by红袖添饭
早就放了消息树了，现在才补上，太忙了，抱歉。
本文登在最近一期的《AnimePlay》上，我是在书店现场做的笔记，没有全部COPY，也没买（No MONEY screen.width/2)this.width=screen.width/2″ vspace=2 border=0>）。不过有料的内容自认为都摘下来了。因为还没时间看中文字幕的版本，所以这里基本上是摘抄，自己的话都放在括号里。
押谈到他在INNOCENCE中强调BODY的重要性时说：
A human cannot think of himself without a body, nor can he live. The problem, however, lies solely in the fact that a human does not have a body of its own. The story of the search for one’s lost body might be what this movie is about.（这里谈到INNOCENCE这部电影的主题了，是BODY。押井守似乎认为在第二集的设定里，BODY才是定义HUMAN的根源。这与第一集的思想是不同的，但是考虑到第二集的整体情节，应当是可以说得过去的。当MIND都被电子化后，你怎么能说你的MIND是区别你自己和他人的终极东西了呢？何况MIND被电子化后就有被manipulate的可能，你的ghost可以被复制到别的shell里，但你不会感觉那是你自己，所以电影中那些 sex dolls才会想自杀，以此表示对新的shell或者所谓新的自我的不认同，ghost还是需要原来的body。在电影的设定中，这种问题其实不仅发生在sex dolls身上，她们的例子只不过更极端些；对于每一个义体化的HUMAN来说，当义体已经成为一种普遍的共性的HUMAN“特征”，他们是不是也会思念原始的BODY呢？后面押静守谈到了本片的主题实际上是MIND与BODY之间的LOVE……个人感觉第二强调BODY是对第一集强调MEMORY的一个螺旋式上升的命题，二者并不矛盾，因为是在不同的设定层次上讨论问题。）
记者问：What do you think makes a human a human?
A body. Not having the body—the fact that you lost it—is the problem. The lost body must be recovered, but how? Do you acquire it as a machine? Or would you live with an animal in order to do so? For People living in the modern world, this is a question that they can’t ignore.（还是BODY认同的问题，当没有属于自己的BODY的时候，你靠什么去认同自己？把自己变成一部机器，或者将自己的生活和狗绑在一块？听起来有点歇斯底里的意思，HUMAN为了证明自己的独特存在而想做出各种“有意义”却古怪的事情……）
押井守继续谈recover body的问题：
There are various methods one can use to regain a body. From abandoning the body itself to changing the meaning a body has, the options are numerous and human will try evrything they can think of. The perfect cyborg form and cyber brain that Kim（这是指BATOU和托古萨到那个欧式城堡中去见的那个家伙，是BATOU以前的战友） haschosen are exteme example of that; where humans mimic dolls and thereby place more value on beauty than functionality. It’s a body “colder” than a cyborg. That’s what being a doll is about: to pretend you are a doll.（假装自己是个DOLL也是证明自身独特存在的方式么？押井认为，在影片的设定环境中，要重新认同自己的BODY，方法多样，可以完全抛弃 BODY——象素子一样？或者自己重新定义BODY的意义。个人对这里的理解有些模糊，这里押井守看似在说HUMAN要追寻BODY的意义，实际上是在说以各种方法突出自我、定义自己的存在，这岂不是还是MIND在起作用？还是MIND在决定自己要有个与众不同的BODY……）
记者：INNOCENCE中的素子为什么要选择那样（成为一个和NET融为一体的guarding angel）？
Why does she? Apart from the fact that it ws necessary for drammatic reasons, maybe I just wanted to believe in that.（素子的出现，有制造剧情高潮的需要，也是押井守自己的某种信仰，他“相信”素子融入网络后还是要继续做BATOU的守护天使，而不会迷失自己。呵呵，押井守还是挺浪漫的，愿意相信还是有某个终极的东东可以维系在虚拟与真实的空间都永恒不变。）
记者：第二集看起来有点emotional，这样有其必要性吗？
I guess I’m getting old. After the ages of 50, I think I started to feel I wanted to live not along teh Logics I cam up with but throught conversations with my body. I had been feeling that way since I started living with dogs. I am grateful to (my dogs) Gabriel aka “Gabu” (片中狗食的名字？那个小狗音乐铃声玩具就叫Gabriel) and Daniel aka “Dani-yan.”
