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Paprika, The Dream Never Ends · May The Review Be With You

0:00
Speaker 1: Nobody remembers what happens in this film. Just like you said,
0:03
Speaker 1: you know, it's a dream.
0:06
Speaker 2: Hello and welcome to made the review.
0:08
Speaker 1: Be with you with Nick and Joe and I'm Nick.
0:12
Speaker 1: Today we are talking about Paprika, which is celebrating its
0:15
Speaker 1: twentieth anniversary this year. Paprika is a Japanese animated film
0:22
Speaker 1: about dreams, and yeah, we're gonna get in all that.
0:27
Speaker 3: I'm actually just quick thought.
0:28
Speaker 1: After watching this for the first time, I'm pretty sure
0:33
Speaker 1: that I'm dreaming and that the movie is one big
0:38
Speaker 1: dream within a dream within a dream within a dream.
0:42
Speaker 1: I don't know if reality even exists in my head.
0:46
Speaker 1: Hurt the whole time, but apparent. What's that truth? Baby,
0:52
Speaker 1: It's crazy, It's unbelivable, it's it's truly insane for its time,
0:58
Speaker 1: very renowned for the animation. The animation is insane and
1:01
Speaker 1: so cool and so well done.
1:03
Speaker 2: Are you like it looks better than some stuff we
1:05
Speaker 2: see today? Like it's crazy?
1:08
Speaker 1: It does? Yeah, it truly holds up. And what I
1:12
Speaker 1: appreciate about it is the runtime.
1:13
Speaker 2: Dude.
1:14
Speaker 1: It's an hour and a half and it's just like
1:17
Speaker 1: crazy fast paced.
1:19
Speaker 2: For those who don't know Nick, Nick is not. He's
1:23
Speaker 2: not anti animation, he's just it's not necessarily like his
1:26
Speaker 2: flavor of choice. And on this podcast, I have definitely
1:28
Speaker 2: subjected him to quite a few animations. Thanks for being
1:32
Speaker 2: a good sport. Sometimes Joe just like makes me do it.
1:35
Speaker 3: I don't have a choice.
1:36
Speaker 1: This is This didn't feel completely like one of those.
1:39
Speaker 1: I did have a choice, and I agreed. The hour
1:41
Speaker 1: and a half made it, made it helpful. It was enjoyable, though,
1:44
Speaker 1: and truly insane. Like in my notes, I think three
1:49
Speaker 1: to four different times I have written, oh wait, we're
1:54
Speaker 1: still dreaming, like because every time I thought we had
1:57
Speaker 1: left the dream and then twenty minutes later, we're still there,
2:00
Speaker 1: and I'm just like, when.
2:01
Speaker 2: When do we leave?
2:03
Speaker 1: So that's that's Paprika, That's what Paprika.
2:05
Speaker 2: Is, right, And and yeah, Joe also the rugout from
2:09
Speaker 2: under you quite a bit in that movie.
2:11
Speaker 3: Quite a bit.
2:12
Speaker 1: Joe's has just seen this a couple of times, and
2:14
Speaker 1: so I'm interested to see your thoughts the second time being.
2:18
Speaker 2: Oh yeah, I mean, we'll get more into this movie later.
2:22
Speaker 2: But like at the first time I saw this movie,
2:23
Speaker 2: I think it was like twenty eleven. I was in
2:25
Speaker 2: college and I had heard about it from a friend.
2:29
Speaker 2: We decided to take a look at it because I
2:31
Speaker 2: had heard and we'll get into this too. I'd heard
2:34
Speaker 2: that there were similarities between this and Inception, and I
2:38
Speaker 2: was not prepared for this film. I don't think I
2:44
Speaker 2: knew I liked it the first time. I couldn't tell
2:47
Speaker 2: you what it is that I liked about it, though,
2:48
Speaker 2: because like looking back when I rewatched it for this show, man,
2:53
Speaker 2: I feel like I didn't remember almost anything. It was
2:57
Speaker 2: almost kind of like when you try to recall a
2:59
Speaker 2: dream and you can't remember any of the details. Like
3:01
Speaker 2: I remembered the ending and that that was kind of it.
3:04
Speaker 2: So watching a second and third time for this, I
3:08
Speaker 2: have a whole new appreciation for this film. It is
3:10
Speaker 2: it is. I knew I liked it. It is better
3:12
Speaker 2: than I remembered it being not not that it is
3:15
Speaker 2: without flaws, but man, it is. It is a I
3:20
Speaker 2: dare say, it is a brilliant piece of work. It
3:21
Speaker 2: is really really well done. But uh, you know, we
3:26
Speaker 2: do have a tradition on this show of the fifteen
3:30
Speaker 2: second summary, in which one of us has to embarrass
3:32
Speaker 2: ourselves with trying to repeat the plot in a concise
3:36
Speaker 2: manner within fifteen seconds, and it's Nick's turn to do
3:40
Speaker 2: it today. How we doing, how we feeling.
3:43
Speaker 1: It's very unfortunate for me. That's gonna be terrible.
