Transcript

Paprika · Verbal Diorama

1:36
Hi,
1:36
everyone.
1:37
I'm
1:37
Em,
1:37
and
1:37
welcome
1:37
to
1:38
verbal
1:38
diorama,
1:39
episode
1:39
329,
1:41
Paprika.
1:42
This
1:43
is
1:43
the
1:43
podcast
1:43
that's
1:43
all
1:44
about
1:44
the
1:44
history
1:44
and
1:45
legacy
1:45
of
1:45
movies
1:45
you
1:46
know,
1:46
and
1:46
movies
1:47
you
1:47
don't.
1:48
That's
1:48
the
1:48
girl
1:48
of
1:48
your
1:49
dreams.
1:50
Sorry,
1:50
I
1:50
mean
1:51
the
1:51
girl
1:51
in
1:51
your
1:52
dreams.
1:53
Welcome
1:54
to
1:54
Verbal
1:54
Diorama.
1:55
Whether
1:55
you're
1:55
a
1:55
brabrand-newndnewlistener,whetheryou'rearegularreturninglistener,thank
1:58
you
1:58
for
1:58
being
1:58
here.
1:59
Thank
1:59
you
1:59
for
1:59
choosing
1:59
to
1:59
listen
2:00
to
2:00
this
2:00
podcast.
2:01
There
2:01
are
2:01
so
2:01
many
2:02
podcasts
2:02
out
2:02
there
2:02
that
2:02
are
2:03
vying
2:03
for
2:03
your
2:03
ears
2:03
and
2:04
for
2:04
your
2:04
attention.
2:05
And
2:05
I
2:05
am
2:06
so
2:06
happy
2:06
to
2:06
have
2:06
you
2:07
here
2:07
for
2:07
the
2:07
history
2:08
and
2:08
legacy
2:09
of
2:09
Paprika,
2:10
or
2:10
paprika,
2:11
however
2:12
you
2:12
pronounce
2:12
it.
2:13
And
2:13
if
2:13
you
2:14
are
2:14
a
2:14
regular
2:14
returning
2:14
listener,
2:15
thank
2:15
you
2:15
so
2:16
much
2:16
for
2:16
continuing
2:16
to
2:16
come
2:17
back
2:17
and
2:17
listen
2:17
to
2:18
this
2:18
podcast.
2:19
I
2:19
could
2:19
not
2:19
do
2:19
this
2:20
podcast
2:20
without
2:21
your
2:21
constant
2:21
support.
2:22
And
2:22
I
2:22
have
2:23
been
2:23
doing
2:23
this
2:23
podcast
2:23
for
2:24
very
2:24
almost
2:24
seven
2:25
years
2:25
now.
2:26
We
2:26
are
2:26
so
2:26
close
2:26
to
2:27
the
2:27
seventh
2:27
birthday
2:27
of
2:28
this
2:28
podcast.
2:29
And
2:29
honestly,
2:30
it
2:30
blows
2:30
my
2:30
mind
2:31
that
2:31
you
2:31
guys
2:32
continue
2:32
to
2:32
support
2:33
this
2:33
podcast.
2:34
It
2:34
really,
2:34
genuinely
2:35
means
2:35
so
2:36
much.
2:36
And
2:37
I
2:37
still
2:37
can't
2:37
believe
2:37
that
2:38
I've
2:38
been
2:38
doing
2:38
this
2:38
podcast
2:39
for
2:39
almost
2:39
seven
2:39
years.
2:40
That's
2:40
seven
2:41
years
2:41
of
2:41
my
2:41
life
2:42
doing
2:43
histories
2:44
and
2:44
legacies
2:44
of
2:45
movies
2:45
you
2:45
know,
2:45
and
2:45
movies
2:46
you
2:46
don't.
2:47
And
2:47
yeah,
2:48
it's
2:48
crazy,
2:49
isn't
2:49
it,
2:49
really?
2:50
You
2:51
could
2:51
very
2:51
much
2:51
say
2:52
this
2:52
podcast
2:53
is
2:53
a
2:53
dream
2:54
for
2:54
me.
2:55
But
2:55
before
2:56
we
2:56
go
2:56
into
2:56
all
2:56
of
2:57
that,
2:57
welcome
2:58
once
2:58
again,
2:59
or
2:59
welcome
3:00
if
3:00
you've
3:00
not
3:00
been
3:01
here,
3:01
to
3:02
the
3:02
sixth
3:02
annual
3:03
animation
3:03
season.
3:04
Previous
3:05
episodes
3:06
this
3:06
season
3:06
have
3:07
been
3:07
on
3:07
Monsters
3:08
Inc.
3:08
And
3:09
the
3:09
last
3:09
episode
3:10
was
3:10
on
3:10
K
3:10
Pop
3:10
Demon
3:11
Hunters.
3:12
And
3:12
if
3:12
you
3:12
don't
3:13
know
3:13
me
3:13
or
3:14
this
3:14
podcast
3:14
really
3:15
well,
3:15
you
3:16
should
3:16
know
3:16
that
3:16
I'm
3:16
a
3:17
huge
3:17
fan
3:17
of
3:17
animated
3:18
movies.
3:18
And
3:19
it's
3:19
something
3:19
that
3:19
I
3:19
believe
3:20
more
3:20
podcasts
3:20
should
3:21
genuinely
3:21
talk
3:22
more
3:23
about.
3:23
Animated
3:24
movies
3:25
and
3:25
what
3:25
animation
3:26
season
3:26
is.
3:26
It
3:27
is
3:27
a
3:27
celebration
3:27
of
3:28
animation
3:28
in
3:29
all
3:29
of
3:29
its
3:29
forms.
3:30
So
3:30
the
3:31
traditional
3:31
2D
3:32
hand
3:32
drawn
3:32
stuff,
3:33
stop
3:33
motion
3:34
CGI,
3:35
and
3:36
a
3:36
mix
3:37
of
3:37
all
3:37
of
3:38
the
3:38
above.
3:39
The
3:39
Verbal
3:40
Diorama
3:40
animation
3:41
season
3:41
mantras
3:42
are
3:42
as
3:42
follows.
3:43
Animation
3:44
is
3:44
not
3:45
just
3:45
for
3:45
children.
3:46
And
3:47
I
3:47
mean,
3:47
if
3:48
any
3:48
movie
3:48
this
3:49
season
3:49
is
3:49
going
3:49
to
3:50
tell
3:50
you
3:50
that
3:50
animation
3:51
is
3:51
not
3:51
just
3:51
for
3:51
children,
3:52
it
3:53
is
3:53
this
3:53
one.
3:54
Animation
3:54
is
3:55
also
3:55
not
3:55
a
3:55
genre.
3:56
Animation
3:57
is
3:57
the
3:57
perfect
3:58
art
3:58
form.
3:59
And
3:59
one
3:59
of
3:59
the
3:59
reasons
4:00
why
4:00
I
4:01
wanted
4:01
to
4:01
feature
4:02
this
4:02
movie
4:02
is
4:02
the
4:02
director
4:03
of
4:03
this
4:03
movie
4:04
was
4:04
so
4:04
passionate
4:05
about
4:05
animation,
4:06
about
4:07
the
4:07
fact
4:07
that
4:07
you
4:08
can
4:08
depict
4:08
anything
4:09
and
4:10
anyone.
4:10
And
4:11
this
4:11
movie
4:12
does
4:13
animation.
4:13
You
4:14
have
4:14
no
4:14
limitations
4:15
like
4:15
you
4:15
do
4:16
in
4:16
live
4:16
action
4:16
cinema,
4:17
such
4:17
as
4:17
things
4:18
like
4:18
gravity.
4:19
There's
4:19
nothing
4:20
like
4:20
that
4:20
in
4:20
animation.
4:21
And
4:22
that's
4:22
why
4:22
I
4:23
think
4:23
animation
4:23
season
4:24
is
4:24
so
4:24
important.
4:25
It's
4:25
so
4:25
important
4:26
to
4:26
me,
4:26
and
4:27
it's
4:27
so
4:27
important
4:27
to
4:28
this
4:28
podcast
4:29
to
4:29
highlight
4:30
movies
4:30
like
4:30
this
4:31
because
4:31
a
4:32
lot
4:32
of
4:32
people
4:32
have
4:33
seen
4:33
K
4:33
Pop
4:33
Demon
4:34
Hunters
4:34
and
4:34
a
4:34
lot
4:35
of
4:35
people
4:35
have
4:35
seen
4:36
Monsters,
4:36
Inc.
4:37
But
4:37
I
4:37
don't
4:37
think
4:37
a
4:38
lot
4:38
of
4:38
people
4:38
have
4:38
seen
4:39
Paprika.
4:40
And
4:40
the
4:40
thing
4:40
is,
4:40
is
4:41
Satoshi
4:41
Kon
4:42
only
4:42
made
4:42
four
4:43
films
4:43
in
4:43
his
4:43
lifetime
4:45
and
4:45
this
4:45
was
4:45
his
4:46
final
4:46
one.
4:47
And
4:47
it's
4:48
so
4:48
wildly
4:48
ambitious
4:49
and
4:49
it
4:49
shows
4:50
him
4:50
at
4:51
his
4:51
most
4:51
creative.
4:52
And
4:53
it
4:53
is
4:53
something
4:53
that
4:54
could
4:54
only
4:54
work
4:54
in
4:55
animation
4:55
because
4:56
nothing
4:56
portrays
4:57
dreams
4:57
like
4:58
this
4:58
movie
4:58
portrays
4:59
dreams.
5:00
What
5:01
is
5:01
real?
5:02
What
5:02
is
5:02
reality?
5:04
Here's
5:04
the
5:05
trailer
5:05
for
5:05
Paprika
7:47
With
7:47
a
7:48
revolutionary
7:48
device
7:49
called
7:49
the
7:49
DC
7:49
Mini,
7:50
psychiatrists
7:51
are
7:51
now
7:52
able
7:52
to
7:52
enter
7:52
a
7:52
patient's
7:53
dreams
7:53
in
7:54
a
7:54
therapeutic
7:54
setting.
7:55
But
7:55
when
7:56
an
7:56
unknown
7:56
assailant
7:57
steals
7:57
the
7:57
devices
7:58
and
7:59
uses
7:59
them
7:59
to
7:59
enter
8:00
people's
8:00
minds
8:01
to
8:01
enact
8:01
mind
8:02
control,
8:02
chaos
8:03
ensues
8:04
as
8:04
dreams
8:04
begin
8:05
to
8:05
bleed
8:05
into
8:06
reality
8:06
and
8:07
the
8:07
thin
8:07
line
8:07
between
8:08
the
8:08
conscious
8:08
and
8:09
the
8:09
unconscious
8:10
begins
8:10
to
8:10
blur.
8:11
Dr.
8:12
Atsuko
8:12
Chiba
8:13
is
8:13
assisted
8:14
by
8:14
Detective
8:14
Toshimi
8:15
Kodakawa,
8:16
a
8:16
man
8:16
plagued
8:17
with
8:17
his
8:17
own
8:17
demons,
8:18
and
8:18
by
8:19
her
8:19
dream
8:19
world
8:20
alter
8:20
ego,
8:20
Paprika,
8:21
to
8:22
identify
8:22
the
8:22
thief
8:23
as
8:23
they
8:23
ward
8:23
off
8:24
attacks
8:24
on
8:24
their
8:24
own
8:25
psyches.
8:27
Let's
8:27
run
8:27
through
8:27
the
8:27
cast.
8:28
I'm
8:28
not
8:29
going
8:29
to
8:29
talk
8:29
about
8:29
the
8:29
English
8:30
voice
8:30
cast
8:30
for
8:30
this
8:31
movie
8:31
because
8:32
generally
8:32
speaking,
8:33
in
8:33
the
8:33
subs
8:33
versus
8:34
dubs
8:34
debate,
8:35
my
8:35
perspective
8:36
always
8:36
is
8:37
I
8:37
don't
8:37
care
8:37
if
8:37
you
8:38
watch
8:38
a
8:38
movie
8:39
like
8:39
this
8:39
with
8:39
subs
8:40
or
8:40
dubs,
8:41
as
8:41
long
8:41
as
8:41
you
8:41
watch
8:41
the
8:41
movie.
8:42
However,
8:43
I
8:43
really
8:43
do
8:43
feel
8:44
like
8:44
the
8:44
subtitled
8:45
version
8:45
of
8:45
Paprika
8:46
is
8:47
the
8:47
definitive
8:48
version
8:48
of
8:49
Paprika.
8:49
It's
8:50
the
8:50
only
8:50
version
8:50
I've
8:51
ever
8:51
seen
8:52
and
8:52
I
8:52
own
8:52
this
8:52
movie
8:53
on
8:53
dvd
8:53
and
8:54
I
8:54
don't
8:54
even
8:54
know
8:54
if
8:55
there
8:55
is
8:55
an
8:55
English
8:55
dub
8:56
on
8:56
the
8:56
dvd,
8:57
but
8:58
this
8:58
is
8:58
a
8:58
movie
8:58
you
8:59
have
8:59
to
8:59
pay
8:59
attention
9:00
to.
9:01
And
9:01
so
9:01
when
9:01
you're
9:02
actually
9:02
watching
9:03
this
9:03
movie
9:03
and
9:03
you're
9:03
reading
9:04
the
9:04
subtitles,
9:04
you
9:05
have
9:05
to
9:05
pay
9:05
attention.
