
horrifying, intrusive idea
of dreams seeping into reality.
619
00:48:26,320 --> 00:48:28,999
We see here the beginnings
620
00:48:29,400 --> 00:48:32,279
of the work
he further develops on Paprika.
621
00:48:32,440 --> 00:48:35,079
The porosity that can exist between
622
00:48:35,400 --> 00:48:37,599
nightmares, dreams and reality.
623
00:48:38,280 --> 00:48:41,319
Paranoia Agent is built around
624
00:48:41,600 --> 00:48:43,639
the idea of alienation
625
00:48:44,000 --> 00:48:47,119
and the inner transformation
individuals undergo
626
00:48:47,280 --> 00:48:49,319
when they construct a micro-fiction.
627
00:48:49,720 --> 00:48:54,199
The boy with the bat embodies this.
He represents a collective fiction
628
00:48:54,360 --> 00:48:56,759
that sparks paranoia in society.
629
00:48:56,920 --> 00:48:59,039
Satoshi Kon's vision may be
630
00:48:59,200 --> 00:49:01,119
extremely negative.
631
00:49:01,280 --> 00:49:05,019
But we see all the elements
pushing an individual over the edge.
632
00:49:05,080 --> 00:49:05,919
You rang?
633
00:49:05,980 --> 00:49:10,379
What makes the series
both optimistic and unsettling at the end,
634
00:49:10,840 --> 00:49:13,639
is that everything is resolved,
but starts again.
635
00:49:16,960 --> 00:49:20,039
To get by in life,
636
00:49:20,200 --> 00:49:22,399
we all need an escape.
637
00:49:22,560 --> 00:49:26,519
Through fantasies, dreams,
or even paranoia.
638
00:49:26,680 --> 00:49:28,759
Otherwise, life is too hard.
639
00:49:30,960 --> 00:49:34,359
The way an individual sees the world
640
00:49:34,520 --> 00:49:38,079
is altered by his fantasies or paranoia.
641
00:49:38,240 --> 00:49:41,119
So I don't think paranoia
642
00:49:41,280 --> 00:49:43,279
is necessarily unhealthy.
643
00:49:44,440 --> 00:49:48,759
The series gets us thinking
about our mobile phones.
644
00:49:48,920 --> 00:49:52,159
In hindsight,
we see that the series develops
645
00:49:52,320 --> 00:49:55,039
a fairly elaborate, precursory theory
646
00:49:55,200 --> 00:49:58,279
about all these communication devices
647
00:49:58,440 --> 00:50:01,439
that isolate people
and shut them down
648
00:50:01,600 --> 00:50:04,639
more than they facilitate communication.
649
00:50:04,800 --> 00:50:09,559
It makes lots of satirical points
about the pressures of society,
650
00:50:09,720 --> 00:50:12,999
the pressures of the workplace,
about masculinity.
651
00:50:13,720 --> 00:50:17,039
There's one episode,
I think episode 3, Double Lips,
652
00:50:17,200 --> 00:50:21,759
that seems like a kind
of funny, campy remake
653
00:50:21,920 --> 00:50:23,559
of Perfect Blue,
654
00:50:23,720 --> 00:50:27,999
with another woman
with a frightening split personality.
655
00:50:28,560 --> 00:50:30,199
Shut up and follow me.
656
00:50:30,360 --> 00:50:32,399
You're hurting me, stop!
657
00:50:32,560 --> 00:50:33,919
You make me sick.
658
00:50:37,760 --> 00:50:42,279
Paprika is kind of the
positive flip side to Paranoia Agent.
659
00:50:42,440 --> 00:50:45,039
In much the same way as
Millennium Actress
660
00:50:45,200 --> 00:50:48,119
was the positive flip side
to Perfect Blue.
661
00:50:48,280 --> 00:50:52,399
One of the most obvious is the figure
of the policeman who drives the plot.
662
00:50:52,560 --> 00:50:54,479
Both Paprika and Paranoia Agent
663
00:50:54,840 --> 00:50:57,199
have women
who have double personalities,
664
00:50:57,360 --> 00:51:00,239
which again arguably goes back to
665
00:51:00,400 --> 00:51:01,559
Perfect Blue.
