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Dreaming Machine
Dreaming Machine
Dreaming Machine
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Dreaming Machine
Directed bySatoshi Kon
Written bySatoshi Kon
Produced byMasao Maruyama
CinematographyKenji Itoso
Edited bySatoshi Kon
Music bySusumu Hirasawa
Production
companies
Distributed byMadhouse
CountryJapan
LanguageJapanese

Dreaming Machine (夢みる機械, Yume Miru Kikai) is an unfinished Japanese anime fantasy-adventure film directed by Satoshi Kon. It would have been the director's fifth feature film. After Kon's death on August 24, 2010, production continued at Madhouse, where the team used Satoshi Kon's directorial tapes and notes to guide them to completing the film, though the main work such as storyboards and script was already complete. In August 2011, Madhouse founder Masao Maruyama revealed that production of the film had been cancelled due to lack of finances. Only 600 of 1,500 shots have been animated. Originally, Maruyama said there was intent to finish the film, despite the lack of finances.[1] In August 2018, Maruyama revealed that the movie will not be completed or released in the foreseeable future,[2] as there were no Japanese animation directors that could match Kon's level of ability, though he did not rule out the possibility of the project being revived in the future under a talented foreign director.[3]

Plot

[edit]

In an interview with Anime News Network, Kon talked about the film, which would have centered on three characters, Ririco, Robin and King:[4]

The title will be Yume-Miru Kikai. In English, it will be The Dream Machine. On the surface, it's going to be a fantasy-adventure targeted at younger audiences. However, it will also be a film that people who have seen our films up to this point will be able to enjoy. So it will be an adventure that even older audiences can appreciate. There will be no human characters in the film; only robots. It'll be like a "road movie" for robots.

— Satoshi Kon[4]

Characters

[edit]
  • Ririco: A smart, leaderly character reminiscent of Paprika.
  • Robin: A small yellow robot. Main character. Growing from a boy to a young man by taking over parts from the same type of robot.
  • King: A big, loyal, blue bot.

Production

[edit]

During Kon's battle with pancreatic cancer, the director expressed concern about the film being finished to Madhouse head Masao Maruyama. Maruyama assured Kon the film would be completed, no matter what. When Kon died, production was suspended indefinitely until further plans could be worked out over the film. On November 12, 2010 Madhouse Studios announced production resumed with character designer and chief animation director Yoshimi Itazu taking over as director of the film.[5] At Otakon 2011, Maruyama revealed that production had been put on hold for financial reasons, but that he was dedicated to eventually be able to finish the film. According to Maruyama, about 600 shots out of 1500 had been animated at that point.[6]

Susumu Hirasawa, whose song "Dreaming Machine" (from The Ghost in Science) is the source of the film's title, said: "I never received an official order from Kon. It's an unspoken agreement of sorts. There are scenes where he specifically requested a certain track to be used, but there are also many parts where there are no such directions, so it falls to me to choose the songs. This is a difficult task. But we must carry out his dying request, to complete this work, even without a director to question".[7] On November 10, 2010, the album Hen-Gen-Ji-Zai, which features a rerecording of "Dreaming Machine" made two months before Kon's death, was released by Hirasawa's labels.

In 2011, Maruyama left Madhouse to found MAPPA in order to "make new shows that we wouldn't have been able to make at Madhouse." At Otakon 2012, he stated regarding Satoshi Kon's unfinished film, "Unfortunately, we still don't have enough money. My personal goal is to get it within five years after his passing. I'm still working hard towards that goal."[8]

There was little new information about the film for several years afterward, but one of the project leads, Kenji Itoso, crowdfunded a separate film, Santa Company, on Kickstarter. In an interview in December 2014, Itoso said he felt comfortable taking a break from Dreaming Machine only because Satoshi Kon himself had urged him not to obsess too much about completing the project.[9]

During a Q&A session at an Otakon 2015 panel, Maruyama commented that the biggest challenge behind production is finding someone comparable to Kon to direct it.[10]

In August 2016, Maruyama said in an interview with Japanese anime/manga news site Akiba Souken:

For 4~5 years, I kept searching for a suitable director to complete Kon's work. Before his death, the storyboard and script, even part of the keyframe film was already completed. Then I thought, even if someone can mimic Kon's work, it would still be clear that it's only an imitation. For example, if Mamoru Hosoda took the director's position, the completed Dreaming Machine would still be a good piece of work. However, it's Hosoda's movie, not Kon's. Dreaming Machine should be Kon's movie, him and only him, not someone else's. That means we cannot and should not "compromise" only to finish it. I spent years, finally reached this hard conclusion. Instead, we should take only Kon's "original concept", and let somebody turn it into a feature film. By doing so, the completed piece could 100% be that person's work, and I'm OK with that. I also considered doing a documentary on Kon.

