Senior otaku, Japanese manga fans, philosophers and film critics have said enough about Oshii Mamoru and the attack on the shell, just to record one of the crux of the GIS that made me cringe the most today.
Others can be tolerated, but the most problematic version of this version is also the one that disappoints me the most. And this seemingly small problem has influenced the story direction and speculative level of the whole movie.
I haven't read the manga, but whether it's TV or the subsequent sequels, Motoko has been prosthetic since childhood (birth or four or five years old), and most of the people around him (except Tokusa and Aramaki) are all level More or less prosthetic people. Therefore, the life experience of constantly changing prosthetics for 20 to 30 years, coupled with the coexistence of various prosthetics, robots and (increasingly rare) real humans around, the relationship between Motoko and the body and soul, and why it exists and how Only the thinking and questioning of what is existence has a solid and make sense cornerstone.
In the new version of the movie, Motoko's memory was erased, and he was integrated into the whole body only a year ago. The memory slowly recovered, and the real past emerged little by little. "It's not memories that make us, but what we do makes us." - This question appears again and again. So, here, the battle between the heaven and the earth is the past VS the present, memory VS behavior. And her doubts and struggles have become thin and futile.
This level of philosophical speculation collapsed several layers in an instant compared to Oshii Mamoru.
So, for example, at the end of the 95 version that made me almost cry, it was also moved over. In the same way, Suzi fought with his "flesh" at a critical moment, letting his muscles tear, his flesh flying, and even his arms and legs. In 95 years, he was inquiring about the ultimate meaning of life. people.
Layers are established.
Two or three things about Oshii Shou.
I love to watch art films, especially European art films. My favorites are Fellini, Bergman, Antonioni, Godard, Old Tower... I especially love Polish directors such as Kavalerovich.
Once had the experience of reading more than 1,000 films a year.
He fought with Hayao Miyazaki for many years.
When I first debuted, I also had the experience of "being quietly erased by the master with an eraser when going to the toilet".
In "Mobile Police OVA", he was also asked by the producer to take to the streets to distribute leaflets and shout for publicity.
Garm Wars, originally planned for release in 2000, had a production cost of 7 billion yen requested by Mamoru Oshii.
Mamoru Oshii got the inspiration for how to express time in cartoons from the old tower.
He is also said to have been bored by the fact that the shelling went too smoothly.
Hollywood also asked Mamoru Oshii to be the director of the new version of GIS, and asked him for his opinion on some questions, but the response of the great god was: This is the work of Shirou, and the watch came to me.
The film party invited him to watch the shooting, and Oshii was stunned by the Hollywood battle, and even "couldn't tell who was the staff and who was the actor".
Oshii's original job included "sound supervision", and he also once said that "half of a movie is made up of music".
The first episode of "The Lucky Star Boy", which Mamoru Oshii was in charge of, was dewy, and later it was even more "nonsense". He was even called by the director of Fuji TV to lecture him and asked him to "be careful with me!"
After "Aerial Killer", Mamoru Oshii did not receive a job for three years. But the film is still his most satisfying work.
Her sister is a dancer, and her daughter married Otichi, a famous Japanese writer, in 2006.
"Abandon yourself, don't have illusions about your life." - Mamoru Oshii
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