666
00:51:01,760 --> 00:51:03,679
In Paranoia Agent,
667
00:51:03,840 --> 00:51:06,599
the two split personalities
are fighting each other.
668
00:51:06,960 --> 00:51:08,719
Whereas in Paprika,
669
00:51:08,880 --> 00:51:13,199
they have some arguments,
but they support and empower each other.
670
00:51:27,520 --> 00:51:30,479
It's the greatest show time!
671
00:51:58,760 --> 00:52:01,559
I think Paprika's charm lies
672
00:52:01,880 --> 00:52:06,719
in the unprecedented visual impact it had.
673
00:52:07,160 --> 00:52:08,799
It was brand new.
674
00:52:08,960 --> 00:52:11,599
I think Paprika is a beautiful film.
675
00:52:11,760 --> 00:52:14,319
There's something joyful about it.
676
00:52:14,480 --> 00:52:17,799
I would say it's the most fun
of Satoshi Kon's movies.
677
00:52:33,760 --> 00:52:36,039
For his final feature – and biggest hit –,
678
00:52:36,200 --> 00:52:38,759
Satoshi Kon
tells the story of scientists
679
00:52:38,920 --> 00:52:42,239
who invent a machine to visit dreams,
that gets stolen.
680
00:52:44,240 --> 00:52:47,319
Professor Chiba sends her
dream-word double, Paprika,
681
00:52:48,080 --> 00:52:50,439
to visit suspects' subconscious.
682
00:52:53,800 --> 00:52:56,719
The film is an adaptation
of a novel by Yasutaka Tsutsui.
683
00:52:56,880 --> 00:53:00,999
The legendary author's work
has often been brought to the screen.
684
00:53:03,760 --> 00:53:06,679
But Paprika
was considered unadaptable.
685
00:53:12,960 --> 00:53:19,719
Tsutsui is an author of science fiction.
686
00:53:20,680 --> 00:53:23,879
Beyond that,
he's a distinguished literary figure.
687
00:53:25,400 --> 00:53:29,839
He went as far as
writing about language itself.
688
00:53:30,000 --> 00:53:34,399
It got to a point where it became
difficult to adapt his work.
689
00:53:34,560 --> 00:53:36,319
It had such a wide scope.
690
00:53:36,680 --> 00:53:39,119
It was so unique, so bountiful.
691
00:53:39,280 --> 00:53:42,919
He is utterly original
and very avant-garde.
692
00:53:43,080 --> 00:53:48,679
All that makes him a bit of a star
693
00:53:48,840 --> 00:53:52,519
in the eyes of people of my generation.
694
00:53:53,360 --> 00:53:58,039
Among Satoshi Kon's influences,
695
00:53:58,200 --> 00:54:02,279
Yasutaka Tsutsui is huge.
696
00:54:02,440 --> 00:54:04,399
Tsutsui's work
697
00:54:04,880 --> 00:54:09,279
was a very important element
in his personal development.
698
00:54:09,440 --> 00:54:14,279
I understood that very well.
699
00:54:14,440 --> 00:54:19,919
So when we worked on Paprika together,
700
00:54:20,080 --> 00:54:22,599
I let him do what he wanted,
eyes closed.
701
00:54:39,240 --> 00:54:41,639
I had seen many works
702
00:54:41,800 --> 00:54:43,319
by Satoshi Kon,
703
00:54:43,840 --> 00:54:49,159
and I liked everything I saw.
704
00:54:49,320 --> 00:54:56,879
Millennium Actress
was the one I liked the most.
705
00:54:57,040 --> 00:55:02,079
It explores one of the
recurring themes in my novels,
706
00:55:02,240 --> 00:55:07,559
the confrontation
between reality and fiction.
707
00:55:07,720 --> 00:55:12,319
This theme runs through
all of Satoshi Kon's work.
708
00:55:30,760 --> 00:55:32,679
Only Kon could adapt Paprika.
709
00:55:34,080 --> 00:55:36,959
So I asked him to do it.
