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6A THE UNIVERSITY DAILY KANSAN
FRIDAY, OCTOBER 1,2004
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Director mixes 2-D, 3-D in anime
BY STEPHEN SHUPE
sshupe@kansan.com
JAPLAY TV REVIEWER
The year is 2032, humans coexist with robots and an evil conglomerate is plotting to take over the world. If you're thinking, "I hate Will Smith movies," think again. This is the plot for Ghost in the Shell 2: Innocence, the new Japanese animation, or anime, release.
The film,
which will
begin its theatrical run in
La w r en c e
today at South Wind
12
Theaters, 3433
Iowa St., was written and
Oshn
Courtesy of Go Fish Pictures Ghost in the Shell 2, the new anime feature directed by Mamoru Oshii, opens today at South Wind 12 Theaters, 3433 Iowa St. The film depicts a future where humans coexist with robots.
directed by Mamoru Oshii, a veteran of anime and the director of the original Ghost in the Shell.
Born in Tokyo in 1951, Oshii has directed multiple features since the anime movement began in the 1980s, including *Pattolaw* and *Angel's Egg*. Anime is now a billion-dollar global industry, with a cult following in the United States. Oshii recently discussed *Ghost in the Shell 2* in a phone interview. Maki Teshima, who works for Production IG, the film's production company, helped with the translation.
Q: Why did you choose to combine 2-D and 3-D animation in Ghost in the Shell 2?
A: This is the first anime movie where the background is all 3-D. With 3-D, I was able to give more space in the background. I have a group of traditional animators who draw my characters, and I wanted to use their skills. There are still a lot of people in Japan who appreciate 2-D.
Q: When you make a film, are you more concerned with capturing cer-
Q: When you make a film, are you more concerned with capturing certain images or with telling a story?
A: It's case by case. In some of my movies, there's more weight put on beautiful pictures. In others, there's more weight put on the story. When I have a big budget, I can concentrate on directing beautiful pictures.
Q: One of your characters makes a reference to "multinationals and the criminal elements that feed off their spoils." In the age of Enron and Halliburton, is this a critique of the multinational corporations of today?
very quickly. I see technology as a threat and as helpful. Technology will keep changing the world, the same way ideology and religion will change it.
Q: Are you thinking about the American audience when you make a film?
Ae It's not necessary to make a film that can be seen all over the
A: I wanted to make a future where this big doll factory is the antagonist. In the last century, technology has been developed
world. Different cultures won't allow for that. For instance, when a Japanese and an American audience watch a Hollywood film, they're not watching it the same way. Rather than make a movie for the audience, you also make it for yourself.
Edited by Neil Mulka
Review: Stale story weakens anime film
GHOST IN THE SHELL 2:
INNOCENCE
Ghost in the Shell 2:
Innocence is a new peak in the art of anime, combining hand-drawn characters with CGI backgrounds, but the film's visual splendor fails to gloss over writer-director Mamoru Oshi's familiar man versus storyline storyline.
Only hardcore anime fans will be thrilled by this metaphysical mess.
A follow-up to Oshi's celebrated 1995 feature, Ghost in
★(★1/2 out of four)
PG-13, 99 minutes, South
Wind 12 Theaters
the shell 2 is set in the year 2032, when humans coexist with "cyborgs" (robots with souls) and "doll." (robots without
souls). A detective named Batou is looking for a runaway cyborg that may be responsible for the brutal killing of its owner.
The movie is reminiscent of Blade Runner and this summer's Will Smith release I, Robot. It's also less fun than either of those sci-fi extravaganzas. Oshii's characters quote endlessly from Descartes and Nietzsche, as if to prove the filmmaker has been
boning up on his philosophy. The film finally kicks into hyperdrive when Batou enters a labyrinth mansion, where characters dissolve into hologram and Oshii plays tricks with time.
It's a stunning sequence, but Oshili's eye-popping pageantry ultimately fights a losing battle with his empty narrative.
- Stephen Shupe
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