9:06
More
9:06
attention
9:07
than
9:07
if
9:07
you
9:07
are
9:08
listening
9:08
to
9:08
the
9:08
dubbed
9:09
version
9:09
where
9:10
people
9:10
have
9:10
a
9:11
habit
9:11
of
9:11
getting
9:11
their
9:12
phone
9:12
out.
9:12
Trust
9:13
me,
9:13
I
9:14
am
9:14
the
9:14
worst
9:14
for
9:15
getting
9:15
my
9:15
phone
9:15
out
9:15
and
9:16
going
9:16
on
9:16
IMDb
9:17
and
9:17
looking
9:17
up
9:17
facts
9:18
about
9:18
movies
9:18
while
9:19
I
9:19
watch
9:19
them.
9:19
It
9:20
is
9:20
literally
9:21
one
9:21
of
9:21
the
9:21
worst
9:22
things
9:22
about
9:22
me
9:23
is
9:23
that
9:23
I
9:23
do
9:23
that.
9:24
But
9:24
with
9:24
a
9:24
movie
9:24
like
9:25
Paprika
9:25
where
9:25
you
9:26
have
9:26
to
9:26
watch
9:26
it
9:26
and
9:27
you
9:27
have
9:27
to
9:27
read
9:27
the
9:28
subtitles,
9:29
you
9:29
concentrate
9:30
on
9:30
it
9:30
a
9:30
little
9:30
more.
9:30
So
9:31
I'm
9:31
only
9:31
really
9:31
going
9:32
to
9:32
focus
9:32
on
9:32
the
9:32
Japanese
9:33
cast
9:33
of
9:34
this
9:34
movie.
9:35
But
9:35
to
9:35
be
9:35
honest,
9:35
however
9:36
you
9:36
watch
9:36
this
9:36
movie
9:37
is
9:37
great
9:37
because
9:38
you're
9:38
watching
9:38
this
9:38
movie.
9:40
We
9:40
have
9:40
Megumi
9:41
Hayashibara
9:42
as
9:42
Dr.
9:43
Atsuko
9:43
Chiba
9:44
and
9:44
Paprika
9:45
Toru
9:45
Furuya
9:46
as
9:47
Dr.
9:47
Kosoku
9:48
Takeita
9:49
Toru
9:49
Amori
9:50
as
9:50
Dr.
9:51
Seijiro
9:52
Inui
9:53
Katsunosuke
9:54
Jori
9:55
as
9:55
Dr.
9:55
Toritaro
9:56
Shima
9:57
Akio
9:58
Otsuka
9:59
as
9:59
Detective
9:59
Toshimi
10:00
Konakawa
10:01
and
10:01
Koichi
10:02
Yamadira
10:03
as
10:03
Dr.
10:04
Morio
10:04
Onasai
10:06
Paprika
10:07
has
10:07
a
10:07
screenplay
10:08
by
10:08
Seishi
10:09
Minakami
10:09
and
10:10
Satoshi
10:10
Kon.
10:11
It
10:11
was
10:11
directed
10:12
by
10:12
Satoshi
10:13
Kon
10:13
and
10:14
based
10:14
on
10:14
Paprika
10:15
by
10:15
Yasutaka
10:16
Tsutsui.
10:18
So
10:19
to
10:19
start
10:20
pronunciation,
10:22
just
10:22
like
10:22
last
10:22
episode
10:23
on
10:23
K
10:23
Pop
10:23
Demon
10:24
Hunters,
10:24
I
10:25
am
10:25
always
10:25
trying
10:26
to
10:26
pronounce
10:26
things
10:27
properly,
10:28
especially
10:28
things
10:28
like
10:29
names,
10:30
but
10:30
I
10:30
apologize
10:31
in
10:31
advance
10:31
if
10:31
I
10:32
don't.
10:32
The
10:33
one
10:33
thing
10:33
I
10:33
have
10:34
taken
10:34
some
10:34
advice
10:35
on
10:35
is
10:36
the
10:36
pronunciation
10:37
of
10:37
Satoshi
10:38
Kon.
10:38
So
10:39
previously
10:39
in
10:40
other
10:40
episodes
10:40
of
10:41
this
10:41
podcast
10:41
I
10:41
pronounced
10:42
his
10:42
name
10:42
Satoshi.
10:44
But
10:45
as
10:45
with
10:45
most
10:45
things
10:46
anime,
10:47
I
10:47
tend
10:48
to
10:48
bow
10:48
to
10:48
the
10:48
expertise
10:49
of
10:49
a
10:49
podcast
10:50
called
10:50
Ghibliotheque.
10:51
And
10:51
in
10:51
their
10:52
Satoshi
10:52
Kon
10:53
season,
10:53
which
10:53
is
10:53
called
10:54
Chronology,
10:55
they
10:55
specifically
10:56
pronounce
10:56
it
10:56
Satoshi.
10:58
So
10:58
that's
10:58
what
10:58
I'm
10:58
going
10:59
to
10:59
do
10:59
going
10:59
forward.
11:00
Also,
11:00
their
11:01
Chronology
11:01
season
11:02
is
11:02
great
11:02
and
11:03
well
11:03
worth
11:03
the
11:03
listen.
11:04
So
11:04
if
11:05
you've
11:05
never
11:05
listened
11:05
to
11:06
Ghibliotheque,
11:07
please
11:07
have
11:07
a
11:07
listen
11:07
to
11:07
their
11:08
podcast
11:08
because
11:08
their
11:08
Satoshi
11:09
Con
11:09
season
11:10
is
11:10
wonderful.
11:11
When
11:11
Satoshi
11:12
Kon
11:12
passed
11:13
away
11:13
from
11:13
pancreatic
11:14
cancer
11:14
in
11:14
2010,
11:15
he
11:15
was
11:15
only
11:16
46
11:16
years
11:16
of
11:17
age,
11:17
but
11:18
he
11:18
had
11:18
already
11:18
amassed
11:19
a
11:19
perfect
11:19
catalog
11:20
of
11:20
four
11:21
critically
11:21
acclaimed
11:22
feature
11:22
films
11:23
and
11:23
one
11:23
television
11:24
series
11:25
as
11:25
his
11:25
lasting
11:25
legacy.
11:27
Perfect
11:27
Blue
11:27
was
11:28
his
11:28
feature
11:28
length
11:29
directorial
11:29
debut,
11:30
and
11:31
it's
11:31
about
11:31
as
11:31
accomplished
11:32
as
11:32
a
11:32
perfect
11:33
debut
11:33
can
11:33
be.
11:34
With
11:34
its
11:34
clear
11:35
references
11:35
to
11:35
Hitchcock,
11:36
lynch
11:37
and
11:37
Scorsese.
11:38
Paprika
11:39
was
11:39
his
11:39
final
11:40
film.
11:40
There's
11:41
only
11:41
nine
11:41
years
11:41
between
11:42
them
11:42
and
11:43
they're
11:43
the
11:43
bread
11:43
to
11:44
the
11:44
filling
11:44
of
11:45
millennium
11:45
actress
11:46
in
11:46
2001,
11:47
Tokyo
11:48
Godfathers
11:49
in
11:49
2003,
11:50
and
11:50
the
11:50
TV
11:50
series
11:51
Paranoia
11:51
Agent
11:52
in
11:52
2004.
11:54
Satoshi
11:54
Kon
11:55
had
11:55
been
11:55
an
11:55
assistant
11:55
to
11:56
Katsuhiro
11:56
Otomo
11:57
after
11:58
starting
11:58
out
11:58
as
11:58
a
11:59
manga
11:59
artist
11:59
in
12:00
his
12:00
college
12:00
years.
12:01
Otomo
12:02
created
12:02
Akira,
12:03
Both
12:03
the
12:04
original
12:04
1982
12:05
manga
12:05
and
12:05
the
12:05
1988
12:06
film
12:07
adaptation.
12:08
Often
12:08
cited
12:08
as
12:09
one
12:09
of
12:09
the
12:09
greatest
12:10
anime
12:10
movies
12:10
ever
12:11
made.
12:12
I
12:12
certainly
12:12
think
12:12
so.
12:13
It's
12:13
one
12:13
of
12:13
my
12:13
favorite.
12:14
I
12:14
have
12:14
done
12:14
an
12:14
episode
12:15
on
12:15
it
12:15
in
12:15
the
12:15
past,
12:16
a
12:16
long,
12:17
long
12:17
time
12:18
ago.
12:18
It
12:18
is
12:19
episode
12:19
28
12:21
in
12:21
1992.
12:22
Kon
12:22
worked
12:22
as
12:23
a
12:23
scriptwriter,
12:24
layout
12:24
artist
12:25
and
12:25
background
12:26
designer
12:26
for
12:27
the
12:27
Koji
12:27
Marimoto
12:28
directed
12:29
Magnetic
12:30
Rose,
12:30
which
12:30
was
12:31
one
12:31
of
12:31
three
12:31
short
12:32
films
12:32
in
12:32
Katsuhiro
12:33
Otomo's
12:34
omnibus
12:35
Memories,
12:35
which
12:36
was
12:36
released
12:36
in
12:36
1995,
12:38
and
12:38
Magnetic
12:39
Rose's
12:39
themes
12:40
of
12:40
blending
12:40
fiction
12:41
and
12:41
reality
12:42
would
12:42
be
12:42
something
12:42
that
12:43
became
12:43
prevalent
12:43
in
12:44
Kon's
12:44
work
12:44
going
12:45
forward.
12:46
In
12:46
Perfect
12:46
Blue,
12:47
Millennium
12:48
Actress,
12:48
Paranoia
12:49
Agent
12:50
and
12:50
Paprika,
12:51
the
12:51
boundary
12:51
between
12:52
fiction
12:52
and
12:52
reality
12:53
gradually
12:54
becomes
12:54
blurred.
12:55
Tokyo
12:56
Godfathers
12:57
is
12:57
really
12:57
the
12:57
only
12:57
one
12:58
of
12:58
his
12:58
movies
12:59
that's
12:59
more
12:59
grounded
13:00
in
13:00
reality.
13:01
Satoshi
13:02
Kon
13:02
wasn't
13:03
just
13:03
a
13:03
director,
13:04
nor
13:04
was
13:04
he
13:04
just
13:05
an
13:05
anime
13:05
director.
13:06
He
13:06
actually
13:07
set
13:07
out
13:07
to
13:08
make
13:08
genre
13:09
defining
13:09
animation.
13:10
He
13:11
loved
13:11
the
13:11
medium
13:12
of
13:12
animation
13:12
so
13:13
much,
13:13
and
13:13
he
13:13
believed
13:14
it
13:14
was
13:14
the
13:14
only
13:15
way
13:15
these
13:15
works
13:16
could
13:16
be
13:16
portrayed.
13:17
Perfect
13:18
Blue,
13:18
Millennium
13:19
Actress,
13:19
Tokyo
13:20
Godfathers,
13:21
Paprika
13:22
and
13:22
the
13:22
TV
13:22
show
13:23
Paranoia
13:23
Agent
13:24
made
13:24
it
13:25
clear
13:25
he
13:25
wanted
13:26
to
13:26
do
13:26
something
13:26
different.
13:27
He
13:27
wanted
13:28
animation
13:28
to
13:28
show
13:29
the
13:29
messiness
13:29
of
13:30
life,
13:30
to
13:30
show
13:31
imperfections
13:31
and
13:32
horror
13:32
as
13:33
well
13:33
as
13:33
beauty
13:34
and
13:34
fantasy.
13:35
Tokyo
13:36
Godfathers
13:37
is
13:37
very
13:37
much
13:38
a
13:38
Christmas
13:38
movie.
13:39
So
13:39
maybe
13:40
I'll
13:40
schedule
13:40
that
13:40
one
13:41
for
13:41
a
13:41
future
13:42
Christmas.
13:43
Khan
13:44
was
13:44
bold
13:44
and
13:45
distinctive.
13:45
He
13:45
valued
13:46
the
13:46
story
13:46
as
13:47
much
13:47
as
13:47
he
13:47
valued
13:48
visuals.
13:48
My
13:49
point
13:49
is
13:49
that
13:50
he
13:50
was
13:50
an
13:50
animation
13:51
pioneer
13:52
taken
13:52
far
13:52
too
13:53
soon.
13:54
He
13:54
originally
13:55
wanted
13:55
to
13:55
make
13:55
Paprika
13:56
straight
13:56
after
13:57
Perfect
13:57
Blue
13:58
in
13:58
1998,
13:59
which
13:59
he
14:00
had
14:00
made
14:00
with
14:00
production
14:01
company
14:01
Madhouse.
14:02
Madhouse
14:03
was
14:03
founded
14:03
by
14:04
Masuo
14:04
Maruyama,
14:05
a
14:05
film
14:06
producer
14:06
and
14:06
considered
14:07
one
14:07
of
14:07
the
14:07
most
14:07
experienced
14:08
in
14:08
the
14:08
Japanese
14:09
animation
14:09
industry.
14:10
He's
14:11
responsible
14:11
for
14:12
the
14:12
careers
14:12
of
14:12
not
14:12
only
14:13
Satoshi
14:13
Kon,
14:14
but
14:14
also
14:14
Academy
14:15
Award
14:15
nominated
14:16
director
14:16
Mamoru
14:17
Hasada.
14:19
The
14:19
1998
14:20
version
14:21
of
14:21
Paprika
14:22
wasn't
14:22
going
14:23
to
14:23
be
14:23
made
14:23
with
14:23
Madhouse,
14:24
but
14:24
with
14:24
the
14:25
producer
14:25
who
14:25
financed
14:26
Perfect
14:26
Blue.