710
00:55:39,520 --> 00:55:42,839
I'd read the novel ten years prior
711
00:55:43,000 --> 00:55:45,239
and really loved it.
712
00:55:45,400 --> 00:55:49,439
In Perfect Blue and Millennium Actress,
713
00:55:50,240 --> 00:55:54,759
I'd subconsciously tried
to recreate the world of Paprika.
714
00:55:56,280 --> 00:56:01,839
I only kept the bare bones
of the story in my film.
715
00:56:02,120 --> 00:56:04,199
The rest was modified.
716
00:56:04,360 --> 00:56:08,279
The story of Paprika is so gigantic,
717
00:56:08,440 --> 00:56:12,999
it was impossible
to boil it down to 90 minutes.
718
00:56:13,160 --> 00:56:16,039
So, either you do
a synopsis of the work –
719
00:56:16,200 --> 00:56:21,359
which is not interesting
in comparison to the novel –
720
00:56:21,880 --> 00:56:26,479
or you decide to do
something completely different.
721
00:56:27,160 --> 00:56:31,199
Paprika really affected me profoundly,
722
00:56:31,360 --> 00:56:34,359
because we were adapting
723
00:56:34,520 --> 00:56:38,199
at the same time, for Madhouse,
724
00:56:38,600 --> 00:56:42,639
a novel by Tsutsui.
725
00:56:46,600 --> 00:56:50,079
What angle would Kon take
in his Tsutsui adaptation?
726
00:56:50,360 --> 00:56:56,719
I wondered that, as I was directing
The Girl Who Leapt Through Time.
727
00:57:12,200 --> 00:57:17,199
And when I saw it,
I felt that it was so limpid.
728
00:57:17,360 --> 00:57:21,359
Expressing Tsutsui's work in that way
729
00:57:22,560 --> 00:57:24,119
was so impressive.
730
00:57:36,760 --> 00:57:38,359
In a film like this,
731
00:57:39,240 --> 00:57:43,719
we go from the world of dreams
to reality, and vice versa.
732
00:57:43,880 --> 00:57:48,839
You mustn't let the audience know exactly
733
00:57:49,000 --> 00:57:53,399
where the frontiers lie
between these two dimensions.
734
00:57:53,560 --> 00:57:58,159
We mustn't know where dreams begin
and reality ends, and vice versa.
735
00:57:58,320 --> 00:58:05,839
No other director was capable
of pulling that off.
736
00:58:06,000 --> 00:58:08,599
Kon was the one and only.
737
00:58:09,320 --> 00:58:11,639
I just remember saying,
738
00:58:11,800 --> 00:58:13,879
"I thought Paprika
was really really nice.
739
00:58:14,040 --> 00:58:18,319
"I like the fact that it was quite dark,
in comparison to the trailer."
740
00:58:18,480 --> 00:58:21,799
He said, "I didn't intend it to be dark.
You think it was dark?"
741
00:58:21,960 --> 00:58:23,759
I was like, "Very!"
742
00:58:26,160 --> 00:58:30,519
He was saying that was meant to be my big
743
00:58:30,680 --> 00:58:33,959
commercial prostitute film debut.
744
00:58:34,840 --> 00:58:38,199
And he was like,
"Paprika is my Sailor Moon project.
745
00:58:38,720 --> 00:58:41,679
"She's the magical girl
who can transform into anything."
746
00:58:42,800 --> 00:58:45,959
I was like, "I don't think
people saw it that way."
747
00:58:55,160 --> 00:58:57,079
Satoshi Kon really became
748
00:58:59,160 --> 00:59:05,039
the blinking light I was aiming for
with Spider-Verse.
749
00:59:06,200 --> 00:59:07,799
It blew me away.
750
00:59:07,960 --> 00:59:11,239
The level of subtlety,
751
00:59:11,760 --> 00:59:14,439
the textures,
the risks that he was taking
752
00:59:14,600 --> 00:59:17,359
in almost every aspect
of his film making.
753
00:59:17,520 --> 00:59:22,519
It was something that I and
the crew of Spider-Verse could watch and say
754
00:59:22,680 --> 00:59:29,519
we want to make something that
can tiptoe up to the realm of this.
