August 24, 2010 by staff
Satoshi Kon, Satoshi Kon has been reporting on Twitter who died yesterday at age 47, apparently due to cancer. Details so far have been limited, as until now the only official announcement has been through these missives of 140 characters, but the news comes directly from two luminaries anime: Masao Maruyama, head of Japan’s Madhouse Studio (which caused all great works of Kon) and Yasuhiro Takeda, a founding member of the studio Gainax.
Kon was a manga artist who worked behind the scenes in the anime before creating an international sensation with his 1998 debut feature Perfect Blue, which is mixed with Hitchcck psychodrama gum bright colors and surreal images. It follows a pop-singer-turned-actress is a possibly supernatural stalker and an emotional crisis which makes him doubt his own senses, Kon which gave the opportunity to play in what would be his pet subject: the intersections between fantasy and reality, and the art form and emotion blurring the lines between them. His 2001 follow-up of Millennium Actress (Scott Tobias dissected finally last year by New Cult Canon) deepened on these ideas, with the story of an old actress looking back at his life as if it were a series of genre pictures, and would gladly fall into his brilliant fantasy.
Kon took a little detour to the 2003 comedy Tokyo Godfathers, a story of three homeless people unexpectedly crazy dealing with a baby, that stereotypes huge movie and a stronger relationship with the real world was less satisfactory. But Kon rewrote much with his creepy 2005 TV series Paranoia Agent, about a variety of people affected by a mysterious series of attacks, and his last performance of paprika, 2007, in which a device allowing scientists to enter in the dreams of the other acts as a McGuffin that allows an attack 90 minutes of more intense Kon, colorful, crazed visions yet. (See the trailer below. And yes, by accident and it inexcusably left out of our initial inventory of inspiration for stories that take place in dreams.)
Kon is reportedly working on another project with Madhouse, a film called The Dreaming Machine. (It would be hard to imagine a title that sounds more like a film by Kon.) It is a road movie about a group of robots in a post-humanity. Stills and descriptions, some taken from an interview with Kon-can be found here. Be released this year, so here’s hoping it long enough to see the liberation and still keep intact the sensitivity of Kon, because this sensitivity was unique and irreplaceable.
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