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Ya no es posible e incluso si todavia viviera dudo mucho que se lo hubiera podido preguntar pero si esa linea pegajosa entre la imaginación y la realidad se desvaneciera esto le preguntaría yo al maestro Satoshi Kon. 1. ¿Cómo fue su ambiente familiar mientras crecía? 2. ¿Cuál es su primer recuerdo? 3. ¿Cuándo decidió que quería e iba a dedicarse a dibujar? 4. ¿Cuál es el legado que le gustaría dejar? ¿Cómo quisiera ser recordado? 5. ¿Crea para usted o para el público? 6. ¿Cuál es la película perfecta? 7. ¿Ha leído a Freud? 8. ¿El subonsciente define quienes somos o es el consciente? Imaginación y realidad. Estamos en contacto

Interview with Satoshi Kon Don't call Satoshi Kon just an anime director. If you've ever seen Perfect Blue , Tokyo Godfathers , or Millennium Actress , you know he tends to stay away from the usual anime trappings of science fiction and fantasy. He instead favors human stories, psychological thrillers, and mind-bending parables of modern society. His latest work, released this week on DVD, is the heady and fascinating Paranoia Agent , a 13-episode TV series about a group of almost-unrelated characters whose lives are profoundly affected by a would-be serial killer with a baseball bat named "Little Slugger." We recently got a chance to chat with Satoshi Kon to talk about his latest work and his unique perspective on the world today.-- Sean Molloy Gamestar: How was working on a TV series different than working on your movies? Did you enjoy it more or less? Would you do it again? Satoshi Kon: Fundamentally my main focus in making animation is to have them be interest

Interview with Satoshi Kon, Director of Perfect Blue How did you get involved with Perfect Blue? In Jojo’s Bizarre Adventures (1993), which I worked on previously, I had supervised the script, continuity and production, but sound, dubbing and the rest was the work of the director. I wanted to have a go at doing all of them and Perfect Blue presented the ideal opportunity. And before that you worked in manga, not anime? I didn’t want to just read manga (comic books), but have a go at writing them myself. I was heavily influenced by Katsuhiro Otomo’s Domu (1980) and Akira (1982). I especially liked Domu , and I figured that if I were allowed to make just one movie from among all the manga I’d read, that would be it. From the very beginning I enjoyed drawing pictures and my early scribbles eventually developed into manga. At length, one story I completed won the ‘Kodansha Manga Award’, and ever since then, I’ve been drawing manga not as a hobby, but as my livelihood. Apart

Exclusive Interview with Satoshi Kon My interview with Satoshi Kon was not under ideal circumstances. The translator Lincoln Center provided had a bad case of nerves that day, I was also understandably a bit nervous, my tape recorder conked out on me a few minutes into the interview and I of course did not get to ask all the questions I had prepared for Mr. Kon. However, the folks at the Manhattan Bureau were kind enough to provide me with a DVD of my interview with Mr. Kon. After watching it, I really don’t that the world is ready for me to upload it into the Twitch Video Player. Trust me on this one; no way is this video seeing the light of day on my watch. All in all though, when Kon did get to my questions, his answers were what I expected and in a very good way. He was very practical and intelligent in trying to describe his influences, his creative process and his fascination with dreams and that’s really all I could’ve hoped for. Below is a transcription of my i

Interview with Satoshi Kon Author : Bill Aguiar Satoshi Kon is the well-known and respected director of the anime films Perfect Blue (1997), Millennium Actres s (2001), Tokyo Godfathers (2003), and Paprika (2006), as well as the television series Paranoia Agent (2004). Satoshi Kon attended a Smithsonian showing of Tokyo Godfathers and a preview of Paprika during the Washington DC Cherry Blossom festival. TOKYOPOP.com’s Bill Aguiar was able to interview Satoshi Kon and attend the discussions that were held after each movie. Bill Aguiar:  You were a manga-ka before you started working in anime. Have you ever been tempted to work one or two manga stories on the side as a return to your roots? Satoshi Kon:  It is not like I have given up completely on manga and if there is something I really wanted to create as a manga, of course I would. I have been working steadily in anime so it would not be possible to create manga on the side. To create manga takes a g

First of all, congratulations on Paprika's acceptance into Venice. I really enjoyed the film. Thank you very much. I'd like to talk about the genesis of the project. I know that you met Yasutaka Tsutsui, the author of the original novel, in 2003 and that he wanted you to make his book into a film. That was the first time we met each other and I thought perhaps as a gesture of goodwill or business manners that he would say something like that, but perhaps in the back of his mind he was considering it. I was already a fan of his work, so I was glad to meet him. Once he did give his blessing to make the film, did pre-production start soon after that or did it start the wheels in motion for production of the film? At the time of our meeting, the Paranoia Agent TV series was still in production. Completing that series was the first commitment for Madhouse. We were thinking of a project that we could realistically begin developing soon after Paranoia Agent, so it happened