755
00:59:47,920 --> 00:59:51,959
Paprika just created its own feel.
756
00:59:52,120 --> 00:59:55,999
It was transporting.
It was unnerving.
757
00:59:56,160 --> 01:00:00,279
It wasn't just a movie
about bending reality,
758
01:00:00,440 --> 01:00:04,119
it was a movie that captured
what it feels like to have reality bended.
759
01:00:05,880 --> 01:00:10,199
From that, I really learned
one of the main lessons
760
01:00:11,280 --> 01:00:17,479
that I thought a lot about
during the making of Into the Spider-Verse,
761
01:00:17,640 --> 01:00:20,159
which is that animation
doesn't have to look real,
762
01:00:20,320 --> 01:00:21,759
it just has to feel real.
763
01:00:21,920 --> 01:00:27,039
It just has to feel
like some aspect of reality.
764
01:00:27,200 --> 01:00:30,479
I don't know that I fully understood that
until I watched Paprika.
765
01:00:31,120 --> 01:00:33,999
And again, it gave me
something to aim for.
766
01:00:34,160 --> 01:00:37,439
Maybe this is really reductive,
but I often go back to Kubrick.
767
01:00:37,600 --> 01:00:40,639
I think they're two
completely separate filmmakers,
768
01:00:40,800 --> 01:00:41,919
but they both
769
01:00:43,360 --> 01:00:45,839
transcend medium and genre.
770
01:00:45,880 --> 01:00:50,359
And they both manage to create images
771
01:00:50,520 --> 01:00:52,159
and a story
772
01:00:52,320 --> 01:00:55,959
that make you feel
multiple things at once.
773
01:00:56,120 --> 01:00:58,119
He is the illusionist of anime.
774
01:00:58,280 --> 01:01:02,079
He is a director who starts off
by making you wonder
775
01:01:02,240 --> 01:01:04,319
what is real
and what is not real,
776
01:01:04,480 --> 01:01:08,239
and by the end he may well think
that it doesn't really matter.
777
01:01:08,480 --> 01:01:10,839
It's show time!
778
01:01:33,000 --> 01:01:35,479
That parade scene
779
01:01:35,640 --> 01:01:37,479
is the high point of the film.
780
01:01:37,640 --> 01:01:39,359
The most amazing moment.
781
01:01:39,520 --> 01:01:43,119
Both in terms of animation and drawing.
782
01:01:43,280 --> 01:01:47,079
♪ Plant trees
that grow dreams and money. ♪
783
01:01:48,200 --> 01:01:50,279
The film Paprika
is a culmination.
784
01:01:50,440 --> 01:01:53,559
It encapsulates all his major themes.
785
01:01:53,720 --> 01:01:57,039
The film explores metamorphosis,
786
01:01:57,200 --> 01:02:00,039
and the plasmaticity of animation.
787
01:02:00,200 --> 01:02:03,799
The art form's capacity
to present changing forms
788
01:02:03,960 --> 01:02:06,279
that can move
from one realm to another.
789
01:02:06,440 --> 01:02:09,879
Kon thus illustrates here
the very origins of animation.
790
01:02:10,040 --> 01:02:11,839
It becomes
the film's backbone,
791
01:02:12,000 --> 01:02:15,399
and breathes new life into the very idea.
792
01:02:15,800 --> 01:02:18,799
♪ God and Buddha exchange religions. ♪
793
01:02:19,160 --> 01:02:22,119
♪ They entertain me
in this floating world. ♪
794
01:02:22,280 --> 01:02:25,239
♪ They entertain me
in this floating world. ♪
795
01:02:26,280 --> 01:02:28,639
Am I... still dreaming?
796
01:02:28,680 --> 01:02:29,559
The parade
797
01:02:30,000 --> 01:02:32,559
is like an image from another world.
798
01:02:32,880 --> 01:02:36,679
It's like he was channeling
truly another world.
799
01:02:37,400 --> 01:02:42,079
Again, I can't think of many films
that have that kind of power.
