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Outstanding cleverness
M: First, I was impressed by the graphics side. I've decided
that I would never compete with Oshii-san in this genre.
You didn't spend all that time in front of the computer for
nothing. To animate such images is too complicated, so I
don't even want to speculate how you did it. -laughs- Did
you use computer graphics (CG)?
But Japan has been doing the same thing, at least after the
war, so I can't deny that. So, I don't like it, because it
resembles myself. Because they are doing it without any
hesitation.
Dads of the post-war period had been doing the same
thing, toward the dream of a nuclear family. (They had) the
dream to be free from the constraints of various blood
relations, and to have a vision shared only by the
(immediate) family. And that dream was realized, wasn't it?
However, the bubble has burst, and such things have all
collapsed. So, now, we are entering into the time of
recapping. Which direction we are going to recap it in is
more important than to build a vision now. Like Arakawa
said, the only issue is how we are going to put an end to it.
It's the same with the issue of "war." It's not whether we are
going to have it or not, since it's already started. Until we
put an end to it, there can't be a new vision.
M: I don't think there will be an end.
O: I mean, regardless of whether there will be an end or
not, the only thing left is to wait and see the future for a
while more. There is no other thing to do.
This movie isn't a drama in that sense, because it isn't
dialectic at all. The conclusion was given from the
beginning.
M: And if you arm yourself in such a way when making a
film, there is nothing left for me to say. -laughs- I mean,
everything was well disposed in various characters, so
when I came up with some question, (one of the
characters) answers it. But the conclusion where that
creepy SDF investigator, Arakawa, was one of the
criminals wasn't interesting.
O: That was just to end the movie...
M: That's what I thought. But I wished that he'd just kept on
going. -laughsO: For myself, the pedantic way of reacting, like Arakawa
did, is a possibility. It is possible that a person who is not
involved in the situation can say the best thing at the point.
In short, knowing can stand just as knowing, so you don't
have to be asked what you are going to do in that situation.
If you see in order to take some action, or to search for
something, it's not seeing. You can't see things as they are,
since you have some predisposition to do something.
To make a movie
O: Seen historically, the things we did in the twentieth
century were huge. But they were failures after all.
M: They are the experiments of the nineteenth century.
And all of them went bankrupt before the end of the
twentieth century.
O: Speaking of war, the nature of it has changed, and
every war has become a civil war.
M: Otherwise, I wouldn't have made a movie like Porco
Rosso. -laughsO: If we think that way, "There is no point in making a
movie for now. In truth, there is no value in making a movie
now." I said so before.
M: That's because you speak as a thinker. I'm not. I am an
entertainer, so entertaining (people) with a movie, or
entertaining them by giving them a ride in my tricycle, it's
the same thing to me.[5] In fact, when I give two small kids
a ride, they really get delighted. And it makes me really
happy to see that. So, I still have something I want to
make. A pig flies in a red plane, or you seclude yourself on
a mountain with a dog, it doesn't matter.[6] But, both Oshiisan and I would sum that (what we've done) up as "not
good," that's for sure. -laughsA: For Oshii-san, was it a movie to recap the era?
M: I felt that thoughts from the time when Oshii-san joined
the student movement in the 1970s are still swirling inside
of him, and he is still making a story with the desire to
somehow turn things upside down, explode them, and
reveal the essence of the world. With missiles, Molotov
cocktails, or anti-subversive law, it doesn't matter. So, he
wants to put the SDF in the middle of the city, and wants to
show that it's a military. And where is Oshii-san? He is
among those tankers in tanks. So, the movie paid so much
consideration towards the ordinary soldiers, -laughs- but no
consideration towards the tax payers around there.
A: It had more consideration towards a dog walking around
the streets.
M: To start with, there is a question of whether we'd have
an unchained dog in Tokyo. -laughs- I guess it wouldn't
work if a cat was meowing in that scene.
O: Though it seems to have reality on the surface,
everything is a movie (fiction).
M: In short, the hatred such as Hoba's in the previous
movie has been changing into something else-- that's what
I felt.
I think that the only way we can discuss movies is by
talking about what we are to make. A person who hasn't
retired from movie making has no choice but to make a
movie, if he has an issue to talk about. I feel that it's not
appropriate for a movie maker to criticize a movie even
though you yourself have no plan to make a movie. In that
sense, I think I still have movies to make.
A: What will your next movie be?
M: I have something I want to make, but whether I can
make it next or not depends on the situation. Also, I want to
make a love story in a straightforward way. Regardless of
whether the world loses dogma or does whatever, love
remains. Though Oshii-san seems to think that love doesn't
exist anymore.
O: No, I wouldn't say that. -laughs- I'm not that dry.
However, originally, I didn't intend to make a movie like
Patlabor 2.