■『イノセンス』カンヌ映画祭コンペで上映 日本アニメ初

◆NecoPunchさんが紹介されていますが、asahi.com : 文化芸能に、カンヌの『イノセンス』の記事。

　第５７回カンヌ国際映画祭で２０日夜（日本時間２１日未明）、押井守監督の「イノセンス」が日本のアニメーションとしては初めてコンペティション部門で公式上映された。

　押井守氏のタキシード姿もこの記事で観えます。
　ぼくがTVニュースで観た時は、いつものラフな格好で、記者会見している姿だったので、てっきりタキシードは用意してないかと思ってしまいました。

◆中日スポーツホームページ
　中日新聞系は、万博で押井守を起用しているので、取材も力が入っています。

押井督監、パルムドール級の手応え
　日本アニメとして初のコンペ入り。近未来の電脳社会を描き、押井監督の「ＧＨＯＳＴ　ＩＮ　ＴＨＥ　ＳＨＥＬＬ／攻殻機動隊」の続編。今回の製作費は、前作比４倍の約２０億円だ。押井監督は「前作もできることは全部やったが、続編はそれ以上に日本のアニメで最高の表現をしたかった。ある種の総決算のつもりで作った」と、“ジャパニメーション”の手応え十分だった。

◆カンヌ公式ページ　Press Conference: "Innocence"より
　(我々も英語で(本当はフランスだけど)読んで、現地の雰囲気に触れましょう。ろくに読めないけど(^^;))

For the official presentation of the competition animated feature Innocence, Japanese director/writer Mamoru Oshii, composer Kenji Kawai and producer Mitsuhisa Ishikawa answered questions from the press. Highlights.

Mamoru Oshii on the origins of the film: "When Production I.G first proposed the project to me, I thought about it for two weeks. I didn't make Innocence as a sequel to Ghost in the Shell. In fact I had a dozen ideas, linked to my views on life, my philosophy, that I wanted to include in this film. [...] I attacked Innocence as a technical challenge; I wanted to go beyond typical animation limits, answer personal questions and at the same time appeal to filmgoers."

Mamoru Oshii on his narrative intentions: "for Innocence, I had a bigger budget than for Ghost in the Shell. I also had more time to prepare it. Yet despite the economic leeway, abundant details and orientations, it was still important to tell an intimate story. [...] Personally, I adore the quotes in the film. It was a real pleasure for me. The budget and work that went into it contributed to the high quality of imagery. The images had to be up to par, as rich as the visuals.・/i>

Mamoru Oshii on Godard: "This desire to include quotes by other authors came from Godard. The text is very important for a film, that I learned from him. It gives a certain richness to cinema because the visual is not all there is. Thanks to Godard, the spectator can concoct his own interpretation. [...] The image associated to the text corresponds to a unifying act that aims at renewing cinema, that lets it take on new dimensions.・/i>

Mamoru Oshii on animation: "I think that Hollywood is relying more and more on 3D imaging like that of Shrek. The strength behind Japanese animation is based in the designers' pencil. Even if he mixes 2D, 3D, and computer graphics, the foundation is still 2D. Only doing 3D does not interest me."

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