3:45
Speaker 2: It really is, like what what an insane film to
3:48
Speaker 2: try and like capture fifteen seconds.
3:50
Speaker 1: It's not it's not great. I have I have an
3:52
Speaker 1: idea of how I'm gonna handle this, though, So whenever
3:54
Speaker 1: you're ready.
3:54
Speaker 2: I'm excited for the strategy. All right, are we ready? Three?
3:59
Speaker 2: Two one Paprika.
4:01
Speaker 1: Paprica follows a doctor who and scientists who have created
4:05
Speaker 1: this DC minute device to help therapists go within dreams.
4:09
Speaker 1: The doctor has an alter ego named Paprika, and throughout
4:12
Speaker 1: the film, it's dream within a dream within a dream,
4:14
Speaker 1: so much that you forget what's going on in the film,
4:16
Speaker 1: Like it wasn't.
4:18
Speaker 2: You're welcome, you know what. We didn't get to the
4:24
Speaker 2: climax of the film, But honestly, I don't even think
4:26
Speaker 2: the climax. Like the climax is great. It's obviously necessary,
4:29
Speaker 2: but like, if you were just trying to give me
4:30
Speaker 2: some bare bones like notes for this story, give that
4:33
Speaker 2: about a C C minus. I think that works. Give
4:37
Speaker 2: you a I'll give you a C plus you you
4:40
Speaker 2: better get DC Mini in there at.
4:42
Speaker 3: Least a B. You know, I mean, it's definitely not
4:44
Speaker 3: a bee.
4:44
Speaker 2: You didn't even get to the conflict. It's not a bee.
4:46
Speaker 1: Nobody remembers what happens in this film, just like you said, you.
4:50
Speaker 3: Know, it's a dream. The movie your dream, and you completely.
4:54
Speaker 1: Forgot what happened because too much happens. And it's fine.
4:59
Speaker 2: So let's recap it for real now, please? Uh? I
5:05
Speaker 2: mean would you would you like to?
5:07
Speaker 1: No?
5:08
Speaker 3: Absolutely not?
5:09
Speaker 2: This is your real so something so I I love uh.
5:16
Speaker 2: I love film noir, I love mysteries, right, and this
5:19
Speaker 2: movie is very much like an anime noir in a way.
5:23
Speaker 2: Where as you pointed out, Nick, we have this doctor
5:27
Speaker 2: believe she's supposed to be a psychologist who works at
5:30
Speaker 2: this uh, this firm that has other psychologists but also
5:33
Speaker 2: like an R and D department like like they also
5:36
Speaker 2: have like six scientific research going on with psychoanalysts, uh,
5:42
Speaker 2: including the DC mini that you brought up, which allows
5:44
Speaker 2: people to share dreams with each other and they can
5:48
Speaker 2: be in each other's dream are Our doctor has an
5:50
Speaker 2: alter ego, pep Rika that he unmasks herself and allows
5:54
Speaker 2: herself to be in these dreams. But the DC mini
5:57
Speaker 2: is stolen. We don't know who has stolen it. But
6:01
Speaker 2: as as this happens, the perpetrator is committing acts of
6:06
Speaker 2: terrorism by forcing dreams upon people. Uh and it starts
6:11
Speaker 2: to blur the lines of reality and dreams and truth
6:14
Speaker 2: and fiction, and eventually all hell breaks loose towards me
6:20
Speaker 2: and there is no line between reality and fiction until
6:24
Speaker 2: our heroin, Paprika and actually the uh Mexico the main heroine,
6:32
Speaker 2: they become one one person and they save the day, right,
6:34
Speaker 2: and they bring us all to reality and we all
6:37
Speaker 2: take a greater truth, appreciating what dreams can teach us
6:42
Speaker 2: about sums it up thirty minutes later.
6:44
Speaker 1: That's a that's a much better summary than what I gave.
6:46
Speaker 1: Not gonna lie, you're you're screwed from the start. Fifteen
6:49
Speaker 1: seconds is not enough to describe Pepki, not even close.
6:52
Speaker 1: And just to correct you real quick, it was three
6:54
Speaker 1: different DC minis, right, not.
6:56
Speaker 2: Just one three DC minis. Yeah.
6:58
Speaker 1: Yeah, so they're they're kind of like going throughout trying
7:01
Speaker 1: to find all three of those, which maybe that's the
7:04
Speaker 1: reason why I wrote down weight they're still dreaming multiple
7:06
Speaker 1: times because technically they had to find three of those
7:08
Speaker 1: and they had to go into dreams to do that.
7:10
Speaker 1: I believe, if I remember current directly kind of this
7:14
Speaker 1: is this is correct. Yes, you wanted to touch on
7:20
Speaker 1: your different view from the original time you watched it
7:22
Speaker 1: and to now right, because it's been I don't know
7:25
Speaker 1: how many years in between your original watching this this
7:27
Speaker 1: recent one.