14:27
That
14:27
company,
14:28
Rex
14:28
Entertainment,
14:29
then
14:30
went
14:30
bankrupt
14:31
and
14:31
Kon
14:32
instead
14:32
went
14:32
on
14:33
to
14:33
make
14:33
Millennium
14:33
Actress
14:34
and
14:34
Tokyo
14:35
Godfathers.
14:36
Due
14:36
to
14:36
the
14:37
small
14:37
scale
14:37
of
14:37
their
14:38
releases,
14:39
both
14:39
Millennium
14:39
Actress
14:40
and
14:40
Tokyo
14:41
Godfathers
14:42
had
14:42
a
14:42
hard
14:42
time
14:43
recouping
14:43
their
14:43
investment
14:44
funds.
14:45
But
14:45
by
14:45
then,
14:46
Kon's
14:46
name
14:46
had
14:47
become
14:47
so
14:47
well
14:47
known
14:48
in
14:48
the
14:48
film
14:48
industry,
14:49
by
14:49
the
14:49
time
14:50
of
14:50
his
14:50
next
14:50
project,
14:50
which
14:51
would
14:51
be
14:51
Paprika,
14:52
his
14:52
reputation
14:53
had
14:53
already
14:54
been
14:54
established,
14:54
so
14:55
that
14:55
actually
14:56
helped
14:56
the
14:56
film
14:56
get
14:57
produced.
14:58
Now,
14:58
Paprika
15:00
had
15:00
started
15:00
life
15:01
as
15:01
a
15:01
novel,
15:01
and
15:02
it
15:02
had
15:02
actually
15:02
originally
15:03
been
15:03
published
15:03
in
15:03
Marie
15:04
Claire
15:04
Japan
15:05
in
15:05
four
15:05
parts,
15:06
each
15:06
appearing
15:07
chronologically
15:08
in
15:08
January
15:09
1991,
15:10
March
15:11
1992,
15:12
August
15:13
1992
15:13
and
15:14
June
15:15
1993.
15:16
A
15:16
manga
15:17
adaptation
15:17
of
15:17
the
15:18
novel
15:18
was
15:18
created
15:19
by
15:19
Reiji
15:20
Hajiwara
15:21
in
15:21
1995,
15:22
but
15:22
that
15:22
actually
15:23
wasn't
15:23
published
15:23
until
15:24
2003.
15:26
It
15:26
would
15:26
be
15:26
2003
15:27
before
15:28
Paprika
15:28
would
15:29
pop
15:29
back
15:29
up
15:29
in
15:29
Satoshi
15:30
Kon's
15:30
radar
15:31
when
15:31
he
15:31
met
15:32
with
15:32
the
15:32
original
15:32
novel's
15:33
author,
15:33
Yasutaka
15:34
Tsutsui.
15:36
When
15:36
the
15:36
two
15:36
men
15:36
met,
15:37
Kon
15:37
was
15:38
in
15:38
production
15:38
on
15:38
the
15:39
TV
15:39
series
15:39
Paranoia
15:40
Agent
15:40
with
15:40
Madhouse,
15:41
and
15:42
they
15:42
were
15:42
thinking
15:42
on
15:42
a
15:42
project
15:43
that
15:43
they
15:43
could
15:43
realistically
15:44
begin
15:44
developing
15:45
after
15:46
the
15:46
completion
15:46
of
15:47
Paranoia
15:47
Agent.
15:48
Kon
15:49
had
15:49
been
15:49
a
15:49
huge
15:50
fan
15:50
of
15:50
Tsutsui's
15:51
novels,
15:52
including
15:52
Paprika,
15:53
and
15:54
he
15:54
was
15:54
fascinated
15:55
by
15:55
the
15:55
sense
15:55
of
15:56
the
15:56
fluctuating
15:56
relationship
15:57
between
15:57
dreams
15:58
and
15:58
reality.
15:59
He'd
16:00
already
16:00
depicted
16:00
similar
16:01
themes
16:01
between
16:01
the
16:01
blurring
16:02
of
16:02
fantasy
16:03
and
16:03
reality
16:03
in
16:04
Perfect
16:04
Blue
16:04
and
16:04
Millennium
16:05
Actress,
16:06
but
16:06
he
16:06
felt
16:06
a
16:07
strange
16:07
connection
16:07
to
16:07
the
16:08
themes
16:08
of
16:08
Paprika.
16:10
He
16:10
would
16:10
say
16:10
that
16:11
he
16:11
learned
16:11
from
16:11
Tsutsui's
16:12
works
16:13
to
16:13
question
16:13
the
16:14
framework
16:14
of
16:14
common
16:15
sense.
16:16
The
16:16
situation
16:17
between
16:17
Perfect
16:18
Blue
16:18
and
16:18
Paprika
16:19
couldn't
16:19
be
16:19
more
16:20
different.
16:21
Kon
16:21
rejected
16:22
the
16:22
original
16:22
screenplay
16:23
for
16:23
Perfect
16:23
Blue
16:24
by
16:24
the
16:24
novel's
16:25
original
16:25
author,
16:26
Yoshikazu
16:27
Takeuchi.
16:28
Takayuchi
16:29
agreed
16:29
to
16:29
allow
16:29
Kon
16:30
to
16:30
change
16:30
the
16:31
plot
16:31
within
16:31
limits
16:32
and
16:32
to
16:32
assign
16:33
a
16:33
new
16:33
screenwriter
16:34
to
16:34
the
16:34
project,
16:35
choosing
16:35
Sadayuki
16:36
Murai
16:37
and
16:37
working
16:37
closely
16:38
with
16:38
him
16:38
to
16:39
perfect
16:39
Perfect
16:40
Blue
16:41
for
16:41
Paprika.
16:42
Kon
16:42
has
16:42
always
16:43
said
16:43
he
16:43
would
16:43
not
16:44
have
16:44
made
16:44
the
16:44
film
16:44
without
16:45
author
16:45
Yasutaka
16:46
Satsui's
16:47
blessing,
16:48
and
16:48
meeting
16:48
Tsutsui
16:49
cemented
16:50
the
16:50
idea
16:50
in
16:50
his
16:51
mind
16:51
to
16:51
make
16:51
Paprika.
16:53
Unlike
16:53
Perfect
16:53
Blue,
16:54
where
16:54
Kon
16:54
made
16:55
fundamental
16:55
changes,
16:56
he
16:56
thought
16:57
Paprika
16:57
as
16:57
too
16:58
voluminous
16:58
to
16:58
fit
16:59
into
16:59
one
16:59
film
17:00
and
17:00
that
17:00
too
17:00
much
17:00
time
17:01
had
17:01
passed
17:01
since
17:01
his
17:02
publication
17:03
and
17:03
many
17:03
other
17:03
creators
17:04
had
17:04
used
17:04
the
17:05
ideas
17:05
and
17:05
imagery
17:06
from
17:06
the
17:06
original
17:07
book.
17:07
So
17:08
instead,
17:08
he
17:08
took
17:09
most
17:09
of
17:09
the
17:09
ideas
17:09
from
17:10
the
17:10
novel
17:10
as
17:11
well
17:11
as
17:11
Tatsui's
17:12
other
17:12
novels
17:13
and
17:13
used
17:13
them
17:14
to
17:14
fit
17:14
into
17:14
a
17:14
90
17:15
minute
17:15
story
17:16
where
17:16
he
17:16
created
17:17
new
17:17
images
17:17
to
17:17
visually
17:18
express
17:18
dreams.
17:19
Without
17:19
explanation,
17:21
he
17:21
would
17:21
say
17:21
in
17:21
a
17:22
2007
17:22
interview
17:23
with
17:23
Cinefantastique.
17:24
Quote.
17:25
To
17:25
me,
17:25
the
17:25
film
17:26
Paprika
17:26
is
17:27
not
17:27
simply
17:27
an
17:27
adaptation
17:28
of
17:28
the
17:28
original
17:29
novel,
17:29
but
17:30
also
17:30
an
17:30
homage
17:31
to
17:31
Sutsui's
17:32
work,
17:32
unquote.
17:34
When
17:34
it
17:34
came
17:34
to
17:34
adapting
17:35
the
17:35
story,
17:35
and
17:36
specifically
17:36
the
17:36
depiction
17:37
of
17:37
dreams,
17:37
or
17:38
indeed,
17:38
nightmares,
17:39
Kon
17:40
wanted
17:40
to
17:40
avoid
17:40
the
17:40
typical
17:41
dark
17:41
imagery
17:42
of
17:42
nightmare
17:43
scenes.
17:44
Instead,
17:44
he
17:45
chose
17:45
a
17:45
bright
17:46
and
17:46
colorful
17:46
parade.
17:47
He
17:47
wanted
17:48
something
17:48
so
17:48
cheerful
17:49
that
17:49
it
17:50
was
17:50
creepy.
17:51
And
17:51
the
17:51
parade,
17:51
with
17:52
its
17:52
bright
17:52
oranges,
17:53
reds,
17:53
golds
17:54
and
17:54
greens,
17:55
is
17:55
probably
17:55
the
17:56
one
17:56
singular
17:56
image
17:57
that
17:57
not
17:58
only
17:58
sums
17:58
up
17:58
this
17:59
movie,
17:59
it's
18:00
the
18:00
imagery
18:01
everyone
18:01
instantly
18:02
remembers
18:03
because
18:03
it's
18:03
so
18:04
bold
18:04
and
18:04
visceral.
18:05
He
18:06
decided
18:06
this
18:06
parade,
18:07
which
18:07
wasn't
18:08
present
18:08
in
18:08
Siri's
18:09
original
18:09
novel,
18:10
would
18:10
be
18:10
the
18:10
dream
18:11
that
18:11
flows
18:11
into
18:12
the
18:12
real
18:12
world
18:12
at
18:13
the
18:13
climax,
18:13
and
18:14
that
18:14
the
18:14
parade
18:15
would
18:15
follow
18:15
its
18:15
own
18:16
journey
18:16
from
18:16
the
18:17
desert,
18:17
where
18:17
it
18:17
starts,
18:18
through
18:19
to
18:19
the
18:19
city
18:19
where
18:19
it
18:20
ends
18:20
and
18:20
merges
18:21
into
18:21
the
18:21
real
18:22
city.
18:23
The
18:23
parade
18:23
features
18:24
a
18:24
variety
18:24
of
18:25
objects,
18:25
including
18:26
religious
18:26
items
18:27
like
18:27
shrine
18:28
gates
18:28
and
18:28
Buddhist
18:29
statues,
18:30
traditional
18:30
Japanese
18:31
images
18:31
like
18:31
beckoning
18:32
cats
18:32
and
18:32
daruma
18:33
dolls,
18:33
and
18:34
also
18:34
cars
18:35
and
18:35
home
18:35
appliances,
18:36
and
18:37
also,
18:37
bizarrely,
18:38
a
18:38
parade
18:38
of
18:38
frogs.
18:40
Most
18:40
of
18:40
these
18:40
items
18:41
were
18:41
selected
18:41
based
18:42
on
18:42
the
18:42
criteria
18:43
of
18:43
discarded
18:44
objects.
18:45
Kahn
18:45
wanted
18:46
to
18:46
use
18:46
this
18:46
as
18:46
an
18:47
example
18:47
of
18:47
religious
18:48
significance
18:48
diminishing
18:49
in
18:49
the
18:49
modern
18:50
era
18:50
and
18:50
consumerism.
18:52
The
18:52
traditional
18:53
religious
18:53
items
18:53
and
18:54
customs
18:54
have
18:54
lost
18:55
their
18:55
original
18:55
meaning
18:56
and
18:56
then
18:57
become
18:57
items
18:57
people
18:58
just
18:58
use
18:58
to
18:58
decorate
18:59
their
18:59
homes.
19:00
He
19:00
depicted
19:01
bridges
19:01
and
19:01
toasters
19:02
to
19:02
signify
19:02
the
19:03
period
19:03
of
19:03
economic
19:04
growth
19:05
and
19:05
the
19:05
idea
19:05
that
19:06
people
19:06
will
19:06
happily
19:06
replace
19:07
their
19:07
working
19:08
appliances
19:09
with
19:09
brand
19:09
new
19:10
versions
19:10
without
19:11
thinking
19:11
of
19:11
the
19:11
economic
19:12
and
19:12
environmental
19:13
cost.
19:14
This
19:14
stream
19:15
of
19:15
random
19:15
objects
19:16
depicts
19:16
how
19:17
in
19:17
our
19:17
unconscious
19:18
mind
19:18
contains
19:19
multiple
19:19
thoughts
19:20
and
19:20
ideas,
19:20
from
19:21
our
19:21
mundane
19:21
thoughts
19:22
of
19:22
ordinary
19:22
objects,
19:23
our
19:24
hobbies
19:24
to
19:25
myths,
19:25
religion,
19:26
science,
19:27
modern
19:27
culture
19:28
and
19:28
ideologies
19:29
which
19:29
stir
19:30
and
19:30
blend
19:31
together
19:31
in
19:31
a
19:31
chaotic
19:32
and
19:32
abstract
19:32
way
19:33
within
19:33
our
19:34
dreams.
19:35
Because
19:35
dreams
19:36
contain
19:36
no
19:36
logic,
19:37
even
19:38
you
19:38
are
19:38
not
19:39
yourself
19:39
in
19:40
dreams.