Director/Set Designer/Screen Story/Screenwriter Gender: Male Born: October 12, 1963 Died: August 24, 2010 Birthplace: Hokkaidô [Hokkaido], JP Full Biography From All Movie Guide: A filmmaker who relishes the opportunity to pull the rug out from under audiences and give them what they least expect, Satoshi Kon has stood as a skilled, highly original, and talented figure in a world overpopulated by giant mecha and menacing tentacled beasties. Kon 's films are alternately haunting, thought-provoking, and oddly endearing, and are a must-see for anyone who has simply dismissed animation as child's play or fan-boy fodder. A native of Hollaido, Japan, who grew up with a strong affection for manga, the aspiring artist was influenced early on by such anime mainstays as Yamato and Gundam. Upon graduating from high school, Kon attended Musashino Art University, where he studied Visual Art Communication Design. Though, by this point, Kon 's interest in manga had giv

HT Talks To . . . FilmMaker Satoshi Kon By Aimee C. Giron   •   December, 2005 Tune in to afternoon TV, and you're bound to run into a slew of children's programming. You may notice a tremendous presence of shows that look very similar to those native to Japan. Anime sagas such as Cowboy Bebop and Sailor Moon , as well as films by anime gurus such as Hayao Miyazaki ( Spirited Away, Nausicaä of the Valley of the Winds ), have been around for several decades in the East; however, the genre is still relatively new to the American audience. There is no doubt that the influence of Japanese anime is on the rise. We had the opportunity to speak to one of the most innovative Japanese filmmakers, Satoshi Kon, a man known for his extraordinary vision and ability to take his audience by surprise. Can you describe your involvement in creating an Anime film? I'm involved in the entire process of animation production, from the preproduction stage to creating th

Entrevista: Satoshi Kon by Justin Sevakis, Aug 21st 2008 Traducción Subtiempo: ANN: Vamos a empezar por el principio de su carrera. Usted fue al Colegio de Artes de Musashino y orginalmente quería ser pintor. En un principio ¿qué le interesó de la pintura? SK: Además de pintar, también hubo un tiempo en el que estuve interesado en ser ilustrador. Como resultado de esto terminé siendo un artista del manga, y ahora estoy trabajando en la animación. No fue que sintiera que tenía que ser un ilustrador; mientras el arte y los dibujos estén involucrados en mi trabajo, sin importar el género, estoy satisfecho. Así que en términos generales porque quería trabajar en el arte de manera profesional fue porque lo que me inscribí en el Colegio de Artes de Musashino. ANN: Así que obviamente hacer ilustraciones forma ahora parte de su vida cotidiana, pero más allá de eso, ¿todavía tiene tiempo de ilustrar cosas que no tienen nada que ver que sus proyectos de trabajo? SK: Desde que inicié a di

Nota: Ire subiendo entrevistas en inglés todas, las traduciré al español por favor ténganme paciencia al respecto: Las máquinas que sueñan de Satoshi Kon Estas son solamente unas preguntas de una entrevista más larga a la que no he tenido acceso y versa fundamentalmente sobre la película que lamentablemente en maestro Kon dejó incompleta. "Esta es mi propia historia original - por lo tanto es diferente de mis trabajos previos" dice el Maestro. "Mientras esta desarrollando el guión, oí de una una película que se llamaba Wall-E y me puse un poco nervioso porque podria haber sido similar a la mia. No puedo decirte que alivado me sentí cuando supe que las dos historias eran totalmente diferentes" Rie. "En la Maquina que Sueña, solo hay robots. Quiero que el público disfrute las aventuras de los robots que sobrevivieron despues de que sus padres - los seres humanos- se extinguieron. Después de Paprika, terminé tomando unas vacaciones de un año, así que ape

Katsuhiro Otomo puede tener muchas virtudes. Pasar desapercibido no es una de ellas. Al maestro Otomo le encantan las situaciones extremas e intenta que todos sus protagonistas las vivan a plenitud. Contrario a lo que se piensa, el reino de Otomo es más cercano a la locura que a la ciencia ficción. Sus protagonistas se ven obligados a este ambiente ominoso porque las situaciones los llevan a ello. Mucho mejor mangaka que cineasta Omoto visualizó que la válvula de escape para el arte japonés del manga-anime tendría que ser por medio del cine y en 1988 dirigió la película animada más cara de la época y la cara de la animación japonesa por muchos años, me refiero a la obra maestra Akira. Basada en un espectacular manga de más de 2000 páginas, la cinta se convirtió en el paradigma del anime a los ojos del resto del mundo. Sin embargo el ámbito del cine es estrecho para el aliento de Katsuhiro, quien también ha dirigido filmes en imagen real, como: World Apartament Horror (1991). Y fue pr