The 4K remastered versions of the animated film "Innocence," based on the popular manga "Ghost in the Shell" by Masamune Shirow, and "Ghost in the Shell" (directed by Mamoru Oshii) will be screened in theaters nationwide for two weeks only from February 28th. "Innocence" was released in theaters in 2004 and was the first Japanese anime to be selected for the competition section at the Cannes Film Festival, making it a hot topic. This is the first time that a 4K remastered version of the film will be screened in theaters. We asked Director Oshii to look back on the time of its production.
◇ A work that has reached the peak in terms of visual expression
--What position does "Innocence" hold in your career?
I don't think we'll ever be able to make a production budget of that scale again. It was a time when the digital bubble was coming to an end. Because we were aware of this, the atmosphere on set was filled with the desire to do everything we could, and we had gathered a team of talented staff members at the highest level possible. At least in terms of the level of visual expression, it was a work that reached its peak. Even with the advances in digital technology, the "techniques" of animators and background artists cannot be passed down.
--Looking back on the time of production, you say that you were "sick at the time," but is this a reference to the atmosphere of the times 20 years ago, or something you were feeling personally as you worked on the piece?
Of course, the atmosphere of the times was a factor, but I was also in poor health and in a rather regressive psychological state. Looking back, I may have been going through menopause without even realizing it. After the film was released, I started karate training, and I felt my body changing visibly, which helped me to regain my confidence.
--There are messages in the film that seem to predict the future. Some of these messages are only visible now that AI is becoming more prevalent in society. If you were to watch this film in 2025, how would you feel about its relationship to modern society?
It's clear that things have gotten worse since then. As wars are "exposed" all over the world, all kinds of people are being questioned about the basis of their existence. I feel like we're saturated with information noise.
--The quoted lines are also impressive. It feels like unrelated text takes on a different meaning from the original quote.
The essence of film is made up of "quotations," whether consciously or unconsciously. This work was also an attempt to be as conscious in that regard as possible. The key is how to "edit" those "quotations." Since the act of directing is the mutual conversion of "code" and "mode," it is natural that words take on ambiguity, and this was also the director's aim. As a result, I think the impression of it being "difficult to understand" is given.
◇ Experience the power of high resolution in every situation
--What were some of the hardest things you had to go through at the time? Is there anything you can talk about now that 20 years have passed?
The best staff of the time gathered, which means the site was filled with people who would not compromise. So, naturally, the human relationships were complicated. I think I used up more than half of my energy trying to adjust them. I had never experienced such a frictional site before. It is no exaggeration to say that I supported the job by exhausting my soul.
--After 20 years, how do you feel about the gap between the value that audiences and critics today see in "Innocence" and the message that the director himself intended to convey at the time?
As a person involved, I cannot make that judgment. However, I do feel a certain satisfaction in the fact that it has been re-screened after the passage of time. The value of a film can only be proven by being watched repeatedly.
--How about the visuals with the 4K remaster?
I felt the power of high resolution in every scene. I think you can really feel that power on the big screen in the theater. If you can enjoy not only the performances of the characters but also the splendor of the background art, the efforts of all the staff involved in the production will be rewarded. This is a rare opportunity, and I don't know when the next one will be. As a director, there is no greater joy than if you could go to the theater.