19:41
Kon
19:41
liked
19:42
to
19:42
write
19:42
with
19:42
pictures
19:43
rather
19:43
than
19:43
words.
19:44
So
19:44
instead
19:44
of
19:44
using
19:45
traditional
19:45
scripts,
19:46
he
19:46
used
19:47
meticulous
19:47
storyboards
19:48
to
19:48
construct
19:49
the
19:49
structure,
19:50
creating
19:50
lengthy
19:51
sections
19:51
with
19:51
ambiguous
19:52
transitions.
19:53
Character
19:54
designer
19:54
and
19:55
animation
19:55
director
19:56
Musashi
19:56
Ando,
19:57
best
19:57
known
19:58
for
19:58
his
19:58
work
19:58
on
19:58
Princess
19:59
Mononoke
20:00
and
20:00
later
20:00
your
20:01
Name
20:01
Art
20:02
director
20:02
Nobutaka
20:03
Iki,
20:04
writer
20:04
Seishi
20:05
Minakama
20:05
and
20:06
composer
20:06
Susumu
20:07
Hirasawa,
20:08
whose
20:08
sound
20:09
defined
20:09
Kon's
20:10
films
20:10
as
20:10
much
20:10
as
20:10
the
20:11
visual
20:11
style,
20:12
were
20:12
the
20:12
same
20:12
core
20:13
collaborators
20:13
he'd
20:14
used
20:14
for
20:14
years.
20:16
And
20:16
with
20:16
a
20:16
relatively
20:17
modest
20:17
budget
20:17
of
20:17
around
20:18
300
20:18
million
20:18
yen,
20:19
or
20:19
around
20:20
$2.6
20:21
million,
20:22
this
20:22
team
20:23
used
20:23
traditional
20:24
2G
20:24
and
20:24
CGI
20:26
as
20:26
a
20:26
hybrid
20:26
animation
20:27
style
20:27
and
20:28
compositing
20:28
technique
20:29
to
20:29
create
20:29
the
20:30
parade.
20:30
But
20:31
this
20:31
was
20:31
bought
20:31
not
20:32
only
20:32
for
20:32
visual
20:32
concepts,
20:33
but
20:34
in
20:34
direct
20:34
collaboration
20:35
with
20:35
Susui
20:36
Hirosawa's
20:37
music.
20:38
Satoshi
20:38
Kon
20:39
used
20:39
repetition,
20:40
layering
20:40
and
20:41
managed
20:41
chaos
20:42
to
20:42
create
20:43
overwhelming
20:43
movement
20:44
without
20:44
exhausting
20:45
the
20:45
animation
20:46
team.
20:47
The
20:47
result
20:47
is
20:47
one
20:47
of
20:47
the
20:48
most
20:48
recognizable
20:48
dream
20:49
sequences
20:49
ever
20:50
animated
20:50
and
20:51
also
20:51
one
20:51
of
20:52
the
20:52
most
20:52
beautiful.
20:53
The
20:53
animation
20:54
in
20:54
that
20:54
scene
20:54
is
20:55
absolutely
20:55
stunning.
20:56
The
20:57
whole
20:57
production
20:57
was
20:58
not
20:58
an
20:58
easy
20:58
one.
20:59
Paprika
21:00
took
21:00
two
21:00
and
21:00
a
21:00
half
21:01
years
21:01
from
21:01
planning
21:02
to
21:02
completion
21:03
and
21:03
makes
21:03
use
21:04
of
21:04
3D
21:04
modeled
21:05
environments
21:05
in
21:06
many
21:06
subtle
21:07
places.
21:08
And
21:08
it's
21:08
worth
21:09
noting
21:09
that
21:09
human
21:10
beings
21:10
and
21:10
characters
21:11
are
21:12
never
21:12
rendered
21:12
in
21:13
3D
21:13
models.
21:14
Paprika
21:14
is
21:15
a
21:15
great
21:15
example
21:15
of
21:16
traditional
21:16
hand
21:16
drawn
21:17
anime
21:18
that
21:18
relies
21:18
purely
21:19
on
21:19
the
21:19
hand
21:19
drawn
21:20
aesthetic.
21:20
But
21:21
also
21:21
Satoshi
21:22
Kon
21:22
and
21:22
Madhouse
21:23
were
21:23
specifically
21:24
strategic
21:25
about
21:25
when
21:26
and
21:26
where
21:26
to
21:26
use
21:26
cg.
21:27
They
21:28
primarily
21:28
used
21:28
it
21:29
for
21:29
specific
21:29
elements
21:29
that
21:30
would
21:30
be
21:30
extremely
21:31
difficult
21:31
or
21:32
time
21:32
consuming
21:33
to
21:33
animate
21:33
by
21:34
hand.
21:34
Things
21:35
like
21:35
complex
21:35
mechanical
21:36
movements,
21:37
architectural
21:38
elements,
21:38
crowd
21:39
scenes
21:39
and
21:40
certain
21:40
dream
21:40
sequences
21:41
where
21:41
reality
21:42
needed
21:42
to
21:42
feel
21:43
distorted
21:43
or
21:44
uncanny.
21:45
The
21:45
key
21:45
was
21:45
that
21:46
CG
21:46
was
21:46
used
21:46
as
21:47
a
21:47
tool
21:47
to
21:48
enhance
21:48
the
21:48
hand
21:49
drawn
21:49
animation,
21:50
not
21:50
replace
21:51
it.
21:52
Satoshi
21:52
Kon
21:53
saw
21:53
this
21:53
as
21:54
experimenting
21:54
with
21:55
a
21:55
technique
21:55
that
21:56
he
21:56
saw
21:56
would
21:57
become
21:57
even
21:57
more
21:57
prevalent
21:58
in
21:58
the
21:58
future.
21:59
And
21:59
wouldn't
22:00
you
22:00
know,
22:00
he
22:00
was
22:00
right
22:01
about
22:01
many
22:01
things.
22:02
And
22:02
Satoshi
22:03
Kon
22:03
during
22:03
his
22:04
lifetime
22:04
seemed
22:04
to
22:04
be
22:05
one
22:05
of
22:05
these
22:05
directors
22:06
that
22:06
could
22:06
easily
22:07
predict
22:07
the
22:07
future,
22:07
not
22:08
just
22:08
within
22:08
the
22:08
animation
22:09
industry
22:09
itself,
22:10
but
22:10
also
22:11
in
22:11
the
22:11
wider
22:11
world.
22:12
The
22:13
core
22:13
themes
22:13
Kon
22:14
focused
22:14
on
22:14
in
22:14
this
22:15
film
22:15
were
22:15
the
22:15
duality,
22:16
multifacetedness,
22:18
contrast
22:19
and
22:19
the
22:19
balance
22:19
of
22:20
things.
22:20
And
22:21
the
22:21
most
22:21
prominent
22:21
duality
22:22
in
22:22
Paprika
22:23
is
22:23
between
22:23
the
22:24
heroine,
22:24
Atsuko
22:25
Chiba,
22:25
and
22:26
Paprika.
22:28
Kon
22:28
saw
22:28
the
22:29
characters
22:29
as
22:29
a
22:30
person's
22:30
inner
22:30
conflict,
22:31
but
22:32
also
22:32
as
22:32
two
22:32
distinct
22:33
individuals.
22:34
Seeing
22:35
Atsuko
22:36
as
22:36
a
22:36
straight
22:36
laced
22:36
young
22:37
woman
22:37
who
22:37
follows
22:38
social
22:38
norms
22:38
and
22:39
and
22:39
suppresses
22:39
her
22:39
feelings
22:40
and
22:40
desires,
22:41
and
22:41
Paprika
22:42
as
22:43
emotional
22:43
and
22:43
unrestrained.
22:45
The
22:45
differences
22:45
between
22:46
the
22:46
two
22:47
leads
22:47
to
22:47
a
22:47
split,
22:48
which
22:48
then
22:49
leads
22:49
to
22:49
the
22:49
final
22:50
version.
22:50
A
22:51
mix
22:51
of
22:51
Atsuko
22:52
and
22:52
Paprika
22:53
together,
22:54
a
22:54
mature
22:55
version
22:55
of
22:56
the
22:56
two.
22:57
And
22:57
in
22:57
a
22:57
movie
22:58
full
22:58
of
22:58
great
22:58
ideas,
22:59
Atsuko
23:00
and
23:00
Paprika
23:01
are
23:01
one
23:01
of
23:01
the
23:01
best
23:02
in
23:02
that
23:02
everyone
23:03
has
23:03
these
23:03
multiple
23:04
facets
23:04
to
23:04
their
23:05
personalities.
23:06
Atsuko
23:07
struggles
23:07
between
23:07
who
23:08
she
23:08
wants
23:08
to
23:08
be
23:09
and
23:09
who
23:09
she
23:10
feels
23:10
she
23:10
ought
23:11
to
23:11
be.
23:11
Paprika
23:12
is
23:12
the
23:12
completely
23:13
unrestricted
23:14
version
23:14
of
23:14
herself.
23:15
But
23:15
that
23:16
version
23:16
only
23:16
exists
23:17
in
23:17
the
23:17
dream
23:18
world.
23:18
And
23:18
the
23:18
conflict
23:19
comes
23:19
from
23:20
Atsuko's
23:21
inability
23:21
to
23:22
embrace
23:22
that
23:22
version
23:23
in
23:23
reality.
23:24
Because
23:24
in
23:25
a
23:25
fairly
23:25
repressed
23:26
nation
23:26
like
23:26
Japan,
23:27
a
23:27
young
23:27
woman
23:28
really
23:28
can't
23:28
be
23:28
sexually
23:29
free
23:29
and
23:30
a
23:30
powerful
23:30
entity
23:30
in
23:31
her
23:31
own
23:31
right.
23:32
But
23:32
as
23:32
Paprika,
23:33
she
23:33
can
23:33
be
23:33
all
23:34
of
23:34
that
23:34
and
23:34
more.
23:36
Satoshi
23:36
Kon
23:37
needed
23:37
a
23:37
voice
23:37
actor
23:38
who
23:38
could
23:38
convincingly
23:39
play
23:39
both
23:39
characters
23:40
while
23:41
make
23:41
them
23:41
distinct
23:42
and
23:42
different.
23:43
Megumi
23:44
Hayashibara
23:45
had
23:45
had
23:45
a
23:45
lot
23:45
of
23:46
famous
23:46
roles
23:46
under
23:47
her
23:47
belt
23:47
from
23:48
hello
23:48
Kitty
23:49
in
23:49
hello
23:49
Kitty,
23:50
Faye
23:50
Valentine
23:51
in
23:51
Cowboy
23:52
Bebop,
23:52
Jessie
23:53
in
23:54
Pokemon,
23:54
Lina
23:55
Inverse
23:55
in
23:56
Slayers,
23:56
and
23:57
Rei
23:57
Ayanami
23:58
in
23:58
Neon
23:59
Genesis
23:59
Evangelion.
24:01
Khan
24:01
specifically
24:01
chose
24:02
voice
24:02
actors
24:03
who
24:03
were
24:03
well
24:03
known
24:04
and
24:04
who
24:04
fit
24:05
the
24:05
characters
24:05
images.
24:07
But
24:07
other
24:07
characters
24:08
also
24:08
have
24:09
these
24:09
dual
24:09
identities.
24:10
Detective
24:11
Konakawa
24:12
wanted
24:12
to
24:12
be
24:12
a
24:12
filmmaker,
24:13
but
24:13
ended
24:14
up
24:14
in
24:14
the
24:14
police
24:14
after
24:15
the
24:15
death
24:15
of
24:15
his
24:15
friend
24:16
and
24:16
the
24:16
resulting
24:17
repressed
24:17
memories
24:18
and
24:18
trauma
24:18
of
24:19
witnessing
24:19
a
24:19
murder.
24:20
Dr.
24:21
Kosaku
24:21
Tokita
24:22
is
24:22
a
24:22
gifted
24:23
inventor.
24:23
The
24:24
inventor
24:24
of
24:24
the
24:24
DC
24:25
Mini
24:25
is
24:26
somewhat
24:26
an
24:26
eternal
24:27
child
24:28
refusing
24:28
to
24:29
grow
24:29
up
24:29
and
24:29
take
24:30
accountability
24:30
for
24:31
his
24:31
life.
24:32
And
24:32
there
24:32
are
24:33
many
24:33
pieces
24:33
on
24:33
the
24:33
Internet
24:34
that
24:34
interpret
24:34
Paprika
24:35
through
24:35
the
24:35
perspective
24:36
of
24:36
Carl
24:36
Jung's
24:37
theories
24:37
on
24:38
psychology.
24:39
Jung's
24:40
approach
24:40
to
24:40
psychoanalysis
24:41
is
24:41
based
24:41
on
24:41
Sigmund
24:42
Freud's
24:43
long
24:43
standing
24:43
theories
24:44
that
24:44
conscious
24:45
human
24:45
behavior
24:45
can
24:46
be
24:46
explained
24:47
by
24:47
our
24:47
unconscious
24:48
drives,
24:48
which
24:49
often
24:49
manifest
24:50
in
24:50
the
24:50
forms
24:50
of
24:51
our
24:51
dreams.
24:53
Jung's
24:53
theories
24:53
were
24:54
based
24:54
around
24:54
his
24:54
model
24:55
of
24:55
the
24:55
psyche,
24:56
which
24:56
consists
24:57
of
24:57
the
24:57
ego,
24:58
Persona,
24:59
shadow,
25:00
anima
25:00
and
25:00
animus,
25:01
and
25:01
the
25:01
self.
