just as he did in Ghost in the Shell and no more than 30,000 cels would have been needed. Still the celwork was subsequently processed through the Animo software in order to enhance some visual effects, textures and camerawork. The film's musical score was composed by Hajime Mizoguchi. Release Jin-Roh was first seen in the early 1999 film festival circuit, including the 49th Berlinale and the 19th Fantasporto in February. It was subsequently shown in Cannes' Marché du Film, which presumably netted its early French theatrical release on November 17. The Japanese preview of the film took place on June 19 in the Roppongi 20th Century Films theater. Media Printed media 2000.06: Jin-Roh Behind Of The Screen (official making book) Japanese text, Mamoru Oshii, Production I.G, 2000.09: Jin-Roh Maniaxx (mook -magazine/book-) Japanese text, Mamoru Oshii, Kadokawa Shoten, 2000.12: Jin-Roh Screenboard Book (official storyboard) Japanese text, 522p., Hiroyuki Okiura, Production I.G available in the L.E. DVD set only Soundtrack 2000.06: Jin-Roh Original Motion Picture Soundtrack (CD) Hajime Mizoguchi feat. Gabriela Robin, Members of Czech Philharmonic Orchestra, Victor Ent. VICL-60569 2002.03: Jin-Roh: The Wolf Brigade Sound Track (CD) Bandai Ent. available in the L.E. DVD set only Reception An early comment on the film was given by Blue Sky animator André Mazzone, who was shown the film in May 1999 as part of a delegation from the studio to Production IG's headquarters. He praised it for the beauty of its animation and character designs and the "subtle and crafty twists" in the story, and commented that the differing approaches to production meant directors were freed from needing to appeal to a wide target audience and allowed have a much greater creative control than in Hollywood animated features, favoring the sophisticated productions anime was known for. The following month the film shown in Cannes' Marché du Film, where Variety's Derek Elley noted it for pushing cel animation to its limits in the action scenes and for Okiura's focus on stillness in between while considering it a less complex work than its predecessor Ghost in the Shell lacking its "stomach-churning, visionary moments". Hyper commends the film for its "art direction and character design which are beautiful examples of hand-drawn animation and the music fits the action (or lack thereof) brilliantly. However, the film's "slow, deliberate pace" is criticised. Helen McCarthy in 500 Essential Anime Movies called the anime "a must-see" and praised the score