（恩，押井守谈到自己感性的一面了……）
记者：Is INNOCENCE a love story like they said in the movie’s advertisement?
Yes, but it’s not necessarily between a man and a woman. It’s between mind and body, between human and machinery, and between human and animal. It’s the only possible love story I can create.（延伸了第一段的回答，不管是什么LOVE，似乎还是HUMAN想成为一个“完整”————不追求“完整”就不必追求MIND与BODY之间的一致了————但同时有是“独特”的个体，MIND与BODY之间必须一一对应，而且这种对应方式本身应当是彼此不同的。）
记者：What kind of a movie is INNOCENCE ultimately?
In short, it’s a piece of entertainment. Leave your daily life and release yourself into a differenct value system. Movies should always be like that.（至于这个不同的价值系统是什么，下面谈到了，有点《黑客3》的感觉）
记者：Why choose INNOCENCE as a title?
The title “INNOCENCE” came from producer Toshio Suzuki of Studio Ghibli. I simply gave a approval. I fact, I almost never came up with titles for my movies. Now, the title “INNOCENCE” does not mean “not guilty” but rather “untouched.” In this movie, which tries to understand humans, machines, and animals as equals, the title is very suggestive. I really like it.（这里终于说到片名的问题了，其实在日本国内的放映版本中，就是出现中文字“无垢”的，不过，考虑到日文用中文的习惯和咱不同，个人认为 “UNTOUCHED”这个意思中文还是翻译成“无邪”比较好，后面押井也说到了，这部电影的价值观是个全新的，要将人、机器、动物都平等看待，这岂不是一种“无邪”的世界观？“无垢”的话，按照中文的习惯理解，多偏重于实际的干净不干净些，似乎不如“无邪”这么有概括性，个人意见。）
记者：Why do you think a human would keep making dolls?
I believe it is because he continued to stay “a human.” Was there a NECESSITY to the process? Well that would suggest that a human had to prove he was a human. I kind of doubt that.（这里押井既证明了HUMAN造DOLLS是为了持续保持自己的HUMAN状态，但他又否定了HUMAN并不是非得证明自己是HUMAN不可……有点模糊，到底押井守是在电影中对“人类是否有必要证明自己的存在”的论点故意留下一点思考的留白不发表意见呢，还是他就相信“人类没必要证明自己是人类”？俺有点搞不清楚了。）
记者：Is the dog placed in opposition of humans?
As long as humans try to remain human, animals have no choice but to occupy the other end. Well, then what if a human is someting other than human? It used to be possible for a human to be a non-human, such as an animal or a spirit. Given that idea, an animal can be something more than just a neighbor, maybe even our body. For me, dogs are neighbors, family members, and also my body. Also, this is important: A human can never continue to be human.（这段话同样费思量，按押井的意思，ghost或灵魂是存在的，所以HUMAN也可以在BODY上变得NON-HUMAN，如动物或者纯粹是游荡的鬼魂或精灵什么的。可能是接见佛家轮回的概念吧，从这个意义上说，我们身边的动物有可能过去是HUMAN，或者说在动物的SHELL里说不定是 HUMAN的GHOST，所以呢我们不仅要把动物当作好朋友，还可以把它们当作自我认同的一部分。恩，难道押井在这里走的是马克思关于“人只有在社会关系中才能定义自己”的老调？要不然，为什么要把与拥有HUMAN灵魂的狗的交往看成自己BODY的一部分呢？押井说“人类已经无法继续成其为“人”了”到底是什么意思？可以理解为即使MEMORY还在，但义体化后BODY就不是独特而完整的了，所以不是完整而独特的HUMAN了。）
押井守还谈到了“背景”画面在它电影中的作用：
A background is not something to fill the empty space behind the characters. It is something that must be directed in the same way you would characters. As a director it is something more important than the characters. I believe a movie is a format for opening up the world to the audience, to display an alien world that you can neither see nor feel in everyday life. If you want to show drama or show people, you should choose TV, theatre or a novel.（押井似乎想拍“最纯粹”的电影，除了电影，没有其他艺术形式可以表现的东东，故事或表演对电影来说不一定非常重要等等……作为电影追求的“一种”形式，我同意他的观点。）
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