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Explainer | Who was Satoshi Kon, Japanese animation director of Perfect Blue and Paprika who influenced filmmakers including Darren Aronofsky?

  • Satoshi Kon may have directed only four feature films, but his influence on other filmmakers, among them Darren Aronofsky, is unmistakable
  • As a young man, he helped artist Katsuhiro Otomo serialise his sci-fi classic Akira, and his own later works influenced Aronofsky’s Black Swan

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A still from “Perfect Blue”, one of only four animated feature films Japanese director Satoshi Kon completed before his untimely death at the age of 46. His work influenced filmmakers such as Darren Aronofsky.     
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Satoshi Kon directed just four feature films before his untimely death in 2010 at the age of 46, yet he is widely regarded as one of the most influential animators of his generation.

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Kon studied under established masters of the form such as Katsuhiro Otomo (Akira) and Mamoru Oshii (Ghost in the Shell) before venturing out on his own. He developed a unique and intoxicating visual style that would inform all of his work, as well as an enduring fascination with blurring the lines between fantasy and reality.

Born and raised in Sapporo, the largest city on Japan’s northernmost island, Hokkaido, Kon chose his vocation at a very young age.

After high school, he enrolled in Musashino Art University, where he studied graphic design. During this time he drew his first manga, which was recognised by influential publishing house Kodansha in its annual Tetsuya Chiba awards.

He was offered his first job as a manga artist at Kodansha’s lead publication, Young Magazine, in which Katsuhiro Otomo’s seminal science-fiction classic Akira was being serialised.

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Thrown together with one of the form’s leading creative forces, Kon subsequently worked with Otomo on a number of projects, including his live-action feature film World Apartment Horror (1991) and, most notably, as scriptwriter and background artist for “Magnetic Rose”, one segment of the animated sci-fi anthology film Memories (1995).

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