7:28
Speaker 2: I care not to date myself that way, but it's
7:32
Speaker 2: been let's say it's been over ten years. But in
7:36
Speaker 2: any case, Yeah, I think the first time I watched
7:38
Speaker 2: this film, I definitely saw it as a you know,
7:41
Speaker 2: a very creative film, right. I think, like, you know,
7:44
Speaker 2: my first surface glance of it was like, okay, cool,
7:47
Speaker 2: it's a movie about dreams and we get to see
7:50
Speaker 2: the wackiness of what it would be like to enter
7:54
Speaker 2: each other's dreams and then some of the nightmares terror
7:56
Speaker 2: that comes with that, right when I did not appreciate
8:01
Speaker 2: really and I think that I think this is the
8:04
Speaker 2: bigger takeaway from the film is what what the director
8:08
Speaker 2: Satoshi Khan is trying to tell us through this film
8:14
Speaker 2: that all of us, like as adults, we all wear
8:19
Speaker 2: these masks in our day to day lives, right, and
8:24
Speaker 2: we suppressed these these happy, this happy imaginative joy of
8:32
Speaker 2: like childhood, right as we carry on with our day
8:36
Speaker 2: to day lives as we know have to be these adults. Right.
8:39
Speaker 2: And I think one of the beauty are the beauty
8:42
Speaker 2: of this film is showing us this appreciation that we
8:47
Speaker 2: take away from dreams, but not just dreams, but from
8:49
Speaker 2: film itself. And man I did not really draw the
8:52
Speaker 2: connection of what he was trying to say between dreams
8:55
Speaker 2: and film, that there is no difference between dreams and film.
8:58
Speaker 2: Films are just the physical manifestation of our dreams. This
9:02
Speaker 2: is like the whole point of Like Conakawa's character, Conakawa
9:05
Speaker 2: is our detective of the film. He teams up with
9:07
Speaker 2: Paprika and Atsiko to help find who help fight the
9:13
Speaker 2: dream terrorists. Right, and Conakawa is receiving psychological help from
9:19
Speaker 2: Paprika as it were, and he keeps having this reoccurring nightmare. Right.
9:25
Speaker 2: The movie starts with the show time, right, and it's
9:28
Speaker 2: it's this circus, it's this escapism where people are sitting
9:34
Speaker 2: down and they are ignoring reality and they want to
9:37
Speaker 2: come see something that's going to distract them. Right. What
9:39
Speaker 2: we don't know at the time is this is a
9:41
Speaker 2: dream uh and ConA kawah. We find out, you know,
9:46
Speaker 2: he tells us that he he doesn't like, he doesn't
9:48
Speaker 2: no film, he doesn't he doesn't pay attention to film.
9:50
Speaker 2: We find out that's a lie. This is something that
9:52
Speaker 2: he's repressed and buried. He was a filmmaker, right. I
9:55
Speaker 2: love his backstory that he was a filmmaker before he
9:58
Speaker 2: was a police officer before where he was a detective.
10:02
Speaker 2: But he and his best friend. He was jealous of
10:05
Speaker 2: his best friend and he couldn't pursue the route of
10:08
Speaker 2: a filmmaker. He felt he was too cowardly, and then
10:12
Speaker 2: his friend died and he felt like he had let
10:15
Speaker 2: him down. So he like locked away like film and
10:19
Speaker 2: the childhood joy that he felt with that. But those
10:23
Speaker 2: feelings of guilt start manifesting in his dreams and they
10:26
Speaker 2: start playing out like films. Until you know, this all
10:30
Speaker 2: gets resolved through the plot of this movie. Right as
10:34
Speaker 2: he listens to Paprika, who's telling him that you know,
10:38
Speaker 2: perhaps this person who's assaulting you in your dreams is
10:42
Speaker 2: this other you and the other hymn is his friend. Right,
10:48
Speaker 2: I think the ending of this film is like, it
10:52
Speaker 2: has one of the best last lines that I can
10:55
Speaker 2: think of in a film, when he's done, when all
10:59
Speaker 2: of a sudden done right, They've saved the world. And
11:02
Speaker 2: Paprika tells him, Hey, you should you should go see
11:06
Speaker 2: this movie. It's called Dreaming Kids. What's really cool, Nick
11:10
Speaker 2: is when he goes to the Marquis, you see a
11:12
Speaker 2: bunch of films up on the stand, and there are
11:15
Speaker 2: other films that Satoshi Khan had directed, Perfect Blue, Tokyo, Godfathers. Yeah,
11:23
Speaker 2: Dreaming Kids is not one of those films, though it's
11:25
Speaker 2: a fictional film. However, apparently before Satoshi died, there was
11:30
Speaker 2: a film that he was going to direct called Dreaming Something.
