Re: エンドロールには　高らかに　「監督　今　敏」

I know how you feel. I saw him walking down the street in NYC when he was hosting TG's premiere, and I called him, and he shook my hand, when he could've just said "Hi" and left. I'm glad I could at least take one regret off his list by finding him that "banned" Ultra 7 episode. [It's been taken down since then, of course.]

Plus, it was one of those appraisals which really made my year, since it'd been such a long time since I had a good year in general. Just the idea that I could even do something remotely meaningful for him, when he was the one with the talent and artistic success, meant something to me. I was really hoping to see him channel those perspectives into Dream Machine, too. That is, loving the show when he was a kid, but not fully knowing about one of its more "controversial" elements until he was an adult, and whether or not that changed or expanded his view on it. I don't entirely know if that was even the angle he was going for, but I feel like that's at least territory he wanted to cover.

Before this discovery, I always thought Kon-san was the "art film"-only type. But, I guess like Orson Welles, he was able to accomplish the elusive task of letting his hair down and still keeping his hip persona. One of a kind is all I can say.