800
01:04:04,520 --> 01:04:07,759
As we were doing the dubbing, we actors
801
01:04:07,920 --> 01:04:12,119
got the impression that the director
802
01:04:12,280 --> 01:04:13,959
was a very gentle man.
803
01:04:14,120 --> 01:04:17,839
Very polite and respectful.
804
01:04:18,480 --> 01:04:20,399
A real gentleman.
805
01:04:21,280 --> 01:04:23,999
He seemed very serene.
806
01:04:24,520 --> 01:04:30,319
Though his films
might lead you to believe
807
01:04:31,040 --> 01:04:32,759
that he was half-crazy,
808
01:04:33,680 --> 01:04:36,599
he was absolutely charming,
and very calm.
809
01:04:37,880 --> 01:04:42,679
But although he radiated gentleness,
810
01:04:45,080 --> 01:04:46,479
he was impenetrable.
811
01:04:48,120 --> 01:04:51,639
Someone a bit crazy who does crazy things
812
01:04:51,800 --> 01:04:55,079
is easy to understand and approach.
813
01:04:55,240 --> 01:05:00,039
But the fact that he was so calm,
yet created such a delirious world,
814
01:05:00,520 --> 01:05:01,799
made us wonder.
815
01:05:01,960 --> 01:05:04,959
The more I saw him,
the more mysterious he seemed.
816
01:05:05,120 --> 01:05:09,719
People who embody evil itself
817
01:05:09,880 --> 01:05:16,479
had no place in Kon's universe.
818
01:05:16,640 --> 01:05:21,119
He always had excuses for them,
819
01:05:22,000 --> 01:05:24,719
justifications.
820
01:05:26,320 --> 01:05:29,079
That's a testament
821
01:05:30,440 --> 01:05:32,279
to his kindness.
822
01:05:33,000 --> 01:05:36,199
Or to the generosity
of people from Hokkaido.
823
01:05:36,360 --> 01:05:39,839
That was the feeling I got from his work.
824
01:05:55,600 --> 01:05:57,639
He was very soft-spoken,
825
01:05:57,800 --> 01:05:59,079
and very humble.
826
01:05:59,600 --> 01:06:02,719
But I could tell
he was very confident in his ideas.
827
01:06:03,200 --> 01:06:05,159
He was definitely a filmmaker.
828
01:06:05,320 --> 01:06:06,879
That was inspiring to find out
829
01:06:07,040 --> 01:06:09,839
that he was
conceiving it, drawing it, writing it.
830
01:06:10,000 --> 01:06:12,119
So many of all the different worlds
831
01:06:12,640 --> 01:06:16,479
were basically coming out
of his imagination and the hard work.
832
01:06:16,640 --> 01:06:18,679
I remember
kind of feeling empathy
833
01:06:18,840 --> 01:06:21,399
for how much work he had to do.
834
01:06:21,560 --> 01:06:26,639
There was gonna be a lot of pain and
a lot of work to get his film done.
835
01:06:51,840 --> 01:06:56,879
A year before he died,
we ran into each other at a party.
836
01:06:57,800 --> 01:06:59,639
He smiled at me.
837
01:06:59,800 --> 01:07:06,199
"Hey, Taro, we should go for a drink soon!"
838
01:07:06,360 --> 01:07:13,879
That surprised me,
but also made me happy.
839
01:07:15,040 --> 01:07:17,759
Then he died.
840
01:07:18,120 --> 01:07:19,679
Several years later,
841
01:07:20,440 --> 01:07:22,879
there was a screening in Sapporo.
842
01:07:23,840 --> 01:07:26,679
I saw the film Tokyo Godfathers again.
843
01:07:27,240 --> 01:07:31,199
I discovered things I hadn't picked up on
844
01:07:31,360 --> 01:07:32,759
at the time.
845
01:07:33,360 --> 01:07:35,719
I realized he hadn't been
846
01:07:35,880 --> 01:07:40,159
ignoring me over financial problems.
847
01:07:41,480 --> 01:07:45,319
It was because I hadn't understood
848
01:07:46,200 --> 01:07:49,519
the very essence of his film.