— Masao Maruyama[11]

In August 2018, Maruyama revealed that the movie will not be completed and released in the foreseeable future,[2] due to there being no directors in the Japanese animation industry that could match Kon's level of ability.[3]

In March 2021, it was announced scenes from the film will be shown in the upcoming French documentary Satoshi Kon: la machine à rêves.[12]

In the book "Animation! Real vs Dream" (アニメ！リアルvs．ドリーム), three cuts of a storyboard were made public. One cut consists of a background containing a group of buildings in a city that has been submerged and devastated in the distance, and two cuts depict the three main characters—Lirico, Robin, and King—walking towards the clouds crawling on the ground.[13][14]

References

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Dreaming Machine

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from Grokipedia
The Dreaming Machine (Japanese: Yume-Miru Kikai, 夢みる機械) is an unfinished Japanese animated adventure film written and originally directed by . The story centers on a world where humans have gone extinct, following the adventures of robots as they navigate survival and discovery in a fantastical, post-apocalyptic setting presented as a . Intended as a tale with no human characters, it explores themes of robot and folklore-inspired narratives in a futuristic context, designed to appeal to children while offering depth for adult viewers familiar with Kon's psychological style. Production on the film began in 2007 at studio, with Kon developing the original concept following the release of his 2006 hit . It was publicly announced at the Tokyo International Anime Fair in March 2008, alongside the release of the first conceptual artwork depicting robotic characters. Key staff included producer Masao Maruyama, character designer Yoshimi Itazu, and animation contributions from , with approximately 600 of the planned 1,500 shots completed by the time work paused. A tentative release was targeted for 2011, marking it as Kon's fifth feature-length directorial effort after (1997), (2001), (2003), and . The project was abruptly halted in August 2010 when Kon died of at age 46, leaving the film about 40% complete. initially postponed production and expressed intent to resume, but efforts stalled due to the challenge of replicating Kon's unique vision without his direct involvement. In 2017, producer Maruyama confirmed ongoing difficulties, and by 2018, he stated definitively that the film would remain uncompleted and unreleased, as no successor director could adequately fulfill Kon's intent. Despite its unfinished status, The Dreaming Machine holds significant cultural interest as Kon's final creative endeavor, reflecting his evolution toward more accessible, whimsical storytelling after his renowned works on reality and illusion. Surviving materials, including storyboards, character designs, and background art, have been showcased in documentaries like Satoshi Kon: The Illusionist (2021) and exhibitions, preserving glimpses of its robot-centric world and adventurous tone. The project's legacy underscores the irreplaceable nature of Kon's directorial voice in , influencing discussions on posthumous completions in the industry.

Background and Conception

Satoshi Kon's Vision

envisioned Dreaming Machine as his fifth feature film, marking a deliberate shift toward a fantasy-adventure aimed at younger audiences, in contrast to the adult-oriented psychological thrillers like (1997) and (2006) that defined his earlier career. In a 2008 , Kon described the project as "a fantasy-adventure targeted at younger audiences," while emphasizing its appeal to fans of his prior works through layered storytelling. This pivot reflected his desire to explore uplifting narratives accessible to children, featuring no human characters and centering on the adventures of three robots—red, blue, and yellow—who navigate a post-human world. Kon described the story as a "future folklore story," evoking timeless tales of discovery set against a futuristic backdrop. His concept of "the future's future" envisioned a speculative world beyond conventional sci-fi tropes, where the near-future era of advanced technology had collapsed, leaving robots to inherit and reimagine a ruined . Central to this was the dream-like machinery, serving as a for and the generation of purpose through life experiences, as Kon noted in his project proposal that "purpose is born by living." In interviews from 2008 to 2010, Kon elaborated on the film's tone as uplifting and adventurous, with the robots' journey framed as a "road movie" in a dream-infused robotic society, retaining his signature visual to blend whimsy with deeper philosophical undertones. He expressed enthusiasm for audiences to "enjoy the adventures of robots who survived even after their parents— beings—had become extinct," positioning the story as an original tale of resilience and for a new generation. This approach allowed Kon to maintain his thematic interest in dreams and reality while adapting it to a lighter, more exploratory format.

