Ghost in the Shell 2:Innocence - The Mind of a Master
“Economic recession… corporate downsizing…
violent crime… We live in a cruel and frightening world. For some time now, I’ve
been working in the animation industry—a sinful world unto itself—and frankly,
have gotten tired of dealing with people in general. Sometimes, I imagine
eliminating all human interaction and spending the rest of my life at home in
Atami, relaxing and soaking in a hot spring. I feel old—every day, I have to
force myself to go to work. It is this culture of fear and anxiety that I want
to depict cinematically. This film is about the future of humanity, which I’m
very much interested in.”
“There are no human beings in “Ghost in the Shell 2: Innocence.” The characters
are all human-shaped dolls, i.e., robots. For some reason, people have always
created robots in their own image. I wonder why? I don’t suppose that the human
figure is the most practical shape for industrial robots. What is it about
people that make them do such illogical things? I thought that exploring this
question from the doll’s point of view would help me better understand human
nature.”
“Batou, the main character of “Ghost in the Shell 2: Innocence,” is our guide
throughout the film. While investigating a case involving malfunctioning
androids that went berserk, Batou encounters various types of dolls: a broken
android who has gone mute; a female robot who looks exactly like a human; a
group of dolls burned in effigy by a mob of humans; and a man who willingly
transforms himself into a corpse and flatters himself that he has transcended
human limitations. Through this experience and a series of battles, Batou is
wounded and further mechanizes his body—gradually becoming more and more like an
inorganic doll. The dolls that Batou meets have their own outlook on humanity.
Each doll, from their non-human point of view, examines such human traits as
arrogance and deceitfulness. Batou and his partner Togusa (who is mostly human
and thus representing the viewer) embark on a journey through hell that forces
them to ponder the meaning of human existence. Batou’s function is to drive the
narrative forward, leading the audience vicariously through Togusa.”
“This movie does not hold the view that the world revolves around the human
race. Instead, it concludes that all forms of life—humans, animals, and
robots—are equal. In this day and age when everything is uncertain, we should
all think about what to value in life and how to coexist with others. We all
need friends, family, and lovers. We can’t live alone. In the year 2032, when
this movie takes place, robots and electronic beings have become necessary
companions to people. Actually, that time has come already. What we need today
is not some kind of anthropocentric humanism. Humanity has reached its limits. I
believe that we must now broaden our horizons and philosophize about life from a
larger perspective. With this film, I hope to reflect upon the uneasiness that
pervades the world today. Under such conditions, what is the meaning of human
existence?”
- MAMORU OSHII (Director/Screenwriter)
courtesy of DreamWorks and Go Fish Pictures