849
01:07:49,960 --> 01:07:52,879
Rediscovering Tokyo Godfathers
850
01:07:53,040 --> 01:07:56,119
was an intense experience for me.
851
01:07:56,280 --> 01:08:00,599
I had really underestimated its power
852
01:08:00,760 --> 01:08:02,799
when it came out.
853
01:08:03,440 --> 01:08:07,799
That was a shock to me.
854
01:08:08,960 --> 01:08:12,759
It will be etched into my heart
for all time.
855
01:08:21,760 --> 01:08:26,559
ON AUGUST 24, 2010, SATOSHI KON
DIED OF CANCER AT THE AGE OF 46.
856
01:08:26,720 --> 01:08:33,519
THE NEXT DAY, HIS BLOG FEATURED
A GOODBYE LETTER ENTITLED SAYONARA.
857
01:08:35,280 --> 01:08:38,839
MY GREATEST REGRET IS THE FILM
DREAMING MACHINE.
858
01:08:38,880 --> 01:08:42,479
I'M WORRIED,
NOT ONLY ABOUT THE FILM ITSELF,
859
01:08:42,520 --> 01:08:46,079
BUT ABOUT THE CREW I WORKED WITH.
860
01:08:57,560 --> 01:09:00,839
I'm already working on my next film.
861
01:09:03,360 --> 01:09:09,799
It's aimed at adults, as well as children.
862
01:09:09,960 --> 01:09:15,799
Paprika marked an end to my usual themes,
863
01:09:15,960 --> 01:09:21,439
the blurring of reality and fiction.
864
01:09:25,120 --> 01:09:29,399
He was really clear that this was
a family film he was trying to make.
865
01:09:29,680 --> 01:09:34,919
On Earth there are no humans left,
or creatures in general left.
866
01:09:35,080 --> 01:09:37,359
And what's left
are machines,
867
01:09:37,520 --> 01:09:40,839
that were created by people
to do the labor.
868
01:09:40,880 --> 01:09:44,239
Now that people
have disappeared from Earth,
869
01:09:44,280 --> 01:09:48,599
these robots are still doing their jobs
that they're programmed to do.
870
01:09:48,760 --> 01:09:52,919
Robin, Ririko and King
are the main three characters.
871
01:09:53,080 --> 01:09:55,239
And they become friends.
872
01:09:55,400 --> 01:09:58,559
The situation is
that electricity is running out.
873
01:09:58,720 --> 01:10:01,799
And obviously without electricity
they cannot live.
874
01:10:01,960 --> 01:10:03,719
The tsunami is happening,
875
01:10:03,880 --> 01:10:09,679
and places that they can survive
are starting to become limited.
876
01:10:09,840 --> 01:10:14,079
They know of a place called
"The Land of Electricity"
877
01:10:14,240 --> 01:10:17,319
where there's
an unlimited supply of electricity.
878
01:10:18,000 --> 01:10:20,599
So their goal is to get there.
879
01:10:21,680 --> 01:10:26,279
The whole story is seen
through the eyes of Robin, a child,
880
01:10:26,440 --> 01:10:29,359
so it's easier to understand.
881
01:10:29,520 --> 01:10:32,879
Ririko arrives in the Garden of Eden,
882
01:10:33,320 --> 01:10:34,839
where Robin is living alone.
883
01:10:35,120 --> 01:10:37,719
So he uses a lot of symbolism.
884
01:10:39,680 --> 01:10:44,559
Ririko is the representation of Eve,
of Adam and Eve.
885
01:10:44,720 --> 01:10:47,039
She gives Robin,
886
01:10:47,200 --> 01:10:49,919
the main character, his brain,
887
01:10:50,320 --> 01:10:51,919
because he's missing his head.
888
01:10:52,560 --> 01:10:56,959
Ririko is a robot type
of the babysitter, or the nanny.
889
01:10:57,120 --> 01:11:00,039
So she's built and programmed
to take care of children.
890
01:11:00,640 --> 01:11:02,599
That's why she looks
the way she looks.
891
01:11:02,760 --> 01:11:07,999
She looks a bit like a Barbie
or a cuddly toy.