25:02
The
25:03
ego
25:03
is
25:03
your
25:03
conscious
25:04
self,
25:04
your
25:04
personality.
25:06
The
25:06
Persona
25:06
is
25:07
the
25:07
version
25:07
of
25:07
yourself
25:08
that
25:08
you
25:08
project
25:08
to
25:09
the
25:09
world.
25:10
The
25:10
shadow
25:10
contains
25:11
your
25:11
repressed
25:12
personality
25:13
or
25:13
character
25:13
traits.
25:14
The
25:14
anima
25:15
and
25:15
animus
25:16
are
25:16
particular
25:17
archetypal
25:18
parts
25:18
of
25:18
the
25:18
shadow.
25:19
The
25:19
anima
25:20
consists
25:20
of
25:20
repressed
25:21
feminine
25:21
qualities
25:22
of
25:22
a
25:22
man,
25:23
while
25:23
the
25:23
animus
25:24
consists
25:24
of
25:24
repressed
25:25
masculine
25:25
qualities
25:26
of
25:26
a
25:26
woman.
25:27
Jung
25:28
believed
25:28
that
25:28
for
25:28
one
25:29
to
25:29
become
25:29
a
25:29
complete
25:30
version
25:30
of
25:30
oneself,
25:31
one
25:32
needs
25:32
to
25:32
integrate
25:33
the
25:33
unconscious
25:33
elements
25:34
of
25:34
the
25:34
psyche
25:35
into
25:35
the
25:35
conscious
25:36
self.
25:36
The
25:37
ego
25:37
needs
25:37
to
25:38
confront
25:38
and
25:38
integrate
25:39
the
25:39
shadow
25:39
and
25:40
other
25:40
unconscious
25:41
elements
25:41
of
25:41
the
25:41
psyche
25:42
into
25:42
itself.
25:43
This
25:43
completed
25:44
version
25:44
of
25:45
oneself,
25:45
once
25:45
a
25:46
person's
25:46
conscious
25:47
and
25:47
unconscious
25:48
elements
25:48
have
25:48
been
25:48
united,
25:49
is
25:50
called
25:50
the
25:50
self.
25:51
It's
25:51
a
25:51
representation
25:52
of
25:53
the
25:53
psyche
25:53
as
25:54
a
25:54
whole.
25:55
Jung
25:56
believed
25:56
that
25:56
dreams
25:57
were
25:57
the
25:57
medium
25:57
which
25:57
the
25:58
unconscious
25:58
uses
25:59
to
25:59
communicate
25:59
with
25:59
us.
26:00
Which
26:00
is
26:00
why
26:01
dreams
26:01
are
26:01
frankly
26:02
weird,
26:02
with
26:03
no
26:03
real
26:03
sense
26:03
of
26:04
comprehension
26:04
and
26:04
are
26:05
usually
26:05
random,
26:06
including
26:06
random
26:07
people,
26:07
and
26:07
often
26:08
have
26:08
no
26:08
meaning.
26:09
Psychologists
26:10
believe
26:10
that
26:11
the
26:11
nonsensical
26:11
depictions
26:12
of
26:12
our
26:12
dreams
26:13
are
26:13
meant
26:13
to
26:14
convey
26:14
something
26:14
meaningful,
26:16
something
26:16
silently
26:17
unconscious.
26:18
Merchant
26:19
Paprika's
26:19
dream
26:20
imagery
26:20
is
26:20
set
26:21
around
26:21
cinema.
26:22
And
26:22
that's
26:22
no
26:22
accident
26:23
either.
26:24
French
26:24
psychoanalysis
26:25
Jacques
26:26
Lacan's
26:26
mirror
26:27
theory
26:27
is
26:27
widely
26:28
regarded
26:28
as
26:29
the
26:29
central
26:29
reference
26:29
point
26:30
for
26:30
the
26:30
emergence
26:30
of
26:31
psychoanalytical
26:32
film
26:32
theory.
26:33
And
26:33
this
26:33
is
26:33
why
26:34
babies
26:34
are
26:34
involved.
26:36
Lacan's
26:36
theory
26:37
stems
26:37
from
26:37
observing
26:38
babies
26:39
aged
26:39
6
26:39
to
26:39
18
26:40
months
26:40
who
26:41
recognize
26:41
their
26:42
reflections
26:42
in
26:42
the
26:42
mirror
26:43
as
26:43
a
26:43
whole
26:43
person,
26:44
but
26:45
as
26:45
another
26:45
person.
26:46
Babies
26:47
of
26:47
this
26:47
age
26:47
will
26:47
regularly
26:48
mimic
26:48
older
26:49
children
26:49
and
26:49
adults
26:50
as
26:50
they
26:50
develop
26:51
an
26:51
ego
26:51
by
26:52
assuming
26:52
their
26:52
mirror
26:53
image
26:53
is
26:53
another
26:54
human
26:54
being.
26:55
So
26:55
when
26:55
we
26:55
see
26:56
babies
26:56
performing
26:57
adult
26:57
acts
26:58
like
26:58
cooking,
26:59
cleaning,
26:59
fixing
27:00
their
27:00
toys,
27:00
or
27:01
even
27:01
looking
27:01
after
27:02
their
27:02
own
27:02
baby
27:02
dolls,
27:03
who
27:03
they
27:04
see
27:04
as
27:04
actual
27:05
babies,
27:05
we
27:06
are
27:06
able
27:06
to
27:06
see
27:06
how
27:07
babies
27:07
egos
27:08
let
27:08
them
27:08
assume
27:09
they
27:09
are
27:09
equal
27:10
to
27:10
adults.
27:11
Using
27:11
the
27:12
infant's
27:12
mirror
27:12
as
27:12
a
27:13
foundation,
27:13
Lacan
27:14
goes
27:14
on
27:15
to
27:15
show
27:15
how
27:15
the
27:15
cinema
27:16
screen
27:16
is
27:16
similar
27:16
to
27:17
the
27:17
mirror.
27:18
We
27:18
might
27:18
not
27:18
see
27:18
an
27:19
exact
27:19
reflection
27:20
of
27:20
ourselves
27:20
on
27:20
the
27:20
screen,
27:21
but
27:21
we
27:22
might
27:22
come
27:22
across
27:22
characters
27:23
who
27:24
have
27:24
characteristics
27:25
that
27:25
are
27:25
similar
27:25
to
27:26
ours,
27:26
that
27:27
we
27:27
feel
27:27
like
27:27
we
27:27
can
27:28
relate
27:28
to,
27:29
even
27:29
though
27:29
they're
27:29
fictional
27:30
beings
27:31
or
27:31
characters
27:31
we
27:32
aspire
27:32
to
27:32
be
27:33
like,
27:33
or
27:33
even
27:33
characters
27:34
who
27:34
look
27:34
like
27:35
us.
27:36
Representation
27:36
is
27:37
important,
27:37
and
27:37
seeing
27:38
people
27:38
of
27:38
color
27:39
or
27:39
any
27:39
marginalized
27:40
group
27:40
on
27:40
screen
27:41
can
27:41
elicit
27:42
those
27:42
feelings.
27:44
That
27:44
doesn't
27:44
mean
27:44
everything
27:45
we
27:45
see
27:45
on
27:45
screen
27:46
is
27:46
something
27:46
we
27:46
like
27:47
or
27:47
that
27:47
we
27:47
can
27:47
relate
27:48
to.
27:48
Paprika
27:49
contains
27:50
some
27:50
really
27:50
creepy
27:51
scenes
27:51
as
27:51
well
27:51
as
27:52
disturbing
27:52
scenes,
27:53
almost
27:53
as
27:54
if
27:54
the
27:54
bright
27:54
colors
27:55
mask
27:55
the
27:55
darkness
27:56
within.
27:57
Con
27:57
would
27:58
say
27:58
that
27:58
sexual
27:59
metaphor
27:59
and
27:59
metonymy
28:00
were
28:01
necessary
28:01
as
28:01
part
28:02
of
28:02
the
28:02
plot,
28:03
since
28:03
dreams
28:03
reflect
28:04
suppressed
28:04
sexual
28:05
desires.
28:06
Much
28:06
of
28:07
Paprika
28:07
is
28:07
metaphorical
28:08
than
28:09
literal,
28:10
but
28:10
there's
28:10
a
28:11
scene
28:11
in
28:11
particular,
28:11
which
28:12
is
28:12
an
28:12
implied
28:13
rape
28:13
scene,
28:14
where
28:14
Morio
28:14
Asanai
28:15
puts
28:16
his
28:16
hand
28:16
literally
28:17
under
28:17
Paprika's
28:18
skin,
28:18
starting
28:19
at
28:19
her
28:19
abdomen,
28:20
and
28:20
rips
28:20
it
28:21
off
28:21
her.
28:22
He
28:22
doesn't
28:22
desire
28:23
Paprika
28:23
and
28:23
Atsuko
28:24
as
28:24
a
28:24
whole,
28:25
but
28:25
lusts
28:26
after
28:26
the
28:26
more
28:27
submissive
28:27
Atsuko
28:28
part,
28:29
resulting
28:29
in
28:29
him
28:30
forcibly
28:30
extracting
28:31
Atsuko
28:32
from
28:32
Paprika's
28:33
body.
28:34
Again,
28:34
animation
28:35
not
28:36
just
28:36
for
28:36
children.
28:37
And
28:38
the
28:38
final
28:38
shot
28:38
of
28:39
the
28:39
movie.
28:39
Konakawa,
28:40
after
28:41
literally
28:41
facing
28:42
his
28:42
demons,
28:43
finally
28:43
makes
28:44
peace
28:44
with
28:44
his
28:45
past,
28:45
and
28:45
Paprika
28:46
recommends
28:47
he
28:47
go
28:47
to
28:47
the
28:47
cinema
28:48
to
28:48
watch
28:48
a
28:48
movie.
28:49
Kon's
28:50
own
28:50
movies,
28:51
Perfect
28:51
Blue
28:52
Millennium
28:52
Actress
28:53
and
28:53
Tokyo
28:54
Godfathers,
28:54
are
28:55
showing.
28:55
But
28:55
Paprika
28:56
recommends
28:57
Dreaming
28:57
Kids,
28:58
and
28:58
Konakawa
28:59
buys
28:59
a
28:59
ticket.
29:00
This
29:01
movie
29:01
is
29:01
full
29:01
of
29:02
movie
29:02
imagery
29:03
and
29:03
the
29:03
idea
29:04
of
29:04
films
29:04
being
29:04
made
29:05
of
29:05
dreams.
29:06
Dreaming
29:07
kids
29:07
may
29:07
not
29:08
be
29:08
real,
29:08
but
29:09
it
29:09
would
29:09
tease
29:09
his
29:10
next
29:10
film,
29:11
Dreaming
29:11
Machine,
29:12
set
29:13
in
29:13
a
29:13
fanciful
29:13
future
29:14
with
29:14
an
29:14
all
29:14
robot
29:15
cast,
29:15
which
29:16
was
29:16
in
29:16
production
29:17
before
29:17
his
29:17
death.
29:18
After
29:18
his
29:19
passing,
29:19
production
29:20
continued
29:20
at
29:20
Madhouse,
29:21
where
29:21
the
29:22
team
29:22
used
29:22
Conn's
29:23
directorial
29:23
tapes
29:24
and
29:24
notes
29:25
to
29:25
guide
29:25
them
29:25
to
29:26
complete
29:26
the
29:26
film,
29:27
although
29:27
the
29:27
main
29:27
works
29:28
such
29:28
as
29:28
storyboards
29:29
and
29:29
script
29:29
were
29:30
already
29:30
completed.
29:31
In
29:31
August
29:32
2011,
29:33
Madhouse
29:34
founder
29:34
and
29:34
producer
29:35
Masayo
29:35
Maruyuma
29:36
revealed
29:37
that
29:37
the
29:37
production
29:38
of
29:38
Dreaming
29:39
Machine
29:39
had
29:39
been
29:39
canceled
29:40
due
29:40
to
29:41
lack
29:41
of
29:41
finances.
29:43
600
29:43
of
29:43
the
29:44
1500
29:44
shots
29:45
had
29:45
been
29:45
animated.
29:47
In
29:47
August
29:48
2018,
29:48
Maruyama
29:49
revealed
29:49
that
29:49
the
29:50
movie
29:50
would
29:50
never
29:50
be
29:51
completed
29:51
or
29:52
released
29:52
in
29:52
the
29:53
foreseeable
29:53
future,
29:54
as
29:54
there
29:54
were
29:55
no
29:55
Japanese
29:55
animation
29:56
directors
29:57
that
29:57
could
29:57
match
29:58
Kon's
29:58
level
29:59
of
29:59
ability.
30:00
Paprika
30:01
was
30:01
Kon's
30:02
dream
30:02
project,
30:03
and
30:04
if
30:04
you
30:04
have
30:04
to
30:04
leave
30:05
anywhere,
30:05
leave
30:06
on
30:06
high.
30:07
It
30:07
was
30:07
so
30:08
satisfying
30:08
that
30:09
Kon
30:09
called
30:09
Paprika
30:10
the
30:10
final
30:11
word
30:11
in
30:12
his
30:12
reality
29:16
versus
30:13
Fantasy
30:13
theme.
30:14
But
30:15
I
30:15
often
30:15
feel
30:16
we'll
30:16
always
30:16
be
30:17
left
30:17
with
30:17
a
30:17
sense
30:17
of
30:18
what
30:18
if?