Project Origins

The Dreaming Machine, known in Japanese as Yume-Miru Kikai, was announced in early 2008 as Satoshi Kon's fifth feature film and intended follow-up to his 2006 release Paprika. In a March 2008 report, the project was described as a fantasy-adventure centered on robots, marking Kon's shift toward content suitable for family audiences. By August 2008, Kon elaborated in an interview that the film would feature no human characters, only robots, in a "road movie" narrative aimed at both children and his established adult viewers. Development began in April 2007 with Kon handling the screenplay himself, producing initial outlines that established the story's retrofuturistic post-apocalyptic setting. The production was tied to studio, where Kon had collaborated on prior works, under producer Masao Maruyama, who envisioned key elements like the three protagonist robots colored red, blue, and yellow. By 2009, storyboarding had advanced significantly, drawing from Kon's personal notebooks that included sketches of a drowned world inhabited by whimsical machines and mid-century-inspired hover vehicles. These early visuals captured the core premise: a dystopian yet playful future where extinct humans leave behind robots on a quest for the "Land of Electricity," exploring themes of purpose through adventure. Funding discussions involved Japanese investors through Madhouse, with initial budget estimates aligning with Kon's previous mid-range features, though exact figures were not publicly detailed. The project aimed for a release in 2011 or 2012, reflecting the studio's production pace.

Narrative and Themes

Plot Outline

Dreaming Machine follows the journey of a young robot protagonist, Robin, in a retrofuturistic post-apocalyptic world where humanity has vanished, leaving behind a landscape of decaying 1960s-inspired architecture maintained by autonomous robots. The high-level plot arc centers on Robin's discovery of companionship and purpose in a partially submerged skyscraper paradise, propelling him and his allies into adventures across vast, electricity-starved realms to revive creativity and energy in their stagnant society. Details are based on Kon's script, interviews, and production documents. Based on Satoshi Kon's script, key plot beats include the machine's activation through Robin's interaction with Ririco, a nurturing companion who awakens his latent functions; subsequent encounters with surreal dream-like entities manifested as rogue automatons and environmental hazards; and a climactic confrontation with a authoritarian collective suppressing unrestricted access to energy sources, threatening the robots' existential freedom. The narrative unfolds as a three-act fantasy-adventure structure. Act 1 establishes the world in the isolated "paradise of ," where Robin exists in until Ririco's arrival disrupts the , leading to their expulsion via a catastrophic . Act 2 delves into explorations of dream-infused landscapes, as the group—now joined by the protective —navigates perils while Robin evolves by assimilating parts from defeated foes. Act 3 culminates in the restoration of imagination's power, as the protagonists harness energy sources to challenge the oppressors and ignite a new era of robotic ingenuity. Character motivations, like Ririco's drive for nurturing and King's loyalty, propel these plot developments without overshadowing the adventure's momentum.

Characters and Development

The central of Dreaming Machine is Robin, a small initially depicted as headless and nameless, inhabiting a solitary paradise within a towering in a post-human world. Robin's backstory emphasizes his isolation and latent potential for self-discovery, evolving from a childlike figure into a through acquiring physical parts and emotional wisdom during a transformative journey. This growth arc symbolizes maturation and the awakening of creativity in a stifled environment, propelling the narrative forward as Robin seeks purpose beyond mechanical existence. Supporting the protagonist is Ririco, a red, nanny-type designed with a cuddly, toy-like appearance, built originally to care for children but displaced to the paradise setting. As the intelligent leader of the group, Ririco kickstarts the adventure by providing Robin with a head and a name, embodying a maternal or guiding role reminiscent of Kon's earlier character in her assertiveness and insight. Her development involves transitioning from caretaker to active participant in the quest, highlighting themes of adaptation and empowerment among obsolete machines. Completing the core trio is , a large, loyal blue combat who joins Robin and Ririco on their road-movie-style across the . serves as the protective muscle, with his tied to wartime or defensive functions in the society's rigid structure, evolving through loyalty to foster a sense of camaraderie and shared against . Character designs originated from Satoshi Kon's early sketches, featuring a mid-century retrofuturistic aesthetic to evoke amid futuristic decay, with fluid, expressive animations planned to convey the robots' emerging and dreams. These visuals, refined by designer Yoshimi Itazu, drew from doll-like inspirations for Ririco to emphasize tactile warmth, while Robin and King's forms allowed for dynamic transformations underscoring their personal growth.