892
01:11:09,960 --> 01:11:13,479
The whole design of the project
893
01:11:14,120 --> 01:11:16,879
had to be done by Kon.
894
01:11:17,040 --> 01:11:19,959
It's pure science fiction.
895
01:11:21,320 --> 01:11:24,799
I really would've loved
to see the result.
896
01:11:25,560 --> 01:11:27,759
See what he'd have done with it.
897
01:11:27,920 --> 01:11:31,759
When you read the script
of Dreaming Machine,
898
01:11:31,920 --> 01:11:33,959
there's quite scary stuff in it,
899
01:11:34,120 --> 01:11:36,919
and there's a lot of dark points in it,
900
01:11:37,080 --> 01:11:40,599
and there's a complexity
in the narrative as well.
901
01:11:40,760 --> 01:11:44,119
When Satoshi Kon
is working on one project,
902
01:11:44,280 --> 01:11:46,199
it's never about that film.
903
01:11:46,360 --> 01:11:49,999
He's actually thinking about
the next film within that film.
904
01:11:50,160 --> 01:11:52,159
So, in Paprika,
905
01:11:52,320 --> 01:11:56,799
actually some parts you see
are similar to Dreaming Machine.
906
01:11:56,960 --> 01:11:59,999
There's a graffiti on the wall,
of the main 3 characters.
907
01:12:00,160 --> 01:12:04,439
There's actually a lot of hints
about what's coming next.
908
01:12:06,080 --> 01:12:08,799
I got a call from Mr. Kon.
909
01:12:09,680 --> 01:12:12,359
I was surprised.
910
01:12:12,520 --> 01:12:15,399
He felt I wasn't working
hard enough on Paprika.
911
01:12:15,560 --> 01:12:18,039
"Mr. Mima,
I'm not seeing the hard work."
912
01:12:18,200 --> 01:12:20,679
He was preparing his next film
913
01:12:20,840 --> 01:12:23,719
and wondering
whether to work with me.
914
01:12:23,880 --> 01:12:26,319
He was very direct.
915
01:12:26,880 --> 01:12:32,239
I figured I should be
as direct as he was.
916
01:12:32,400 --> 01:12:36,199
So I told him I was quitting.
I wouldn't work with him anymore.
917
01:12:36,360 --> 01:12:38,639
Mr. Kon demanded skills and expertise
918
01:12:38,800 --> 01:12:41,519
that were far beyond my capacities.
919
01:12:41,680 --> 01:12:43,959
For the first time,
920
01:12:44,120 --> 01:12:47,159
I waved a white flag,
and we got into a fight.
921
01:12:47,320 --> 01:12:50,879
I told him I'd be the first
to go see his film,
922
01:12:51,040 --> 01:12:55,799
but that I didn't want
to be a part of the crew.
923
01:12:55,960 --> 01:12:59,079
I turned down his offer
to work on Dreaming Machine.
924
01:12:59,240 --> 01:13:02,679
Mr. Kon died soon after that,
925
01:13:03,480 --> 01:13:05,719
and I was full of regret.
926
01:13:05,880 --> 01:13:09,039
That's the reason
927
01:13:10,480 --> 01:13:13,799
I agreed to be in this documentary.
928
01:13:15,600 --> 01:13:17,839
To say that I'm here today,
929
01:13:18,000 --> 01:13:21,159
thanks to Mr. Kon.
930
01:13:23,520 --> 01:13:25,519
His big goal for Dreaming Machine
931
01:13:25,680 --> 01:13:30,879
was that he wanted to aid
training of young animators.
932
01:13:31,240 --> 01:13:33,639
So he wanted to give opportunities
933
01:13:34,400 --> 01:13:37,279
and he wanted to mentor these people.
934
01:13:37,440 --> 01:13:39,919
His loss isn't just
935
01:13:40,080 --> 01:13:42,159
the loss of a great director,
936
01:13:42,840 --> 01:13:44,639
a really unique creative.
937
01:13:45,000 --> 01:13:50,519
The anime industry lost somebody
who's actually a representative
938
01:13:50,680 --> 01:13:56,199
and a really strong force of trying
to improve the industry as a whole.