11:33
Speaker 2: I might have been Dreaming Teenagers. I can't remember the
11:35
Speaker 2: exact title, but it felt like it was supposed to
11:37
Speaker 2: be a reference to this movie dream Kids. Kannakawa approaches
11:41
Speaker 2: the Marquis and he orders a ticket, but it's what
11:44
Speaker 2: he says. He says, one adult please, And I freaking
11:48
Speaker 2: love that line of this man who's like buried like
11:52
Speaker 2: his feelings of childhood and he wants nothing to do
11:54
Speaker 2: with film because of what it represents for him. And
11:57
Speaker 2: then finally like unmasking himself and like letting this like
12:01
Speaker 2: inner child come out in this adult body. This is
12:04
Speaker 2: something that they keep saying, right, like adults children in
12:08
Speaker 2: adult bodies. Uh. There's that character Tokita. He's the creator
12:11
Speaker 2: of the DC Mini, right, and he's described as a
12:15
Speaker 2: genius in an adult's body, but like really he's just
12:18
Speaker 2: a giant kid, right, And a lot of them end
12:21
Speaker 2: up embracing that that philosophy that he has. It's like
12:26
Speaker 2: childlike Wonder and Konakawa, you know. His his acceptance of
12:31
Speaker 2: that is going to the movies buying a ticket saying,
12:34
Speaker 2: one adult, please love it. I'm freaking amazing love that,
12:41
Speaker 2: like this acceptance of like childhood and adulthood coming together,
12:44
Speaker 2: you know, like freaking I love that.
12:47
Speaker 1: That was a that was a really great summary of
12:51
Speaker 1: just like the symbolism in the whole film, And that
12:54
Speaker 1: is one of the cooler parts for me as well
12:56
Speaker 1: watching it for the first time, is that you really
12:59
Speaker 1: you the movie does such a good job of like
13:03
Speaker 1: making you get it right that we are essentially like
13:08
Speaker 1: just like these characters who are you know, in one way,
13:10
Speaker 1: shape or form, suppressing something that from our childhood, that
13:14
Speaker 1: we want to do right and we all have living
13:17
Speaker 1: our lives and maybe there's like room for us to
13:22
Speaker 1: be more open or be more childlike with what our
13:26
Speaker 1: dreams are. And so that was a really cool moment
13:29
Speaker 1: in the film.
13:32
Speaker 2: And also Rocks, which is a cool character.
13:36
Speaker 1: Yeah, but also worth mentioning that Satoshi Khan based this
13:40
Speaker 1: on a book, right, this story on a book, And
13:43
Speaker 1: I the cool part about doing the research here is
13:46
Speaker 1: that apparently the book is so insane as you can
13:49
Speaker 1: imagine that, like people thought it was like not possible
13:55
Speaker 1: to create like a film version of this or like
13:58
Speaker 1: an like it wasn't possible to put this to film
14:02
Speaker 1: or to TV.
14:03
Speaker 2: Or anything, and so like that crazy.
14:06
Speaker 1: So yeah, like Soti, she kind of was just like
14:09
Speaker 1: obviously was like, well, I'll take the challenge and did
14:12
Speaker 1: it and it ends up being one of the more
14:14
Speaker 1: renowned animations of all time and obviously has a has
14:19
Speaker 1: a great following now that it's it's you know, celebrating
14:21
Speaker 1: its twentieth anniversary and we're still talking about it that
14:24
Speaker 1: many years later. So super cool little detail there is.
14:29
Speaker 2: I got to read the book.
14:31
Speaker 1: That's cool.
14:31
Speaker 2: Yeah, to think that the movie is tame, that's crazy.
14:35
Speaker 1: I mean, I would imagine the movie's tame compared to
14:38
Speaker 1: the book, right, if that's what they said about the book.
14:40
Speaker 3: So, I mean, we'll see.
14:43
Speaker 1: It would be interesting to unpack that, which maybe you know,
14:46
Speaker 1: we can do that at a later date. But but yeah,
14:50
Speaker 1: you mentioned the inception at the beginning, and there are
14:53
Speaker 1: some similarities there.
14:54
Speaker 3: Do you have anything else you want to mention before.
14:59
Speaker 2: We kind of go some session quick, just some quick visuals.
15:04
Speaker 2: That was just like so impressed with, I freaking there
15:10
Speaker 2: are so many like little little things that happened throughout
15:13
Speaker 2: the film that like you can only do in dreams, right.
15:16
Speaker 2: I think the movie like takes advantage of that. It
15:19
Speaker 2: takes the idea of the limitless potential of dreams and
15:24
Speaker 2: just runs with it. And I think it does it
15:26
Speaker 2: such a great job with that vehicle. One of my
15:28
Speaker 2: favorite like dream things that they do is like when
15:30
Speaker 2: all hell is breaking loose and like the line between
15:33
Speaker 2: reality and dream no longer exists. Uh, they're running away
15:38
Speaker 2: from the giant Himrho doll, right, and Thatbrica's like no
15:43
Speaker 2: time to think and like she just runs into a
15:46
Speaker 2: television right, Like it's like a broad it's a news
15:48
Speaker 2: broadcast on television. She just runs into the television and
15:51
Speaker 2: then as toon the old man like jump in with
15:53
Speaker 2: her and they shoot out of the camera, like the
15:56
Speaker 2: the news camera. They shoot out of the news camp.
15:58
Speaker 2: I love that. That was so freaking cool. Uh, this
16:01
Speaker 2: is just such a creative solution to that problem.
16:04
Speaker 1: Yeah, it's incredibly creative, you know, every step of the way.