30:20
What
30:20
if
30:20
Satoshi
30:21
Kon
30:21
had
30:21
lived?
30:22
What
30:22
else
30:23
could
30:23
he
30:23
have
30:23
done
30:23
in
30:24
his
30:24
lifetime?
30:25
What
30:25
would
30:25
he
30:26
be
30:26
doing
30:26
right
30:26
now?
30:27
And
30:27
I
30:28
really
30:28
genuinely
30:28
feel
30:29
like
30:29
this
30:30
was
30:30
a
30:30
director
30:31
who
30:31
only
30:31
would
30:32
have
30:32
made
30:32
bigger
30:32
and
30:33
bigger
30:33
movies
30:33
and
30:33
more
30:34
important
30:34
movies
30:35
in
30:35
his
30:35
lifetime,
30:36
and
30:36
I
30:36
genuinely
30:37
believe
30:38
he
30:38
would
30:38
have
30:38
won
30:38
an
30:39
Oscar
30:39
at
30:39
some
30:40
point
30:40
in
30:40
his
30:40
life.
30:41
Speaking
30:42
of
30:42
Oscars,
30:42
or
30:43
indeed
30:43
lack
30:43
of
30:44
Oscars,
30:45
it's
30:45
time
30:45
to
30:45
segue
30:46
into
30:46
the
30:46
obligatory
30:47
Keanu
30:48
reference
30:48
for
30:48
this
30:48
episode.
30:49
And
30:49
if
30:49
you
30:49
don't
30:49
know
30:49
what
30:50
that
30:50
is,
30:50
that's
30:50
why
30:51
I
30:51
try
30:51
and
30:51
link
30:51
every
30:51
movie
30:52
that
30:52
I
30:52
feature
30:52
with
30:52
Keanu
30:53
Reeves
30:53
for
30:54
no
30:54
reason
30:54
other
30:55
than
30:55
I
30:55
really
30:56
like
30:56
the
30:56
guy
30:56
and
30:56
I
30:56
think
30:56
he's
30:57
great
30:57
and
30:57
he
30:57
is
30:58
the
30:58
best
30:58
of
30:58
men.
30:59
And
30:59
this
30:59
was
30:59
a
30:59
really
30:59
interesting
31:00
one
31:00
actually,
31:01
because
31:01
Keanu
31:02
Reeves
31:03
has
31:03
actually
31:03
starred
31:04
in
31:04
a
31:04
rotoscoped
31:05
animated
31:06
version
31:06
of
31:07
Philip
31:07
K.
31:07
Dick's
31:08
A
31:08
Scanner
31:08
Darkly,
31:09
which
31:10
is
31:10
also
31:10
about
31:11
identity
31:11
and
31:12
deception,
31:13
but
31:13
it's
31:13
also
31:14
about
31:14
drug
31:14
addiction.
31:15
So
31:15
kind
31:15
of
31:15
not
31:16
the
31:16
same
31:16
thing.
31:17
A
31:17
Scanner
31:17
Darkly
31:18
was
31:18
directed
31:18
by
31:19
Richard
31:19
Linklater,
31:20
and
31:20
it's
31:20
well
31:20
worth
31:21
the
31:21
watch,
31:21
actually,
31:21
if
31:22
you're
31:22
a
31:22
fan
31:22
of
31:22
Philip
31:23
K.
31:23
Dick
31:23
or
31:23
Richard
31:24
Linklater.
31:25
It
31:25
was
31:25
also
31:25
covered
31:26
in
31:26
episode
31:26
150
31:27
of
31:27
this
31:27
podcast.
31:29
But
31:29
this
31:29
is
31:29
probably
31:30
the
31:30
easiest
31:30
way
31:30
to
31:31
link
31:31
Keanu
31:31
Reeves
31:32
to
31:32
this
31:32
movie.
31:33
In
31:33
particular,
31:34
I've
31:35
mentioned
31:35
it
31:35
a
31:35
couple
31:35
of
31:36
times.
31:36
The
31:36
score
31:36
for
31:36
Paprika
31:37
was
31:37
composed
31:37
by
31:38
Susu
31:38
Hirasawa,
31:40
and
31:40
when
31:40
Satoshi
31:41
Kon
31:41
was
31:41
asked
31:42
who
31:42
the
31:42
biggest
31:42
influence
31:43
on
31:43
his
31:43
visual
31:43
style
31:44
was,
31:45
he
31:45
chose
31:45
Susumu
31:46
Hirosawa's
31:47
music,
31:47
and
31:48
Kon
31:48
had
31:48
been
31:48
a
31:49
fan
31:49
of
31:49
the
31:49
composer
31:50
for
31:50
20
31:50
years
31:51
and
31:51
loved
31:52
his
31:52
melodies,
31:53
lyrics
31:53
and
31:53
vocals,
31:54
but
31:54
mostly
31:55
how
31:55
Hirosawa
31:56
portrayed
31:57
the
31:57
coexistence
31:57
of
31:58
opposites
31:58
like
31:59
myth
31:59
and
31:59
science.
32:00
In
32:01
many
32:01
ways,
32:01
Hirosawa's
32:02
music
32:02
defined
32:03
Kon's
32:03
films
32:04
as
32:04
much
32:04
as
32:04
his
32:05
visual
32:05
style
32:05
did.
32:06
Hirosawa
32:07
built
32:07
many
32:07
of
32:08
his
32:08
instruments
32:08
himself
32:09
and
32:09
used
32:09
Amiga
32:10
computers
32:11
extensively
32:11
in
32:12
his
32:12
work.
32:13
The
32:13
soundtrack
32:14
for
32:14
Paprika
32:14
is
32:15
notable
32:15
for
32:15
being
32:16
one
32:16
of
32:16
the
32:16
first
32:16
film
32:17
scores
32:17
to
32:18
use
32:18
Vocaloid
32:19
for
32:19
vocals.
32:20
It's
32:20
also
32:20
the
32:20
last
32:21
of
32:21
Hirosawa's
32:22
albums
32:22
where
32:23
an
32:23
Amiga
32:24
computer
32:24
was
32:24
used
32:25
for
32:25
composition.
32:26
The
32:27
world
32:27
premiere
32:28
of
32:28
Paprika
32:29
took
32:29
place
32:29
at
32:29
the
32:29
63rd
32:30
Venice
32:31
International
32:31
Film
32:32
Festival
32:32
on
32:32
2
32:33
September
32:34
2006,
32:35
followed
32:35
by
32:36
screenings
32:36
at
32:37
the
32:37
44th
32:37
New
32:38
York
32:38
Film
32:38
Festival
32:39
on
32:39
7
32:40
October
32:41
2006
32:42
and
32:42
the
32:42
19th
32:43
Tokyo
32:43
International
32:44
Film
32:44
Festival
32:45
between
32:45
the
32:45
21st
32:46
to
32:46
29th
32:47
October
32:48
2006,
32:49
where
32:49
it
32:49
quickly
32:50
gained
32:50
attention
32:50
as
32:51
an
32:51
art
32:51
house
32:52
anime.
32:53
When
32:53
Paprika
32:54
finally
32:54
was
32:54
released
32:55
in
32:55
Japanese
32:55
cinemas
32:56
on
32:56
25
32:57
November
32:58
2006,
32:59
it
32:59
did
32:59
so
33:00
in
33:00
just
33:00
three
33:01
cinemas
33:01
in
33:01
the
33:01
Kanto
33:02
region.
33:03
Despite
33:03
the
33:04
limited
33:04
release,
33:05
it
33:05
remained
33:05
in
33:06
cinemas
33:06
for
33:06
eight
33:06
weeks
33:07
and
33:07
gradually
33:08
expanded
33:09
through
33:09
word
33:09
of
33:09
mouth.
33:10
In
33:11
the
33:11
US
33:11
the
33:12
film
33:12
received
33:12
a
33:12
limited
33:13
release
33:13
on
33:14
24
33:14
May
33:15
2007.
33:16
It
33:16
was
33:17
initially
33:17
released
33:17
in
33:18
only
33:18
two
33:18
cinemas,
33:19
one
33:19
in
33:20
New
33:20
York
33:20
City
33:20
and
33:21
one
33:21
in
33:21
Los
33:21
Angeles,
33:22
but
33:22
it
33:22
was
33:22
gradually
33:23
expanded
33:24
to
33:24
37
33:25
screens.
33:26
It
33:26
eventually
33:26
expanded
33:27
to
33:27
80
33:28
Art
33:28
House
33:28
cinemas,
33:29
which
33:29
was
33:29
a
33:30
rarity
33:30
in
33:30
the
33:30
US
33:31
for
33:31
anime
33:31
releases
33:32
in
33:32
the
33:32
mid
33:32
2000s.
33:33
And
33:33
let
33:34
alone
33:34
R
33:34
rated
33:35
anime,
33:36
Paprika
33:37
would
33:37
end
33:38
up
33:38
earning
33:38
$882,267
33:42
in
33:42
the
33:42
US
33:43
and
33:43
65
33:45
$578
33:47
internationally
33:48
for
33:48
a
33:48
total
33:48
worldwide
33:49
gross
33:50
excluding
33:50
Japan
33:51
of
33:52
$967,432.
33:57
It
33:58
currently
33:58
sits
33:58
at
33:59
87%
33:59
on
33:59
Rotten
34:00
Tomatoes.
34:01
With
34:01
a
34:01
critical
34:02
consensus
34:02
of
34:03
following
34:03
its
34:04
own
34:04
branded
34:05
logic,
34:05
Paprika
34:06
is
34:06
an
34:06
eye
34:06
opening
34:07
mind
34:07
trip
34:08
that
34:08
is
34:08
difficult
34:08
to
34:09
follow
34:09
but
34:09
never
34:10
fails
34:10
to
34:10
dazzle.
34:12
Actor
34:12
Elijah
34:13
Wood
34:13
is
34:13
a
34:13
fan
34:14
of
34:14
the
34:14
movie.
34:14
He
34:14
praised
34:15
it
34:15
in
34:15
an
34:15
interview.
34:16
Time
34:17
included
34:17
it
34:17
in
34:17
its
34:18
top
34:18
25
34:18
animated
34:19
films
34:19
of
34:19
all
34:20
time.
34:20
TimeOut
34:21
included
34:21
it
34:22
in
34:22
its
34:22
top
34:22
50
34:23
animated
34:23
films
34:23
of
34:23
all
34:24
time.
34:24
Rotten
34:25
Tomatoes
34:25
included
34:26
it
34:26
in
34:26
its
34:26
list
34:27
of
34:27
50
34:27
Best
34:28
Animated
34:28
Films
34:28
of
34:29
all
34:29
time.
34:30
Newsweek
34:30
included
34:31
it
34:31
in
34:31
its
34:31
top
34:32
20
34:32
films
34:33
of
34:33
2007,
34:34
Metacritic
34:35
listing
34:36
it
34:36
among
34:36
the
34:36
top
34:36
25
34:37
highest
34:38
rated
34:38
science
34:39
fiction
34:39
films
34:39
of
34:40
all
34:40
time
34:41
and
34:41
Also
34:41
the
34:41
top
34:42
30
34:42
highest
34:43
rated
34:43
animations
34:44
of
34:44
all
34:44
time.
34:45
And
34:46
you'll
34:46
be
34:46
unsurprised
34:47
to
34:47
know
34:47
that
34:48
a
34:48
live
34:48
action
34:48
adaptation
34:49
of
34:49
Paprika
34:50
has
34:51
been
34:51
in
34:51
the
34:52
works
34:52
since
34:53
the
34:53
late
34:54
2000s.
34:55
The
34:55
first
34:55
was
34:56
the
34:56
supposed
34:56
to
34:56
be
34:57
directed
34:57
by
34:57
Wolfgang
34:58
Peterson.
34:59
It
34:59
was
34:59
in
34:59
development
35:00
in
35:00
2009
35:02
that
35:02
never
35:02
went
35:02
anywhere.
35:03
In
35:03
August
35:04
of
35:04
2022
35:05
it
35:06
was
35:06
reported
35:06
that
35:06
Cathy
35:07
Yan
35:07
would
35:08
direct
35:08
and
35:08
executively
35:09
produce
35:10
a
35:10
live
35:10
action
35:11
TV
35:11
adaptation
35:12
of
35:13
Yasutaka
35:13
Sutsui's
35:14
original
35:15
1993
35:16
novel
35:16
for
35:17
Amazon.
35:18
However,
35:18
Amazon
35:19
declined
35:19
to
35:19
comment
35:20
and
35:20
it's
35:20
not
35:21
listed
35:21
on
35:21
Cathy
35:22
Yan's
35:22
upcoming
35:23
projects
35:23
on
35:23
IMDb.
35:25
So
35:25
honestly,
35:26
I
35:26
don't
35:26
think
35:26
it'll
35:27
ever
35:27
happen.
35:27
And
35:27
I
35:27
don't
35:28
think
35:28
it
35:28
can
35:28
happen
35:29
because
35:29
I
35:29
don't
35:30
think
35:30
any
35:31
version
35:31
of
35:31
Paprika
35:32
can
35:32
be
35:32
adapted
35:32
into
35:33
live
35:33
action.
35:34
Not
35:34
successfully
35:35
anyway,
35:36
and
35:36
not
35:36
as
35:37
well
35:37
as
35:37
Satoshi
35:38
Kon
35:38
did
35:38
it.
