Mamoru Oshii - Style

Style

Oshii has stated his approach to directing is in direct contrast to what he perceives to be the Hollywood formula, i.e. he regards the visuals as the most important aspect, followed by the story and the characters come last. He also notes that his main motivaton in making films is to "create worlds different from our own."

Mamoru Oshii's films typically open with an action sequence. Thereafter, the film usually follows a much slower rhythm punctuated by several sequences of fast action. Oshii also frequently inserts a montage sequence in each of his movies, typically two-minutes long, muted of dialogue and set against the backdrop of Kenji Kawai's music. Recurrent imagery include reflections/mirrors, flocks of birds, and basset hounds similar to his own. The basset hound was seen most prominently in Ghost in the Shell 2: Innocence, and was a major plot point in his live-action film, Avalon. The Mauser C96 also appears periodically in his films.

Oshii is especially noted for how he significantly strays from the source material his films are based on, notably in his adaptations of Urusei Yatsura, Patlabor, and Ghost in the Shell. In their original manga versions, these three titles exhibited a mood that was more along the lines of frantic slapstick comedy (Urusei Yatsura) or convivial dramedy (Patlabor, Ghost in the Shell). Oshii, in adapting the works created a slower, more dark atmosphere especially noticeable in Urusei Yatsura 2: Beautiful Dreamer and Patlabor 2: The Movie. For the Ghost in the Shell movie, Oshii elected to leave out the humor and character banter of Masamune Shirow's original manga.

"Oshii's work... steers clear of such stereotypes in both image and sexual orientation," wrote Andrez Bergen in an article on Oshii that appeared in Japan's Daily Yomiuri newspaper in 2004. "His movies are dark, thought-provoking, minimalist diatribes with an underlying complexity; at the same time he pushes the perimeters of technology when it comes to the medium itself. Character design plays equitable importance."

Oshii also wrote and directed several animated movies and live-action films based on his personal world view, influenced by the anti-AMPO student movements of the 1960s and 1970s in which he participated. The anti-AMPO student movements were protests during 1960s Japan against the Treaty of Mutual Cooperation and Security between the United States and Japan. The first film to touch on this political background was the live-action film The Red Spectacles. This film, set in the same world as the Oshii-scripted film Jin-Roh: The Wolf Brigade (1999), is about a former member of the special unit of the Tokyo Metropolitan Police Force dealing with a fascist government.