16:10
Speaker 3: I just like the movie's just crazy, man, Like.
16:13
Speaker 1: I I honestly don't.
16:17
Speaker 2: I just couldn't.
16:18
Speaker 1: I couldn't believe how many like different dreams we hopped
16:22
Speaker 1: in and out of.
16:24
Speaker 2: And there's so I feel like there's so much symbology, symbology, symbolism.
16:29
Speaker 2: I feel like there's so much symbolism to the film
16:30
Speaker 2: too that I probably have not picked up on that
16:34
Speaker 2: I'm probably overlooking. Like the third time I was watching it,
16:38
Speaker 2: I realized Paprika Atsiko's like alter ego who is like
16:43
Speaker 2: her own character, right, Like at one point and Paprika
16:46
Speaker 2: get to meet, which is great when when Otsoko's like,
16:51
Speaker 2: why are you arguing with me? Aren't you part of me?
16:53
Speaker 2: And Paprika, you know, responds with like, have you ever
16:55
Speaker 2: thought that maybe you're part of me?
16:58
Speaker 1: Like?
16:58
Speaker 2: I love that dialogue, right, But like one thing that
17:02
Speaker 2: I didn't pick up on until the third time I
17:03
Speaker 2: was watching it was Paprika has multiple transformations into mythological creatures,
17:11
Speaker 2: specifically mythological creatures. She becomes a mermaid at one point,
17:16
Speaker 2: she becomes the the Green Fairy. She becomes uh, the
17:25
Speaker 2: what is it the Griffin or no, sorry, the Sphinx.
17:28
Speaker 2: She becomes the Sphinx, and then she's also sung Wuko
17:32
Speaker 2: the Monkey King, which is what Goku from Dragon Ball
17:35
Speaker 2: is based on. Remember when she comes to like flying
17:39
Speaker 2: in on the cloud with like the power pool, like
17:40
Speaker 2: freakin' awesome. So like, I'm not sure what to take
17:43
Speaker 2: away from that, but like no other person really does
17:47
Speaker 2: that except for like maybe the main villain. It's interesting that.
17:51
Speaker 1: You mentioned some symbolism and some similarities between like who
17:54
Speaker 1: she changes into and other like mythology and things like that,
17:57
Speaker 1: because and this is not the exact same thing, but like,
18:00
Speaker 1: there are two other moments in the film with two
18:03
Speaker 1: other characters where I was like, wow, this reminds me
18:06
Speaker 1: of this other story, right, And there's the guy in
18:09
Speaker 1: the wheelchair.
18:12
Speaker 3: Is who I think is the CJ of the company.
18:15
Speaker 1: Yeah, yeah, yeah, And he looked like just reminded me
18:20
Speaker 1: of Professor Xavier from X Men.
18:23
Speaker 2: He does kind of look a lot like him, but
18:26
Speaker 2: a horrifying villain.
18:27
Speaker 1: Yeah, but then correct me if I'm to him later
18:30
Speaker 1: he ends up having like he ends up being the
18:33
Speaker 1: you know, he ends up being the bad guy, and
18:36
Speaker 1: he has like a whole other body on the back
18:39
Speaker 1: of his head m hm, which then reminded me of
18:42
Speaker 1: Professor Quarrel from Harry Potter.
18:44
Speaker 2: And I'm just.
18:44
Speaker 1: Like like, now, like you know, obviously these are just
18:49
Speaker 1: like these are totally coincidences, right, Like there's no there's no.
18:56
Speaker 2: Not because I feel like I feel like the director
18:59
Speaker 2: would argue, so what what did you just reference? You
19:01
Speaker 2: reference comic book, you reference television, and then you referenced film. Right.
19:07
Speaker 2: Film is a huge part of this movie, And it
19:11
Speaker 2: seems like what Satoshi is saying here is that like
19:14
Speaker 2: the fine line between dreams and film isn't right, Like
19:18
Speaker 2: they are the same, Like it's all connected. We share,
19:22
Speaker 2: We do share our dreams, right like film is dc
19:25
Speaker 2: minis right. We get to experience each other's dreams through film,
19:30
Speaker 2: and we get to like make those shared connections. So
19:32
Speaker 2: like maybe there is a shared connection there Nick, like
19:34
Speaker 2: at a subconscious level, like who knows?
19:37
Speaker 1: And this is a great transition into the Inception part
19:40
Speaker 1: of the conversation. A. Yeah, Yeah, It's documented that like
19:46
Speaker 1: the Nolan brothers and Chris specifically, they have never they
19:50
Speaker 1: have never directly stated that this movie was a direct
19:55
Speaker 1: inspiration for Inception, right right, right. Nolan's been on on
19:59
Speaker 1: the record saying that inceptions direct inspiration comes from dreams
20:03
Speaker 1: that he experienced when he was in college.
20:07
Speaker 3: Your point about how dreams can.
20:10
Speaker 1: Maybe be similar or what you know, blend realities or
20:15
Speaker 1: blending dreams between people and groups of people or whatever,
20:19
Speaker 1: maybe kind of leads us to this point where just
20:22
Speaker 1: because there are a handful of really really close similarities
20:27
Speaker 1: between this movie and Inception doesn't necessarily mean that there
20:31
Speaker 1: is any direct inspiration.
