SONY PICTURES, STAGE 6 FILMS, PRODUCTION I.G, NEW YORK –TOKYO, AND THE FILM SOCIETY OF LINCOLN CENTER
PRESENT
THE NY PREMIERE OF
The Sky Crawlers
WITH SPECIAL VIDEO INTRO BY DIRECTOR MAMORU OSHII
Japan/2008/122 Min. /color/Japanese with English subtitles
Japan/2008/122 Min. /color/Japanese with English subtitles
FRIDAY, DEC. 12, 2008 AT 7 & 9:30
WALTER READE THEATER AT LINCOLN CENTER
Somewhere, in a country similar to ours
There are children who do not become adults
They are very similar to us
We are proud to announce the New York Premiere of Director Mamoru Oshii’s latest film, The Sky Crawlers, - an engaging combination of philosophy and science fiction, featuring brilliantly executed aerial combat sequences. Oshii sees this film as a message to the youth of the world. Visually appealing high quality animation was produced by Production I.G. The Sky Crawlers was nominated for the Golden Lion at this year’s Venice Film Festival.
Synopsis
The story takes place in another possible ‘now’ - a world that has eradicated war and finally attained peace. However, this prolonged state of peace created demand for a new kind of war. A conflict happening elsewhere, that could be seen on TV or read in the papers - in order to get a feeling of reality.
Private war contractors enlist fighter pilots to perform their services in an endless “war as entertainment.” They call these pilots Kildren. Innocent-looking teenagers, Kildren never age into adulthood, and live in a state of eternal adolescence until the day they drift gracefully through the endless skies.
One day, pilot Yuichi arrives to his newly assigned airbase. He has only vague memory of his past. The only two things he recalls are that he is a Kildren and how to operate a fighter plane. A woman is keeping an eye on Yuichi. She is Suito, the base commander. A Kildren herself, Suito behaves as if she’s been waiting to meet Yuichi for a long time. Perplexed, Yuichi is nevertheless gradually attracted by her.
All pilots at the base have to confront the most invincible enemy ace, known as Teacher. His trademark is a black jaguar painted on the nose of his plane. It is said that if you run into him up in the sky, you don’t come back to tell your friends. Who really is the Teacher? What does Suito know about Yuichi’s past? What are the secrets behind the Kildren?
Private war contractors enlist fighter pilots to perform their services in an endless “war as entertainment.” They call these pilots Kildren. Innocent-looking teenagers, Kildren never age into adulthood, and live in a state of eternal adolescence until the day they drift gracefully through the endless skies.
One day, pilot Yuichi arrives to his newly assigned airbase. He has only vague memory of his past. The only two things he recalls are that he is a Kildren and how to operate a fighter plane. A woman is keeping an eye on Yuichi. She is Suito, the base commander. A Kildren herself, Suito behaves as if she’s been waiting to meet Yuichi for a long time. Perplexed, Yuichi is nevertheless gradually attracted by her.
All pilots at the base have to confront the most invincible enemy ace, known as Teacher. His trademark is a black jaguar painted on the nose of his plane. It is said that if you run into him up in the sky, you don’t come back to tell your friends. Who really is the Teacher? What does Suito know about Yuichi’s past? What are the secrets behind the Kildren?
About the Director
Born in Tokyo in 1951, Mamoru Oshii is one of the most remarkable personalities in modern Japanese filmmaking. He succeeded in introducing the complexity of fanta-politics and introspective philosophical speculation into the world of animation, influencing Hollywood creators with his visionary style.
Oshii joined the legendary anime studio Tatsunoko Pro. in 1977. After moving to Studio Pierrot, he worked on TV anime series “Urusei Yatsura,” based on Rumiko Takahashi’s bestseller manga, made his feature film debut with “Urusei Yatsura: Only You” in 1983, and created an enthusiastically acclaimed “Urusei Yatsura 2: Beautiful Dreamer.” After directing “Angel’s Egg” in 1985, he turned his back on mass entertainment and started making both animated and live action films that expressed his unique worldview.