35:39
So
35:39
I'd
35:39
be
35:40
remiss
35:40
if
35:40
I
35:40
didn't
35:40
talk
35:41
about
35:41
the
35:41
Elephant
35:41
in
35:42
the
35:42
Room,
35:42
which
35:43
is
35:43
Christopher
35:44
Nolan's
35:44
2010
35:45
sci
35:45
fi
35:46
action
35:46
movie
35:46
Inception.
35:48
And
35:48
Much
35:48
of
35:49
the
35:49
online
35:49
discussion
35:50
surrounding
35:50
Paprika
35:51
often
35:52
mentions
35:52
Inception,
35:53
and
35:54
many
35:54
critics
35:55
and
35:55
scholars
35:55
note
35:56
the
35:56
similarities
35:56
between
35:57
the
35:57
two
35:57
movies.
35:58
Similarities
35:59
in
35:59
plot,
36:00
scenes,
36:01
and
36:01
characters.
36:02
Some
36:03
sources
36:03
claim
36:03
that
36:04
Nolan
36:04
has
36:05
admitted
36:05
Paprika's
36:06
influence
36:07
on
36:07
Inception,
36:08
but
36:08
bizarrely,
36:09
there
36:10
are
36:10
no
36:10
published
36:10
quotes
36:11
from
36:11
the
36:11
director
36:12
confirming
36:12
this.
36:13
But
36:13
Paprika
36:14
is
36:14
so
36:15
much
36:15
more
36:15
than
36:15
the
36:15
blueprint
36:16
for
36:16
Inception.
36:17
Khan
36:18
was
36:18
a
36:18
filmmaker
36:19
known
36:19
for
36:19
his
36:19
dream
36:20
logic
36:20
before
36:21
even
36:21
truly
36:21
tackling
36:22
the
36:22
subject
36:22
of
36:22
dreams.
36:23
His
36:24
way
36:24
of
36:24
editing
36:24
his
36:25
movies
36:25
made
36:26
them
36:26
feel
36:26
dreamlike,
36:27
even
36:27
if
36:28
dreams
36:28
weren't
36:28
a
36:29
part
36:29
of
36:29
the
36:29
plot.
36:30
Paprika,
36:31
like
36:31
all
36:31
of
36:32
his
36:32
movies,
36:32
is
36:32
about
36:33
identity
36:34
manifesting
36:35
in
36:35
dreams,
36:36
and
36:36
Inception
36:37
is
36:37
a
36:37
dream
36:38
heist.
36:39
So
36:39
yes,
36:39
there
36:39
are
36:39
similarities
36:40
between
36:40
Paprika
36:41
and
36:41
Inception,
36:42
but
36:42
they
36:43
are
36:43
very
36:43
different
36:44
movies
36:44
and
36:44
they're
36:45
very
36:45
separate
36:45
movies.
36:46
And
36:46
I
36:46
don't
36:47
really
36:47
think
36:48
that
36:48
it's
36:48
fair
36:48
to
36:49
Paprika
36:50
to
36:50
always
36:50
talk
36:50
about
36:51
Inception,
36:51
and
36:52
I
36:52
don't
36:52
think
36:52
it's
36:52
necessarily
36:53
fair
36:53
for
36:53
Inception
36:54
to
36:55
have
36:55
people
36:55
always
36:55
talking
36:56
about
36:56
Paprika.
36:57
They
36:57
are
36:57
very
36:57
different.
36:58
They
36:58
just
36:59
both
36:59
happen
36:59
to
37:00
be
37:00
set
37:00
in
37:00
dreams.
37:01
Honestly,
37:02
I
37:02
prefer
37:02
Paprika
37:03
to
37:03
Inception.
37:04
I
37:04
think
37:04
Inception
37:05
is
37:05
a
37:05
fine
37:05
movie.
37:06
I
37:06
haven't
37:07
actually
37:07
done
37:07
any
37:07
Christopher
37:08
Nolan
37:08
movies
37:08
on
37:09
this
37:09
podcast
37:09
yet,
37:09
so
37:10
maybe
37:10
Inception
37:11
should
37:11
be
37:11
a
37:11
future
37:12
episode,
37:12
but
37:12
I
37:13
really
37:13
think
37:13
it's
37:13
unnecessary
37:14
to
37:14
compare
37:14
them.
37:14
They
37:15
are
37:15
so
37:15
very
37:16
different
37:17
apart
37:17
from
37:17
the
37:18
corridor
37:18
scene
37:19
and
37:19
apart
37:19
from
37:19
dreams.
37:20
But
37:20
even
37:20
the
37:21
corridor
37:21
scenes
37:21
are.
37:22
Yes,
37:22
they're
37:22
set
37:22
in
37:23
corridors,
37:23
but
37:23
they
37:24
are
37:24
very
37:24
different
37:25
scenes.
37:26
But
37:26
one
37:26
similarity
37:27
between
37:27
Paprika
37:28
and
37:28
Inception
37:29
that
37:29
we
37:29
can
37:29
agree
37:29
on
37:30
is
37:30
that
37:31
both
37:31
are
37:31
fan
37:32
favorite
37:32
movies.
37:33
Christopher
37:34
Nolan
37:34
fans
37:35
really
37:35
love
37:35
Inception,
37:36
and
37:36
Satoshi
37:37
Kon
37:37
fans
37:38
really
37:38
Love
37:38
Paprika.
37:40
Paprika
37:40
is
37:41
often
37:41
referred
37:41
to
37:41
online
37:42
as
37:43
the
37:43
trippiest
37:44
anime
37:44
ever
37:44
made.
37:45
And
37:45
when
37:45
we
37:46
talk
37:46
about
37:46
animation
37:47
that
37:47
is
37:47
not
37:48
just
37:48
for
37:48
children
37:49
or
37:49
that
37:49
does
37:50
offer
37:50
something
37:50
different
37:51
to
37:51
the
37:51
traditional
37:52
genre
37:52
archetypes
37:53
that
37:53
we
37:53
often
37:53
see
37:54
in
37:54
animation.
37:55
It's
37:55
often
37:55
mentioned
37:56
alongside
37:57
films
37:57
like
37:57
Akira,
37:58
Spirited
37:59
Away
37:59
and
37:59
Ghost
38:00
in
38:00
the
38:00
Shell.
38:00
And
38:01
to
38:01
be
38:01
honest,
38:01
all
38:01
of
38:01
these
38:02
movies
38:02
are
38:02
up
38:02
there
38:03
as
38:03
some
38:03
of
38:03
the
38:03
greatest
38:04
animated
38:04
movies
38:04
ever
38:05
made.
38:06
Paprika
38:06
was
38:07
the
38:07
first
38:07
Satoshi
38:08
Kon
38:08
movie
38:08
that
38:08
I
38:08
saw,
38:09
and
38:09
even
38:10
after
38:10
rewatches,
38:11
I
38:11
still
38:11
don't
38:12
understand
38:12
it
38:12
and
38:13
I
38:13
probably
38:13
never
38:13
will.
38:14
And
38:14
that's
38:14
fine.
38:15
But
38:15
sometimes
38:16
the
38:16
mark
38:16
of
38:16
a
38:16
great
38:17
movie
38:17
is
38:17
remembering
38:18
it.
38:18
And
38:19
the
38:19
images
38:19
in
38:19
Paprika
38:20
are
38:21
burned
38:21
into
38:21
my
38:22
skull.
38:22
There's
38:23
a
38:23
quote
38:23
from
38:23
the
38:23
movie
38:24
where
38:24
Paprika
38:25
says
38:25
the
38:26
Internet
38:26
and
38:26
dreams
38:27
are
38:27
similar.
38:27
They're
38:28
areas
38:28
where
38:28
the
38:29
repressed,
38:29
conscious
38:30
mind
38:30
escapes.
38:31
Twenty
38:31
years
38:32
ago,
38:32
Satoshi
38:33
Kon
38:33
predicted
38:34
keyboard
38:34
warriors
38:34
and
38:35
rage
38:35
bait.
38:36
But
38:36
in
38:36
all
38:37
seriousness,
38:37
this
38:38
is
38:38
a
38:38
movie
38:38
ahead
38:39
of
38:39
its
38:39
time.
38:39
Like
38:40
Perfect
38:40
Blue
38:41
predicted
38:41
parasocial
38:42
relationships,
38:43
Paprika
38:43
speaks
38:44
of
38:44
dreams,
38:45
of
38:45
being
38:45
free,
38:45
of
38:46
oppression
38:46
in
38:46
dreams,
38:47
of
38:47
being
38:47
yourself,
38:48
of
38:49
identity,
38:50
of
38:50
sexuality
38:51
and
38:51
pure
38:51
escapism.
38:52
The
38:52
sort
38:53
of
38:53
escapism
38:54
movies
38:54
and
38:55
the
38:55
Internet
38:55
give
38:55
us.
38:56
The
38:56
sort
38:56
of
38:56
escapism
38:57
I
38:57
get
38:58
from
38:58
this
38:58
podcast.
39:00
Satoshi
39:00
Kon
39:01
was
39:01
known
39:01
for
39:01
his
39:01
editing
39:02
and
39:02
his
39:02
imagery,
39:03
and
39:03
Paprika
39:04
is
39:04
a
39:04
masterclass
39:05
at
39:05
both
39:06
the
39:06
repeating
39:07
motif
39:07
of
39:07
the
39:07
parade,
39:08
the
39:08
flitting
39:09
between
39:09
dreams
39:09
and
39:10
the
39:10
real
39:10
world.
39:11
This
39:11
is
39:11
a
39:11
movie
39:12
that
39:12
can
39:12
only
39:13
be
39:13
depicted
39:14
in
39:14
animation.
39:15
A
39:15
live
39:15
action
39:15
version
39:16
of
39:16
Paprika
39:17
simply
39:17
wouldn't
39:18
work.
39:18
Sorry,
39:19
Kathy
39:19
Ann.
39:20
Dreams
39:20
have
39:21
been
39:21
depicted
39:21
many
39:22
times
39:22
in
39:22
live
39:22
action,
39:23
but
39:23
Paprika's
39:24
visuals
39:24
are
39:24
the
39:25
key
39:25
to
39:25
its
39:25
memorability.
39:27
Inception's
39:27
dream
39:28
worlds
39:28
are
39:28
nothing
39:29
like
39:29
the
39:29
bright,
39:30
colorful,
39:31
grotesque,
39:32
unreliable,
39:33
muddled,
39:34
illogical,
39:35
wonderful,
39:36
I'm
39:36
going
39:36
to
39:36
say
39:37
it.
39:37
Cartoonish
39:38
nature
39:38
of
39:39
our
39:39
dreams.
39:40
Personally,
39:41
I've
39:42
never
39:42
dreamt
39:42
about
39:42
structured
39:43
cityscapes.
39:45
2010
39:45
saw
39:46
a
39:46
further
39:46
boom
39:47
to
39:47
Paprika's
39:47
reputation.
39:48
After
39:49
the
39:49
release
39:49
of
39:50
inception
39:50
in
39:51
2010,
39:52
many
39:52
viewers
39:52
pointed
39:53
out
39:53
the
39:53
similarities
39:54
which
39:54
brought
39:54
Paprika
39:55
further
39:56
into
39:56
the
39:56
mainstream
39:57
film
39:57
conversation.
39:58
And
39:59
then,
39:59
a
39:59
mere
40:00
month
40:00
later,
40:01
the
40:01
death
40:01
of
40:01
Satoshi
40:02
Kon
40:02
shone
40:03
new
40:03
light
40:04
onto
40:04
his
40:04
works.
40:05
Over
40:05
time,
40:06
Paprika
40:07
became
40:07
part
40:07
of
40:07
cinema
40:08
retrospectives,
40:09
academic
40:10
discussions
40:10
on
40:10
surrealism,
40:12
media
40:12
psychology
40:13
and
40:13
the
40:13
nature
40:14
of
40:14
dreams.
40:14
Paprika
40:15
was
40:15
studied
40:16
in
40:16
film
40:16
schools,
40:17
screened
40:17
in
40:18
museum
40:18
theaters,
40:19
and
40:19
it's
40:19
treasured
40:20
by
40:20
anime
40:20
fans
40:21
worldwide.
40:22
It's
40:22
also
40:22
taken
40:23
an
40:23
active
40:23
role
40:23
in
40:24
how
40:24
Kon's
40:24
career
40:25
is
40:25
remembered.
40:25
Since
40:26
his
40:26
death.
40:27
It's
40:27
frequently
40:28
regarded
40:28
as
40:28
the
40:28
pinnacle
40:29
of
40:29
his
40:30
philosophical
40:30
and
40:31
visual
40:31
ideas
40:32
rather
40:32
than
40:33
his
40:33
most
40:33
approachable
40:34
piece
40:34
of
40:35
work.
40:36
Paprika
40:37
demonstrates
40:38
how
40:38
far
40:38
animation
40:39
can
40:39
describe
40:40
dreamlike
40:40
worlds
40:41
without
40:41
sacrificing
40:42
narrative
40:43
coherence,
40:44
especially
40:44
while
40:45
working
40:45
under
40:46
commercial
40:46
production
40:47
limits.
40:48
I
40:48
don't
40:48
think
40:48
any
40:49
movies
40:49
portray
40:50
as
40:50
accurately
40:51
the
40:51
weirdness
40:51
of
40:52
our
40:52
dreams
40:52
that
40:52
Paprika
40:53
does.