20:32
Speaker 3: There could have been.
20:35
Speaker 1: Similar dreams that happened between the creator of the original story,
20:38
Speaker 1: between the Toshi Khan and then between the Nolans, right,
20:41
Speaker 1: and so it's a very interesting point you're just making,
20:44
Speaker 1: and like blends us perfectly to this Inception discussion because
20:49
Speaker 1: this movie, No one online talks about this movie and
20:52
Speaker 1: then doesn't bring up Inception. It's like it's so hard
20:55
Speaker 1: to not based on four scenes in particular that are
20:58
Speaker 1: so close, very similar.
21:01
Speaker 3: Second, you had another point, I do, but I do
21:05
Speaker 3: want to say first what I was.
21:07
Speaker 2: I was looking at different reviews for Paprika. Uh, and
21:11
Speaker 2: someone said this sentiment, and like, I want to put
21:15
Speaker 2: it out there because I agree with them. It is
21:18
Speaker 2: it is kind of a shame that Paprika here in
21:22
Speaker 2: the West really only gets brought up when talking about
21:26
Speaker 2: the comparisons to Inception, and it's it's it's such a
21:29
Speaker 2: awesome and beautiful and at times horrifying film that it
21:35
Speaker 2: really deserves to stand in its own light right. But
21:38
Speaker 2: like to your point, to what you're saying, there are
21:41
Speaker 2: some scenes that's like it's just so hard to separate
21:43
Speaker 2: the two, right, And I guess, like, uh oh, what
21:48
Speaker 2: we were saying about about those shared dreams. I think
21:51
Speaker 2: that's a really interesting point that maybe we don't appreciate
21:55
Speaker 2: enough because there are there are common archetype in dreams
22:02
Speaker 2: that many of us have throughout the decades, if not
22:06
Speaker 2: hundreds of years. One one kind of dream that we
22:09
Speaker 2: all are I shouldn't say we all share, but it's
22:11
Speaker 2: very common. Is the teeth falling out of your mouth trope. Right,
22:16
Speaker 2: have you ever had that dream? Horrifying? You freaking hate
22:19
Speaker 2: that dream. But it's a common dream, right, It's a
22:21
Speaker 2: common dream that many of us have had. One of
22:24
Speaker 2: my favorites that I've heard. It's kind of terrifying concept.
22:27
Speaker 2: But are you familiar with like a sleep paralysis, Yeah,
22:31
Speaker 2: for sure, So the common common thing that people see, well,
22:37
Speaker 2: common things that people see in sleep paralysis, you know,
22:40
Speaker 2: a shadow that's hanging over their bed, or like an
22:43
Speaker 2: old woman. I forgot what the two other ones are,
22:46
Speaker 2: but like very common horrifying things in dreams that like
22:50
Speaker 2: we all seem to share, right, And maybe that there
22:55
Speaker 2: are maybe there are some other archetypes, right, other commonalities
23:00
Speaker 2: and dreams that manifest them their way into film. Just
23:04
Speaker 2: a Toshi CON's point. Films are just dreams manifesting into reality, right,
23:11
Speaker 2: So it shouldn't be that surprising. I guess that the
23:14
Speaker 2: two dream movies that we're referencing have some similarities to them.
23:19
Speaker 2: I'm not defending some of these similarities because they are
23:23
Speaker 2: man on the nose, but let's give the man the
23:26
Speaker 2: benefit of the doubt here.
23:28
Speaker 1: I like that, and and to just speak on what
23:31
Speaker 1: those handful of similarities are. I've got four that are highlighted.
23:36
Speaker 1: The first two were probably the most like to me
23:39
Speaker 1: spot on, the first one being like the gravity defying
23:43
Speaker 1: hallways if you will, right where detect the detective and
23:47
Speaker 1: Paprika finds himself in a hallway and his perspective kind
23:52
Speaker 1: of shifts right in the room starts to kind of
23:54
Speaker 1: turn and he's kind of like having to walk on
23:56
Speaker 1: walls and things like that. Inception, there's a scene where
24:02
Speaker 1: there's like a zero gravity fight in the hallway and
24:04
Speaker 1: it's like spinning and it's like a hotel hallway. It
24:06
Speaker 1: looks that the hallway looks so similar. Granted it's a
24:09
Speaker 1: hotel hallway. You can only draw that a certain way,
24:12
Speaker 1: but like, you know, and it but both times, like
24:15
Speaker 1: there's kind of like a circular rotation to the room
24:17
Speaker 1: and the character is having to walk on walls and
24:20
Speaker 1: they're heading towards an elevator in both of those scenes
24:22
Speaker 1: as well. Super Like you see both of those side
24:25
Speaker 1: by side and you're like, who stolen from?
24:28
Speaker 2: Who?
24:28
Speaker 1: Who dreamed it first?