Thematic Elements

The central theme of Dreaming Machine revolves around the tension between dreams—conceived as life goals and aspirations—and a mechanized reality dominated by robotic existence in a post-human world. According to production notes from , the story explores "the concept of itself generating dreams and objectives," portraying how continued can foster purpose and meaning even in artificial beings. This motif underscores technology's dual potential: it can suppress creativity by confining entities to programmed routines in a barren, electricity-scarce , or amplify it through emergent self-discovery, as seen in the protagonists' journey to find individual objectives. Recurring motifs evoke childhood wonder amid dystopian decay, with "dream machines"—the robots themselves—symbolizing fragments of lost human innocence in a ruined . The narrative follows robot characters like Ririco and her creation Robin traversing gutted space-age ruins, including a once-vibrant paradise now submerged, highlighting a retrofuturistic world abandoned by humanity. This setting contrasts playful adventure elements, such as a "" for robots, with the desolation of scarce resources, evoking a sense of rediscovering joy and curiosity in an otherwise lifeless landscape. Kon's intended messages incorporate environmental themes through catastrophic events like a that displaces the characters from their initial paradise, critiquing ecological collapse that leads to societal downfall. emerges as a hopeful counterpoint, with the script emphasizing that "purpose is born by living… if you keep living, purpose and meaning will be born later," suggesting technology's role in sustaining creative evolution beyond initial design. These ideas extend to critiques of societies via contrasts between the dream-like remnants of human excess—hovercars and towering structures—and the stark, resource-deprived reality, implying overreliance on material progress erodes deeper aspirations. The project connects to Kon's broader oeuvre by adapting recurring themes of identity and to a younger audience, resolving with optimistic tones rather than the psychological ambiguity of earlier works like . While previous films blurred reality and fiction, Dreaming Machine shifts toward a heartwarming tale for all ages, where robotic protagonists' growth mirrors human-like in a hopeful arc. This evolution reflects Kon's aim for a family-oriented fantasy-adventure, infusing dark undertones with accessible wonder.

Production History

Pre-Production Process

The pre-production of Dreaming Machine commenced in the late following the 2006 release of Paprika, with leading the scriptwriting efforts from 2007 until his death in 2010. The screenplay focused on a fantasy-adventure narrative featuring three —Ririco (a small, leader-like red robot), Robin (a small yellow robot), and King (a large, loyal blue robot)—on a "road movie"-style journey through a world devoid of humans, confronting an "electric monster" antagonist. aimed to craft a story accessible to children while incorporating surreal elements for broader appeal, as he noted in a 2008 : "It will be an adventure story that even older audiences can appreciate." Kon and his core team, including art director Nobutaka Ike, advanced to storyboarding during this phase, with Kon personally completing detailed boards for significant portions of the film, emphasizing key sequences such as fluid transitions between the robots' mechanical reality and dream-like realms. These storyboards captured the project's distinctive visual style, blending Kon's signature psychological depth with lighter adventure motifs. Promotional materials released in 2009 showcased early storyboard excerpts and character designs, highlighting the meticulous preparatory work. World-building was a central aspect of , involving the conceptualization of a retrofuturistic setting that merged a sprawling, mechanical —complete with transparent tubes, towering skyscrapers, and hover vehicles—with ethereal dream domains populated by fantastical elements. developed by the team illustrated these environments, including intricate mechanical landscapes and otherworldly creatures that enhanced the story's blend of adventure and , drawing from Kon's vision of a "future's " unbound by perspectives. Concurrently, composer , a longtime collaborator, began contributing to the with a whimsical, techno-infused score; the film's title derived from his song "Dreaming Machine," and he planned to incorporate tracks like "Sailboat 108" for pivotal scenes, such as a dance sequence among the robots. Hirasawa later reflected on Kon's deep fandom of his music as a key influence on this early involvement. studio facilitated these artistic preparations through resource allocation and team coordination.

