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The first Ghost in the Shell movie was a mind-blowing epic with heavy themes and an innovative mix of traditional and 3-D animation. Director Mamoru Oshii's 1995 animated vision of the future was an instant classic, inspiring the Matrix movies and getting Oshii an animation gig in Kill Bill. Nine years later, he's back with a sequel in which a hard-boiled detective tackles the serial murders of "gynoid" sex dolls.
GR: Nine years between movies. Was it hard for you to get inspired about an old subject?
MO: Since I already had a theme and an idea in my mind, it was not that difficult. And as you can see, the two movies are completely different in stories and styles.
GR: It's funny how the gynoid robots in Innocence stress out over their souls when most audiences probably don't even think about that sort of thing.
MO: Innocence talks about humans wanting to become robots or dolls, and I have not yet encountered a movie that's tried to tackle this idea.
GR: You went to real doll factories in Germany and Italy for research purposes before making the film. What did you learn from those trips?
MO: I had wonderful experiences during location hunting and researching in various countries about dolls. It turns out the biggest inspiration came when I visited the Hans Bellmer doll museum in New York. It was the first time I had ever encountered the real dolls by Mr. Bellmer.
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GR: I understand you enjoy reading Ballard and Sturgeon. What other sci-fi authors or books in general inspire you?
MO: People often think that I read a lot of sci-fi novels, but I read more thesis and photo books to get inspiration.
GR: In your photos, you always look sad. Do you consider yourself a pessimist?
MO: Is that so? There are some photos where I am smiling. It has to do with the unique culture. People in Japan, especially men, generally don't smile when photos are taken. When you look at ID photos in Japan, you will find absolutely nobody with a happy face. On the other hand, although people tend to think of me as a pessimist when they watch my movies, I never think of myself that way. I personally think I'm very optimistic and I make my movies that way, too.
GR: What was the relationship like working with Hiyao Miyazaki's Studio Ghibli? Was there creative cooperation in addition to sharing of resources?
MO: We didn't really work with Studio Ghibli on this movie. It was only the producer (Mr. Suzuki) from Studio Ghibli, who was involved more on the producing side of the movie--and not the actual production or creative aspects of the production.
GR: Do you like 3-D animation? How much further can anime go before it becomes too real?
MO: You can make an anime that looks endlessly real, but why? All films have different uniqueness and qualities, and whether it's expressed in anime style of live action style of 3-D animation style is the filmmaker's choice. I personally do not try to achieve a realistic look in any of my animation films.
GR: How did your experience directing the live-action Avalon affect the animation of Ghost in the Shell 2?
MO A lot. Most of the 3-D techniques, as well as lighting and special effects that I had used in Avalon, were incorporated in this movie. I ended up using the same creators whom I trust the most in making any of my movies (whether live action or animation).
GR: Ghost in the Shell 2 showed at Cannes, and so did Shrek 2. Did you meet any of the Shrek guys?
MO: No, I was too busy doing interviews for my movie. Also I didn't arrive until later. I personally enjoyed Shrek, although I still have not seen part 2.
GR: Do you ever talk to otaku fans? Can you relate to them?
MO: I don't get to associate or meet with otaku fans. I only hope that wherever they are, they'll watch and enjoy my movies.
GR: Do you ever worry that the future may not be as exciting as your movies are?
MO: I always make my movies in a world that is out of the ordinary--meaning imaginary. When I talk about the future, it is really not the future of the world that we live in right now.
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