24:31
Speaker 2: You if someone tells you, hey, uh incorrectly, if someone
24:37
Speaker 2: ever said to you Chris Nolan was inspired by Paprika
24:40
Speaker 2: or Chris Nolan stole this from Paprika and then you
24:42
Speaker 2: didn't say, like what scenes you were talking about. You
24:45
Speaker 2: would pick up on that scene immediately, like immediately you
24:48
Speaker 2: would pick up on that one, right.
24:51
Speaker 1: Another one that stood out to me when I watched
24:53
Speaker 1: it was the what I'll call like shattering realities. Paprika
24:58
Speaker 1: at one point like literally like break the air and
25:01
Speaker 1: it kind of like shatters like and it looks like
25:04
Speaker 1: if you like shattered a mirror, an inception. The architect,
25:12
Speaker 1: the female architect who is like learning how to create
25:15
Speaker 1: the dream towards you know, I guess maybe like the
25:17
Speaker 1: first like part of the film. There's a very specific
25:22
Speaker 1: scene where she like shatters the mirror as well, and
25:31
Speaker 1: you said essentially like exposes like the rest of the
25:34
Speaker 1: dream world. It's like so similar the way that they
25:38
Speaker 1: both shatter, you know, paprikas like shattering the air and
25:42
Speaker 1: an inception. It's more like shattering an actual mirror. But
25:45
Speaker 1: it's so it's so similar that when I saw it
25:47
Speaker 1: in Paprekal was like, oh, that scene is like an inception,
25:51
Speaker 1: you know. So that's that Those are the two that
25:54
Speaker 1: like really stand out to me. There's like more of
25:58
Speaker 1: like a concept about like elevators as ways like this
26:00
Speaker 1: is really I think this is more prominent in Inception.
26:03
Speaker 1: The elevator plays like a really big role an Inception
26:07
Speaker 1: where they're picking different floors and it's different memories that
26:11
Speaker 1: didn't like stand out as much to me, But there
26:14
Speaker 1: is like an elevator sequence in Paprika that is similar.
26:19
Speaker 2: You know to that point, Nick, I like the way
26:22
Speaker 2: that you worried that about like otherworldly, like there's other
26:26
Speaker 2: worldly sequence with like elevators, because that's a really good
26:32
Speaker 2: way to think about it, because it's not just like
26:35
Speaker 2: necessarily a dream thing, or like maybe it is because
26:38
Speaker 2: the Matrix does something very similar with that at one
26:41
Speaker 2: point too. And you know, this is a movie or
26:43
Speaker 2: a movie series about reality and unreality. Hell I think
26:49
Speaker 2: it's even known as like the god of dreams in
26:51
Speaker 2: Greek mythology interact reference to dreams.
26:55
Speaker 1: And I think no one's actually on the record as
26:57
Speaker 1: saying that the Matrix is it's a slight inspiration for
27:00
Speaker 1: certain things in Inception two. So like that particular elevator
27:03
Speaker 1: scene might actually be more about a matrix comparison Uprika
27:07
Speaker 1: in this case, right, So that makes a lot of
27:09
Speaker 1: sense to That's a good call out. The last the
27:12
Speaker 1: last one that I have that's really kind of worth mentioning.
27:15
Speaker 1: This is a little bit more open ended. I think,
27:18
Speaker 1: like it's and it's just like the shifting city scapes,
27:20
Speaker 1: right like in Paprika, the city's going all sorts of
27:24
Speaker 1: ways like and and then obviously the idea or the
27:28
Speaker 1: similarity with Inception is like the folding of I think
27:31
Speaker 1: it's Paris onto itself in the in the dream and
27:35
Speaker 1: Inception that really cool scene towards the first part of
27:38
Speaker 1: the film. There are some similarities. I think that's the
27:43
Speaker 1: maybe the weakest case if you want to like make
27:45
Speaker 1: a case for it, right, but worth mentioning with the
27:49
Speaker 1: similarity there.
27:52
Speaker 3: But yeah, pretty cool, I agree a little.
27:55
Speaker 1: Just you know, it's a little tough that the West,
27:57
Speaker 1: the western part of the world can't talk about Paprika separately.
28:02
Speaker 1: So I'll take the hit for that one on this podcast.
28:04
Speaker 1: That one's on me everyone, Thanks.
28:09
Speaker 2: For being a martyr. No, I think you broke all
28:15
Speaker 2: that down really well as far as those those similarities go.
28:19
Speaker 2: I mean, especially the hallway saying it just it really
28:22
Speaker 2: just echoes Paprika I'd be willing to put out one
28:28
Speaker 2: more neck. I think it's it's not necessarily like a
28:31
Speaker 2: visual that that is like in your face. I think
28:35
Speaker 2: that this connection is a lot more subtle. But to
28:39
Speaker 2: the point that I was making earlier, I don't think
28:41
Speaker 2: it's necessarily like you could say, oh, he got this
28:44
Speaker 2: idea from Paprika. I think it speaks more to dreams
28:49
Speaker 2: and the connection to film itself. I think both movies
28:53
Speaker 2: actually make this connection. Inception does it in a much
28:55
Speaker 2: more subtle way, whereas Paprika like really hammers that message
29:00
Speaker 2: home right with characters actually talking about film and the
29:04
Speaker 2: creation of film, right. But in Inception, the characters like
29:09
Speaker 2: the team, like the heist team, right or reverse heist.
