That first scene with Motoko and Ghost in the Shell is like one of my…

“It's a little presumption of me to make a commentary on it, but things really changed before and after Mr. Oshii's animation style.”

“I was already involved in the game industry, but at the beginning, I was staying in a boarding house and was watching VHS tapes. That's when I first encountered Mr. Oshii's mystery article file, 538. I was really surprised.”

“So my heroes were actors like Clint Eastwood, Franco Nero, and Lee Van Cleef, and I fell in love with Morricone's music which was used in those films.”

Upon learning that Yuriko Hishimi would attend the premiere of a Mamoru Oshii film, Kojima wrote to Kenji Kamiyama pleading that he introduce him to her. Onstage at the premiere, Oshii confessed through a megaphone his own youthful love for Anne, and Kojima felt relieved, as if Oshii were speaking for him; although Kojima did not get to speak with Hishimi backstage, after forty years he saw his first love as a real woman, and at age forty-four he wrote the essay as the love letter he should have mailed forty years earlier.

As a fan of Shibumi, Kojima opened Satori, the prequel written by Don Winslow, with unease. The first two pages —a maple leaf and the recollection of killing a father-figure— dispelled his doubts; he described the prose as so visual that an opera-house assassination scene played in his mind with image and sound, like a storyboard ready to be filmed.