939
01:13:57,560 --> 01:14:05,159
So I think that was the
major part of his loss as well.
940
01:14:07,960 --> 01:14:11,279
THANK YOU SINCERELY
FOR ALL THESE BEAUTIFUL MEMORIES.
941
01:14:11,320 --> 01:14:15,639
I LOVED THE WORLD I LIVED IN.
942
01:14:15,800 --> 01:14:20,679
JUST THINKING ABOUT IT
MAKES ME HAPPY.
943
01:14:25,200 --> 01:14:28,679
I'm convinced that Kon's films
944
01:14:28,840 --> 01:14:33,679
will be major references
945
01:14:34,720 --> 01:14:40,719
for all future directors
of animated films.
946
01:14:42,800 --> 01:14:47,039
Even subconsciously,
947
01:14:48,520 --> 01:14:53,639
future artists will be
under the influence of Satoshi Kon.
948
01:14:55,880 --> 01:14:58,799
The way people see animated cinema
949
01:14:58,840 --> 01:15:02,159
has evolved since he died,
950
01:15:02,320 --> 01:15:05,719
in Japan and throughout the world.
951
01:15:05,880 --> 01:15:12,759
I think he landed too soon
in this industry.
952
01:15:12,920 --> 01:15:19,959
But thanks to that,
he's an inspiration to many others.
953
01:15:21,360 --> 01:15:25,479
I would say this is one of the
great filmmakers of the last 30 years.
954
01:15:26,760 --> 01:15:32,759
Someone who's contributed more
to the well of innovation and inspiration
955
01:15:32,920 --> 01:15:37,319
than almost any filmmaker
I can think of in the last 30 years.
956
01:15:37,480 --> 01:15:40,759
You're gonna have
a very, very unique experience.
957
01:15:42,520 --> 01:15:44,399
Very, very unexpected.
958
01:15:45,400 --> 01:15:49,719
And you'll have a full human meal
959
01:15:49,880 --> 01:15:54,119
and a full human journey
in any of his films.
960
01:15:54,280 --> 01:15:59,279
As much for his personality
as for his films,
961
01:16:00,720 --> 01:16:02,959
he sought perfection at any price.
962
01:16:03,120 --> 01:16:05,319
How can I put this...?
963
01:16:06,920 --> 01:16:09,999
Not only with a perfect drawing,
but with perfect direction.
964
01:16:10,340 --> 01:16:14,479
He couldn't forgive
the slightest error or failure.
965
01:16:18,360 --> 01:16:21,519
Through his films,
he was trying to resolve
966
01:16:21,680 --> 01:16:25,919
things he didn't understand,
967
01:16:27,200 --> 01:16:30,399
and share that with others.
968
01:16:30,560 --> 01:16:34,119
Few people are capable
969
01:16:34,280 --> 01:16:39,759
of transposing such deep questions
to cinema
970
01:16:41,280 --> 01:16:44,839
with such virtuosity
and illustrative talent.
971
01:16:45,000 --> 01:16:46,679
If someone tried to measure up,
972
01:16:46,840 --> 01:16:48,999
they would be
nowhere near as good as him.
973
01:16:49,160 --> 01:16:53,039
Summing someone up in a word is difficult.
974
01:16:53,200 --> 01:16:56,439
Especially Satoshi Kon.
975
01:16:56,920 --> 01:16:58,599
I can't do it.
976
01:16:58,640 --> 01:17:00,639
He had two sides to him.
977
01:17:00,800 --> 01:17:02,799
He could be a nasty guy.
978
01:17:03,280 --> 01:17:05,099
A really nasty guy, okay?
979
01:17:05,160 --> 01:17:06,779
But I loved him.
980
01:17:07,280 --> 01:17:09,439
I can say that,
because I love him.
981
01:17:09,680 --> 01:17:11,519
He had more than one face.
982
01:17:12,360 --> 01:17:16,479
Sometimes you had to be wary of him.
983
01:17:16,640 --> 01:17:22,559
But he was also endearing.
You couldn't help but get attached.
984
01:17:23,840 --> 01:17:27,519
He will always be in our hearts.
78583
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