40:54
It's
40:54
so
40:54
special,
40:55
and
40:55
if
40:55
you've
40:55
not
40:56
seen
40:56
it
40:56
and
40:56
you've
40:57
got
40:57
this
40:57
far
40:57
in
40:57
this
40:57
episode,
40:58
you
40:58
really
40:59
need
40:59
to
40:59
see
41:00
it
41:00
to
41:00
fully
41:01
appreciate
41:02
all
41:02
of
41:02
this.
41:03
I'm
41:03
gesturing
41:04
in
41:04
the
41:04
air
41:05
all
41:05
of
41:05
this,
41:07
because
41:07
one
41:07
of
41:07
the
41:07
things
41:07
Paprika
41:08
does
41:08
best
41:09
is
41:09
invite
41:10
engagement.
41:11
If
41:12
you
41:12
have
41:12
seen
41:12
it,
41:13
what
41:13
do
41:14
you
41:14
think
41:14
it's
41:14
about?
41:15
What
41:15
did
41:15
you
41:16
take
41:16
away
41:16
from
41:16
Paprika?
41:17
What
41:18
do
41:18
you
41:18
love
41:18
about
41:19
the
41:19
movie?
41:20
What
41:20
do
41:20
you
41:20
not
41:21
like
41:21
about
41:21
the
41:21
movie?
41:22
And
41:22
I
41:22
think
41:23
this
41:23
is
41:23
why
41:23
the
41:23
movie
41:24
has
41:24
continued
41:25
to
41:25
endure,
41:25
and
41:26
this
41:26
is
41:26
why
41:26
the
41:26
movie
41:27
is
41:27
so
41:28
popular,
41:28
especially
41:29
with
41:29
Internet
41:29
communities
41:30
and
41:30
fan
41:30
boards,
41:31
because
41:32
people
41:32
love
41:32
to
41:33
talk
41:33
about
41:33
this
41:33
movie.
41:34
It
41:34
means
41:34
whatever
41:35
it
41:35
means
41:36
to
41:36
whoever
41:36
watches
41:37
it,
41:37
and
41:37
it
41:37
means
41:38
different
41:38
things
41:38
to
41:39
whoever
41:39
watches
41:39
it.
41:40
Many
41:40
critics
41:41
love
41:41
this
41:41
movie,
41:42
but
41:42
one
41:43
critic
41:43
in
41:43
particular
41:44
stood
41:45
out
41:45
to
41:45
me,
41:45
and
41:46
that
41:46
was
41:46
us
41:46
Village
41:47
Voice
41:47
critic
41:47
Rob
41:48
Nelson,
41:49
and
41:49
he
41:49
overall
41:50
actually
41:50
admired
41:51
the
41:51
film
41:51
and
41:51
its
41:52
imagery.
41:53
But
41:53
his
41:53
comment
41:53
is
41:54
really
41:54
interesting
41:54
because
41:55
he
41:55
said
41:56
that
41:56
it
41:56
was
41:57
not
41:57
a
41:57
movie
41:58
that's
41:58
meant
41:58
to
41:58
be
41:58
understood
41:59
so
42:00
much
42:00
as
42:00
simply
42:00
experienced
42:02
or
42:02
maybe
42:02
dreamed.
42:04
And
42:04
I
42:04
think
42:05
that's
42:05
the
42:05
best
42:06
way
42:06
to
42:06
describe
42:06
Paprika,
42:07
a
42:08
dream
42:08
movie,
42:09
Satoshi
42:10
Kon's
42:10
literal
42:11
dream
42:11
project
42:12
made
42:13
by
42:13
a
42:13
dream
42:13
director
42:14
who
42:15
loved
42:15
animation
42:16
so
42:16
much
42:16
he
42:17
made
42:17
dream
42:18
movies
42:19
before
42:19
he
42:19
passed
42:20
and
42:20
now
42:20
somewhat
42:21
exists
42:21
only
42:22
in
42:22
dreams.
42:24
Paprika,
42:25
it's
42:26
just
42:26
a
42:26
dream
42:28
thank
42:28
you
42:28
for
42:29
listening.
42:29
As
42:29
always,
42:29
I
42:29
would
42:30
love
42:30
to
42:30
hear
42:30
your
42:30
thoughts
42:30
on
42:30
Paprika
42:31
and
42:32
thank
42:32
you
42:32
for
42:32
your
42:33
continued
42:33
support
42:34
of
42:34
this
42:34
podcast.
42:35
If
42:36
you
42:36
want
42:36
to
42:36
show
42:37
your
42:37
support
42:37
in
42:37
multiple
42:38
different
42:38
ways,
42:39
you
42:39
could
42:39
leave
42:39
a
42:39
rating
42:40
or
42:40
review
42:40
wherever
42:41
you
42:41
found
42:41
this
42:41
podcast.
42:42
You
42:42
could
42:43
tell
42:43
your
42:43
friends
42:43
and
42:43
family
42:43
about
42:44
this
42:44
podcast
42:45
or
42:45
you
42:46
can
42:46
find
42:46
me
42:46
and
42:47
follow
42:47
me
42:47
on
42:47
social
42:48
media
42:48
and
42:48
you
42:48
can
42:49
share
42:49
the
42:49
podcast
42:49
that
42:50
way.
42:50
I
42:51
am
42:51
@Verbal
42:51
Diorama.
42:52
You
42:53
can
42:53
share
42:53
posts
42:54
like
42:54
posts,
42:54
comment
42:55
on
42:55
posts.
42:56
It
42:56
all
42:56
helps
42:56
really
42:57
to
42:57
get
42:57
the
42:57
word
42:58
out
42:58
there
42:58
and
42:58
to
42:58
hopefully
42:59
get
43:00
other
43:00
people
43:00
to
43:00
know
43:01
this
43:01
podcast
43:01
and
43:02
know
43:02
what
43:02
I've
43:02
been
43:03
doing.
43:03
I
43:03
genuinely
43:04
love
43:04
doing
43:04
this
43:05
podcast
43:05
and
43:06
anything
43:06
you
43:06
could
43:06
do
43:06
to
43:07
help
43:07
would
43:07
be
43:08
so
43:08
appreciated.
43:09
If
43:10
you
43:10
like
43:10
this
43:10
episode
43:11
on
43:11
Paprika,
43:12
I
43:12
would
43:12
also
43:12
recommend
43:13
the
43:13
following
43:13
movies
43:14
and
43:14
episodes
43:15
of
43:15
this
43:15
podcast.
43:16
I'm
43:16
going
43:16
to
43:16
start
43:17
with
43:17
episode
43:17
77,
43:18
which
43:18
is
43:19
a
43:19
movie
43:19
called
43:19
Your
43:20
Name.
43:20
It's
43:21
actually
43:21
one
43:21
of
43:21
the
43:21
more
43:22
popular
43:22
anime
43:23
episodes
43:23
that
43:23
I've
43:24
done
43:24
on
43:24
this
43:24
podcast
43:25
and
43:25
it's
43:25
a
43:26
beautiful
43:26
movie
43:27
and
43:27
I
43:28
always
43:28
like
43:28
to
43:28
recommend
43:29
your
43:29
name.
43:30
And
43:30
the
43:31
other
43:31
Satoshi
43:32
Kon
43:32
episode
43:32
that
43:33
I
43:33
did
43:33
where
43:34
I
43:34
called
43:34
him
43:34
Satoshi
43:35
Kon
43:35
throughout
43:35
the
43:36
whole
43:36
episode
43:37
that
43:37
is
43:37
episode
43:37
191,
43:38
Perfect
43:39
Blue,
43:40
which
43:40
is
43:40
another
43:41
remarkably
43:41
prescient
43:42
movie
43:42
in
43:42
so
43:43
many
43:43
ways.
43:43
When
43:44
we
43:44
talk
43:44
about
43:45
pop
43:45
idols
43:46
and
43:46
actresses
43:47
and
43:47
celebrities
43:48
and
43:49
celebrity
43:49
culture
43:50
and
43:50
parasocial
43:50
relationships,
43:51
it
43:52
is
43:52
all
43:52
contained
43:53
within
43:53
Perfect
43:54
Blue.
43:54
It
43:54
is
43:55
such
43:55
a
43:55
fantastic
43:56
movie.
43:56
I
43:56
would
43:56
also
43:57
highly
43:57
recommend
43:57
you
43:58
watch
43:58
that
43:58
too.
43:59
As
43:59
always,
43:59
give
43:59
me
44:00
feedback.
44:00
Let
44:00
me
44:01
know
44:01
what
44:01
you
44:01
think
44:01
of
44:01
my
44:02
recommendations.
44:04
So
44:04
the
44:04
next
44:04
episode
44:05
of
44:05
animation
44:05
season
44:06
and
44:06
animation
44:07
season
44:07
continues
44:08
with
44:08
four
44:09
teenagers,
44:10
immigrants
44:11
to
44:11
the
44:11
US
44:12
living
44:12
with
44:13
their
44:13
adoptive
44:13
father,
44:14
trying
44:14
to
44:15
find
44:15
their
44:15
place
44:15
in
44:16
a
44:16
world
44:16
that
44:16
doesn't
44:17
seem
44:17
to
44:17
like
44:17
their
44:18
kind.
44:19
And
44:19
they
44:19
love
44:19
pizza.
44:21
Seven
44:21
theatrical
44:22
films
44:22
about
44:22
them
44:23
had
44:23
already
44:23
been
44:23
made,
44:24
including
44:25
the
44:25
highest
44:25
grossing
44:26
independent
44:26
film
44:27
of
44:27
all
44:27
time
44:28
at
44:28
the
44:28
time.
44:29
This
44:29
movie
44:30
rebooted
44:31
the
44:31
four
44:31
and
44:32
for
44:32
the
44:32
first
44:32
time
44:32
cast
44:33
actual
44:33
teenagers
44:34
in
44:34
the
44:34
roles.
44:35
Oh,
44:36
and
44:36
did
44:36
I
44:36
mention
44:37
they're
44:37
turtles.
44:39
Teenage
44:39
Mutant
44:40
Ninja
44:40
Turtles
44:40
to
44:41
be
44:41
exact.
44:41
And
44:42
Mutant
44:42
Mayhem
44:43
came
44:44
out
44:44
in
44:44
2023
44:45
seemingly
44:45
out
44:46
of
44:46
nowhere
44:46
and
44:47
was
44:47
an
44:47
absolute
44:48
joy.
44:49
3D
44:49
animated
44:50
to
44:50
look
44:50
like
44:51
a
44:51
2D
44:51
painting.
44:52
It's
44:52
one
44:52
of
44:53
those
44:53
movies
44:53
you
44:53
can
44:53
cite
44:54
as
44:54
proving
44:54
that
44:55
CG
44:55
animation
44:56
doesn't
44:56
need
44:57
to
44:57
look
44:57
like
44:57
CG
44:58
animation.
44:59
So
44:59
join
45:00
me
45:00
next
45:00
week
45:00
for
45:00
the
45:01
history
45:01
and
45:01
legacy
45:02
of
45:02
Teenage
45:03
Mutant
45:03
Ninja
45:04
Turtles.
45:04
Mutant
45:05
Mayhem.
45:06
A
45:06
huge
45:06
thank
45:07
you
45:07
to
45:07
the
45:07
amazing
45:07
patrons
45:08
of
45:08
this
45:08
podcast
45:09
to
45:10
Simon,
45:10
Laurel,
45:11
Derek,
45:11
Kat,
45:12
Andy,
45:13
Mike,
45:13
Luke,
45:14
Michael,
45:14
Scott,
45:15
Brendan,
45:15
Ian,
45:16
Lisa,
45:16
Sam,
45:17
Jack,
45:17
Dave,
45:18
Stuart,
45:18
Nicholas,
45:19
so
45:19
Kev,
45:20
Heather,
45:20
Danny,
45:21
Stuart,
45:22
Brett,
45:22
Philip
45:23
M.
45:23
Zenos,
45:23
Sean,
45:24
Rhino,
45:25
Philip
45:25
K,
45:25
Adam,
45:26
Elaine,
45:27
Kyle,
45:27
Aaron,
45:28
and
45:28
Sebastian.
45:29
If
45:30
you
45:30
want
45:30
to
45:30
get
45:30
in
45:30
touch,
45:30
you
45:31
can
45:31
email
45:31
verbaldiora@gmail.com
45:34
you
45:34
can
45:35
also
45:35
go
45:35
to
45:35
the
45:35
website
45:35
verbaldiorama.com
45:37
and
45:37
you
45:38
can
45:38
fill
45:38
out
45:38
the
45:38
contact
45:39
form.
45:39
You
45:40
can
45:40
say
45:40
hello,
45:40
you
45:40
can
45:41
give
45:41
feedback,
45:41
or
45:41
you
45:42
can
45:42
give
45:42
suggestions.
45:43
I
45:43
would
45:43
genuinely
45:44
love
45:44
to
45:44
hear
45:44
from
45:45
you.
45:45
You
45:45
can
45:45
also
45:45
DM
45:46
me
45:46
on
45:46
social
45:46
media
45:47
as
45:47
well.
45:48
I
45:48
really
45:48
love
45:48
to
45:48
hear
45:49
from
45:49
people
45:49
and
45:49
I
45:49
always
45:50
try
45:50
to
45:50
respond
45:51
as
45:51
quickly
45:51
as
45:51
possible.
45:52
I'm
45:52
hugely
45:53
grateful
45:53
to
45:53
you
45:53
all
45:54
for
45:54
your
45:54
support.
45:55
And
45:55
finally
47:29
Bye.