Studio Involvement

Madhouse served as the primary animation studio for Dreaming Machine, drawing on its established collaboration with director Satoshi Kon from prior projects including Millennium Actress (2001). The studio handled key aspects of production, such as storyboarding and initial animation, with Masao Maruyama listed as producer. Following Kon's death in August 2010, Madhouse announced plans to continue the project using his directorial notes and tapes, appointing Yoshimi Itazu as associate director and co-animation director alongside Toshiyuki Inoue. In 2011, Maruyama departed to establish , an independent studio focused on creative animation projects. is credited alongside as an for Dreaming Machine, reflecting Maruyama's intent to potentially complete the film under his new venture. This involvement facilitated efforts to resume tasks, though financial constraints ultimately stalled progress. By 2015, Maruyama indicated the project remained in limbo at due to challenges in securing funding and a suitable successor director.

Cancellation and Aftermath

Reasons for Unfinished Status

received a of terminal on May 18, 2010, leading to a rapid decline in his health that ultimately halted his direct involvement in Dreaming Machine. Despite his condition, Kon continued refining the script and storyboards until shortly before his death on August 24, 2010, at the age of 46, leaving the project substantially advanced in those areas with approximately 600 animated shots completed. Following Kon's passing, initially announced plans to resume production in November 2010 under acting director Yoshimi Itazu, but internal challenges soon emerged. The studio expressed reluctance to proceed without Kon's vision, as producer Masao Maruyama noted that replacing him would risk transforming the film into something unrecognizable as Kon's work. This hesitation was compounded by broader economic pressures in Japan's industry, which had been strained since the 2008 through reduced advertising revenues and shrinking production budgets. In August 2011, Maruyama officially confirmed at that production had been shelved due to insufficient funding at , with only about 600 of the planned 1,500 shots completed before the halt. These financial constraints, intertwined with the creative void left by Kon, prevented further progress on the project.

Legacy and Cultural Impact

Despite its unfinished status, Dreaming Machine has sustained significant fan and critical interest, fueled by the release of concept art and partial production materials that have sparked widespread speculation about potential narrative outcomes. Tribute exhibitions have showcased early concept designs and story outlines, prompting discussions on alternate completions of Kon's visionary robot-centric tale. The 2015 anthology Dream Fossil: The Complete Stories of Satoshi Kon collects his early short stories from the 1980s, offering insight into his thematic development. Leaked character designs and storyboard snippets, documented on archival sites, have similarly ignited "what if" debates among animation enthusiasts, highlighting the film's enduring allure as a lost masterpiece. The project's conceptual framework has left echoes in subsequent , particularly in explorations of dream-like technologies and virtual realms, with creators attributing inspirational debt to Kon's ideas. has acknowledged general influence from Kon's work in interviews. Similarly, has credited Kon for expanding anime's narrative boundaries in industry retrospectives. Archival efforts have played a key role in preserving Dreaming Machine's legacy, with and collaborators releasing portions of storyboards and animation cels through retrospectives to honor Kon's vision. A 2020 article in Little White Lies explored the project's history and surviving storyboards, while broader tributes like the Japan Information & Culture Center's streaming series included documentary segments on Kon's materials, making them accessible for study. Online communities have supplemented these with fan-curated reconstructions of sequences based on public-domain assets, fostering a collaborative appreciation of Kon's incomplete work. Beyond specific artifacts, Dreaming Machine symbolizes the vulnerabilities of auteur-driven production, inspiring industry-wide reflections on posthumous projects and creative continuity. Kon's abrupt departure underscored the risks of director-centric endeavors at studios like , prompting debates in outlets like on balancing artistic integrity with completion feasibility, and influencing discussions on ethical revivals in . In March 2025, producer Masao Maruyama stated that the general public in has somewhat forgotten , emphasizing the need to preserve his legacy amid evolving studio practices. This has positioned the film as a poignant emblem of 's precarious innovation, encouraging renewed focus on unfinished legacies.

