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By the 1960s, the studio Toei Animation was producing feature films for an increasingly receptive domestic audience.īut after decades of imitating American models, anime suddenly made a sharp turn in the late 1960s and embraced a totally different influence: manga, Japan's wildly imaginative comic books. For the most part, its films were warmed-over Disney, based on homegrown folk tales. Japanese hobbyists made animated shorts as far back as 1917, and the industry grew steadily from there. In addition, Disney will issue three older Miyazaki films on DVD early next year, two of which have never before been released in the US.Īnime is both radically new and the latest variant on an ancient tradition. Then Hayao Miyazaki will deliver Howl's Moving Castle, about a teenage girl who flees a curse by hiding in a gigantic mechanical castle that prowls about on insectlike legs. Soon afterward, Katsuhiro Otomo will debut Steamboy, an Indiana Jones-style adventure that takes place in an alternative Victorian age where turbo unicycles and pressure-powered jetpacks battle for supremacy. Oshii's Innocence will hit theaters in September. In coming months, anime's three most prominent directors will release major films in the US. In July, Anime Network launched the first 24/7 cable network devoted to the genre. Every major video store has an expanding anime section, and anime has become a cable staple, featured on Fox, the International Channel, G4techTV, the WB, and especially the Cartoon Network.
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American teenagers download fansub OVAs (anime videos subtitled by fans) by the thousands, and female twentysomethings publish scarily well-made amateur manga (Japanese-style comic books) that imagine the romantic exploits of anime heroes. Filmmakers from James Cameron to Quentin Tarantino acknowledge the influence of its rococo plots and stylized visuals. Much like its predecessor, Innocence features hyper-literate cyborgs, robot sex murders, and an elliptical narrative that twists on itself like an Escher drawing. Released on video in 1996, Ghost in the Shell reached number one on the Billboard chart, selling a quarter-million copies - the kind of performance usually associated with $100 million Hollywood pictures about blowing things up, not with animated Japanese movies, known as anime, whose budgets are barely big enough to cover Robert Downey Jr.'s rehab bills.Įight years later, Oshii is poised to release Ghost in the Shell 2: Innocence. Silver wasn't the only American to be riveted by Oshii's darkly complex vision. The brothers were named Wachowski their movie was called The Matrix.
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Quickly grasping its appeal, Silver gave the brothers the thumbs-up to produce a movie about a futuristic world where people are so entangled with computers that nobody knows who is human and what is real. Rather than the family-friendly fare conjured up by the word animation, it was a violent tale about a futuristic world where people are so entangled with computers that nobody knows who is human and what is real. Ghost was like no cartoon Silver had ever seen. "We want to make a live-action version of this," they said. Finally they showed him Ghost in the Shell, a 1995 full-length Japanese cartoon by Mamoru Oshii. A little-known writer-director team, they were pitching an idea that Silver just couldn't wrap his head around.
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The story has become Hollywood legend: In the mid-1990s, veteran producer Joel Silver met with two brothers.