In 1988, Oshii joined the talented creators group called Headgear, that gave birth to the project entitled “Mobile Police Patlabor.” Its TV anime series, OVA series and the two feature films added new realism to the robot genre in animation. In 1995, Oshii released “Ghost in the Shell,” an epoch-making movie that hugely influenced Hollywood creators and ranked No. 1 in Billboard Top Video Sales Chart (August 24, 1996). Nine years later, he directed “Ghost in the Shell” ideal sequel, “Ghost in the Shell 2: Innocence” the first Japanese animated feature to compete for the Palme d’Or at the Festival de Cannes.
Oshii has also directed a number of live-action features, including “The Red Spectacles” (1986), “Stray Dog” (1991) and “Avalon” (2001). The world of “The Red Spectacles” and “Stray Dog” was further developed in the animated feature “Jin-Roh - The Wolf Brigade” (1999), produced by Production I.G from Oshii’s script. In 2006, he wrote and directed his most challenging visual experiment, “Tachigui: The Amazing Lives of the Fast Food Grifters,” a satirical mockumentary about 50 years of Japanese dietary culture. The film was invited for the official selection at the 63rd Venice Film Festival.
Oshii’s latest new movie, The Sky Crawlers, received its international premiere at the 65th Venice Film Festival, where it was nominated for the Golden Lion. Later, it was greeted with 3 awards at Sitges 08.
Oshii joined the legendary anime studio Tatsunoko Pro. in 1977. After moving to Studio Pierrot, he worked on TV anime series “Urusei Yatsura,” based on Rumiko Takahashi’s bestseller manga, made his feature film debut with “Urusei Yatsura: Only You” in 1983, and created an enthusiastically acclaimed “Urusei Yatsura 2: Beautiful Dreamer.” After directing “Angel’s Egg” in 1985, he turned his back on mass entertainment and started making both animated and live action films that expressed his unique worldview.
In 1988, Oshii joined the talented creators group called Headgear, that gave birth to the project entitled “Mobile Police Patlabor.” Its TV anime series, OVA series and the two feature films added new realism to the robot genre in animation. In 1995, Oshii released “Ghost in the Shell,” an epoch-making movie that hugely influenced Hollywood creators and ranked No. 1 in Billboard Top Video Sales Chart (August 24, 1996). Nine years later, he directed “Ghost in the Shell” ideal sequel, “Ghost in the Shell 2: Innocence” the first Japanese animated feature to compete for the Palme d’Or at the Festival de Cannes.
Oshii has also directed a number of live-action features, including “The Red Spectacles” (1986), “Stray Dog” (1991) and “Avalon” (2001). The world of “The Red Spectacles” and “Stray Dog” was further developed in the animated feature “Jin-Roh - The Wolf Brigade” (1999), produced by Production I.G from Oshii’s script. In 2006, he wrote and directed his most challenging visual experiment, “Tachigui: The Amazing Lives of the Fast Food Grifters,” a satirical mockumentary about 50 years of Japanese dietary culture. The film was invited for the official selection at the 63rd Venice Film Festival.
Oshii’s latest new movie, The Sky Crawlers, received its international premiere at the 65th Venice Film Festival, where it was nominated for the Golden Lion. Later, it was greeted with 3 awards at Sitges 08.
Director’s comment on the film: (a part of full comments)
“I am at an age where I am neither too young nor too old to direct a film. Although I still have lots of what I want to experience and accomplish, in societal terms, I could be described as in my “prime years.” I sometimes feel aware of my age especially when I’m surrounded by staff that is much younger than me, or when I’m face to face with my daughter, who is no longer a child.
Consequently I’ve thought about these issues in my role as a filmmaker. I felt urged to give a message to the younger generation
Consequently I’ve thought about these issues in my role as a filmmaker. I felt urged to give a message to the younger generation