References

  1. https://www.animenewsnetwork.com/encyclopedia/anime.php?id=11171
  2. https://www.animenewsnetwork.com/news/2010-02-16/helmer-satoshi-kon-jam-project-kageyama-interviewed
  3. https://www.animenewsnetwork.com/interview/2008-08-21/satoshi-kon
  4. https://www.animenewsnetwork.com/news/2008-03-28/first-image-from-newest-film-by-paprika-satoshi-kon
  5. https://www.animenewsnetwork.com/daily-briefs/2018-08-28/producer-script-for-anime-of-satoshi-kon-opus-manga-being-written/.136004
  6. https://www.animenewsnetwork.com/feature/farewell-satoshi-kon
  7. https://www.animenewsnetwork.com/feature/2010-09-11/2
  8. https://www.animenewsnetwork.com/daily-briefs/2017-07-10/producer-masao-maruyama-teases-desire-to-animate-satoshi-kon-opus-manga/.118632
  9. https://www.animenewsnetwork.com/feature/2021-08-02/review-satoshi-kon-the-illusionist/.175836
  10. https://www.animenewsnetwork.com/news/2021-03-29/carlotta-films-streams-extended-trailer-for-satoshi-kon-la-machine-a-reves-documentary/.171234
  11. https://lwlies.com/article/satoshi-kon-dreaming-machine-unfinished-meta-nightmares
  12. https://gigazine.net/gsc_news/en/20180423-kon-satoshi-dreaming-machine-interview/
  13. https://injapan.gaijinpot.com/play/arts-entertainment/2010/05/21/satoshi-kons-the-dreaming-machine/
  14. https://animationobsessive.substack.com/p/the-plan-for-satoshi-kons-final-film
  15. https://www.dazeddigital.com/film-tv/article/39222/1/exploring-anime-legend-satoshi-kons-last-unfinished-film
  16. https://screenanarchy.com/2008/03/satoshi-kon-returns-with-yume-miru-kikai-the-dreaming-machine.html
  17. https://animationobsessive.substack.com/p/the-lost-projects-of-satoshi-kon
  18. https://lostmediawiki.com/Dreaming_Machine_(partially_found_production_material_of_cancelled_Satoshi_Kon_anime_film%3B_2010)
  19. https://www.madhouse.co.jp/news/news_2010_11.html
  20. https://kotaku.com/anime-director-satoshi-kons-posthumous-work-machine-tha-5976690
  21. https://anigamers.com/interviews/masao-maruyama-collaborating-with-directors-anime-industry-working-conditions/
  22. https://www.cbr.com/satoshi-kon-dreaming-machine-trivia-facts/
  23. https://www.viddy-well.com/articles/satoshi-kons-final-words
  24. https://www.nytimes.com/2010/08/26/arts/design/26kon.html
  25. https://gigazine.net/news/20101112_madhouse_resume_kons_last_film/
  26. https://www.cnn.com/2009/BUSINESS/07/30/japan.animation.recession/index.html
  27. https://screenanarchy.com/2011/08/production-halted-on-satoshi-kons-dreaming-machine.html
  28. https://www.animenewsnetwork.com/interview/2017-01-27/legendary-anime-producer-masao-maruyama/.109843
  29. https://www.amazon.com/Dream-Fossil-Complete-Stories-Satoshi/dp/194122024X
  30. https://www.complex.com/pop-culture/a/william-jones/your-name-makoto-shinkai-interview
  31. https://www.uscannenbergmedia.com/2022/03/28/satoshi-kon-the-illusionist-revisits-the-worlds-of-the-transformative-anime-director/
  32. https://www.animenewsnetwork.com/news/2022-03-22/satoshi-kon-documentary-streams-in-u.s-for-7-days/.183878
  33. https://www.youtube.com/watch?v=9GzZuRMwbW4
  34. https://www.reddit.com/r/anime/comments/1jgt5r5/madhouse_and_mappa_founder_masao_maruyama_says_he/
  35. https://www.bfi.org.uk/features/where-begin-with-satoshi-kon
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