29:12
Speaker 2: They're pulling a reverse heist, right, They're trying to put
29:14
Speaker 2: something back or not back, but they're trying to put
29:17
Speaker 2: something Yeah, you get what I'm saying. But anyway, the
29:21
Speaker 2: heist team, they I've seen breakdowns of the heist team
29:27
Speaker 2: and how really they're all different stand ins for like
29:33
Speaker 2: jobs or positions in the making of a movie, and
29:37
Speaker 2: like that's what they're doing. They're making a movie in
29:40
Speaker 2: somebody else's head. Killian Murphy's character is just the audience
29:45
Speaker 2: for this cop is the director. Cito is the executive
29:51
Speaker 2: producer who funds everything. Right, Oh my gosh. Ellen Page's character,
29:56
Speaker 2: she's what's her name? It starts with an A.
30:02
Speaker 3: Or something.
30:04
Speaker 2: I knew. I wasn't gonna remember that. I knew it
30:05
Speaker 2: started with an AA. That's all I could remember.
30:08
Speaker 3: Yeah, I'm pretty wrong, but it's fine.
30:10
Speaker 2: She's the designer, right, So like you could address that
30:13
Speaker 2: as like the scenes the scene creator, right, or the
30:17
Speaker 2: costumer or or the editor right. Uh, oh my god?
30:21
Speaker 2: What is I can't believe I forgot his name. Guy
30:25
Speaker 2: who plays Bane in Dark Knight rises to Tom Hardy.
30:29
Speaker 2: Tom Hardy, he's the con artist, he's the actor, right,
30:33
Speaker 2: So like everyone like has these like jobs in a movie.
30:37
Speaker 2: When they're talking to Sido about inception, it's kind of
30:40
Speaker 2: a pitch. They're doing it like a movie pitch of
30:43
Speaker 2: what they could do. So like it's and the director
30:48
Speaker 2: cob right. Just to really hammer that point home, if
30:51
Speaker 2: you stand Leonardo DiCaprio, or at least his Cob character,
30:56
Speaker 2: next to Christopher Nolan, they look almost exactly alike in
30:59
Speaker 2: like that's not a coincidence, you know, Like he is
31:03
Speaker 2: the director of the heist, right, so like it's it's
31:07
Speaker 2: much more subtle, right, but that connection of like dreams
31:11
Speaker 2: are film is very much there in both films.
31:15
Speaker 1: Yeah, oh, that's such a great call out. And now
31:17
Speaker 1: I'm gonna have to go watch Inception.
31:20
Speaker 2: Yeah, Pressure, Pressure, it is about that time. I love it.
31:28
Speaker 3: I've got nothing else, what do you have anything?
31:32
Speaker 2: Just Paprika is a really cool film. There's so much
31:35
Speaker 2: that we didn't talk about that we probably could have
31:37
Speaker 2: call outs on, like psychological archetypes, like your shadow self
31:42
Speaker 2: and how like Paprika and Otsaco Peprika is the shadow
31:46
Speaker 2: self of Ossaco. I think you can make an argument that,
31:49
Speaker 2: uh Siegireau the main villain. I think he's a shadow
31:53
Speaker 2: for Konakawa, and how they both have these like dormant
31:57
Speaker 2: childlike desires and they have to walk around in these
32:00
Speaker 2: responsible adult bodies, right, they just play out those childhood
32:05
Speaker 2: desires in different ways. One light, one dark. That's a
32:08
Speaker 2: whole thing at the end, the whole light and dark thing,
32:11
Speaker 2: man and women, light and darkness, and like we don't
32:13
Speaker 2: get resolution until the shadow sself of Paprika unites with
32:17
Speaker 2: like the light of Otzico right, and they eat the darkness.
32:21
Speaker 2: There's so much symbolism I think in this film that's
32:23
Speaker 2: so much fun to unpack and I would love to
32:26
Speaker 2: hear what other people think about this, so please, if
32:28
Speaker 2: there's something we didn't touch on, drop a comment. I
32:31
Speaker 2: would love to hear people's takeaways from this film because
32:34
Speaker 2: there's so many takeaways.
32:37
Speaker 3: Awesome. Yeah, I love that. And with that, stay tuned.
32:42
Speaker 1: We will be talking about some Nolan films next leading
32:48
Speaker 1: up to the Odyssey release here in July, so we're
32:50
Speaker 1: gonna have some Nolan Fest festivities if you will coming up,
32:54
Speaker 1: and you know, like Joe said, let us know in
32:56
Speaker 1: the comments what you think about Paprika. Let us know
32:59
Speaker 1: if we miss anything, shoot us alike in a subscribe
33:01
Speaker 1: here on YouTube. And until next time, friends.
33:06
Speaker 2: May the review be with you peace, m H. May
33:16
Speaker 2: the review be with you peace h