Question: What 1995 Japanese cyberpunk movie influenced The Matrix?
About the article "The Matrix", section "Production design".

Candidate passages:
The cynical and stylish perspective of classic film noir had a formative effect on the cyberpunk genre of science fiction that emerged in the early 1980s; the movie most directly influential on cyberpunk was "Blade Runner" (1982), directed by Ridley Scott, which pays clear and evocative homage to the classic noir mode (Scott would subsequently direct the noir crime melodrama "Someone to Watch Over Me" ).
Strong elements of tech-noir also feature in Terry Gilliam's "dystopian satire" "Brazil" (1985) and "The City of Lost Children" (1995), one of two "Gilliamesque" films by Jean-Pierre Jeunet and Marc Caro that were influenced by Gilliam's work in general and by "Brazil" in particular (the other one being "Delicatessen").
Scholar Jamaluddin Bin Aziz has observed how "the shadow of Philip Marlowe lingers on" in such other "future noir" films as "12 Monkeys" (Gilliam, 1995), "Dark City" (1998), and "Minority Report" (2002).
The hero is the target of investigation in "Gattaca" (1997), which fuses film noir motifs with a scenario indebted to "Brave New World".
"The Thirteenth Floor" (1999), like "Blade Runner", is an explicit homage to classic noir, in this case involving speculations about virtual reality.
Science fiction, noir, and animation are brought together in the Japanese films "Ghost in the Shell" (1995) and "" (2004), both directed by Mamoru Oshii, and the short "A Detective Story" (2003), set in the "Matrix" universe. 
Japanese Cyberpunk is a genre of underground film produced in Japan starting in the 1980s.
It bears some resemblance to the high-tech and scientific Cyberpunk as understood in the West, however differs in its representation of industrial and metallic imagery and an incomprehensible narrative.
The genre is primarily defined by the movie "". 
"The Matrix" draws from and makes reference to numerous cinematic and literary works, and concepts from mythology, religion and philosophy.
One can make a connection between the premise of "The Matrix" and Plato's Allegory of the Cave.
The allegory is related to Plato's theory of Forms which holds that the true essence of an object is not what we perceive with our senses, but rather its quality, and that most people perceive only the shadow of the object and are thus confined to false perception.
The Matrix, or rather the AI that runs it, recalls Descartes' First Meditation, or evil demon, a hypothesis that the perceived world might be a comprehensive illusion created to deceive us.
The same premise can be found in Hilary Putnam's brain in a vat scenario proposed in the 1980s.
"The Matrix" also makes reference to the ideas of Buddhism, Christianity, Gnosticism, Hinduism, and Judaism.
"The Matrix"'s premise resembles the Christian doctrine of the Trinity.
Andrew Godoski from "Screened.com" observed Neo's "virgin birth", his doubt in himself, the prophecy of his coming, along with many Christianity references.
In "The Matrix", a copy of Jean Baudrillard's "Simulacra and Simulation" is visible on-screen as the book used to conceal disks, and Morpheus quotes its phrase "desert of the real".
The book was required reading for the actors prior to filming.
Baudrillard himself said that "The Matrix" misunderstands and distorts his work.
Interpretations of "The Matrix" often reference Baudrillard's philosophy to demonstrate that the film is an allegory for contemporary experience in a heavily commercialized, media-driven society, especially in developed countries.
The influence of the matrixial theory of Bracha Ettinger articulated in a series of books and essays from the end of the 1980s onwards was brought to the public's attention through the writings of art historians such as Griselda Pollock and film theorists such as Heinz-Peter Schwerfel.
Bracha Ettinger's matrixial theory is referred to explicitly quite late in the film through the expression "primal matrix" but it is visualized from the beginning via the alliance between Neo, Trinity and Morpheus, their “co-birthing” in a womb-like “shareable time-space”, their co-existence in different dimension at the same time, their relation to the maternal oracle and more.
Her “archaic” matrix is always in the now and the future, it depends on human affects and desires and proposes a different relations between the symbolic and the real.
This Matrix is fragile yet it is resistant to the dominating Matrix of the mechanical coded simulated and manipulated consciousness that forecloses and rejects it.
In the Ettingerian matrixial sphere freedom goes together with responsibility.
The links between Neo, Morpheus, Trinity and the Oracle, right from the very beginning and all along the film, manifest the possibility of "transconnectedness" in proximity and in distance, which is not global and can't form a “web of webs”.
Its webs are always specific, invested by an "Eros of borderlinking" and related to different processes thet Ettinger has named “metramorphosis” (feminine-maternal-material morpheus).
This is then another kind of Matrix hidden behind the Baudrillard kind.
"The Matrix" belongs to the cyberpunk genre of science fiction, and draws from earlier works in the genre such as "Neuromancer" by William Gibson; for example, the film's use of the term "Matrix" is adopted from Gibson's novel.
After watching "The Matrix", Gibson commented that the way that the film's creators had drawn from existing cyberpunk works was "exactly the kind of creative cultural osmosis" he had relied upon in his own writing; however, he noted that the film's Gnostic themes distinguished it from "Neuromancer", and believed that "The Matrix" was thematically closer to the work of science fiction author Philip K. Dick.
Other writers have also commented on the similarities between "The Matrix" and Dick's work.
The Wachowskis' approach to action scenes drew upon their admiration for Japanese animation such as "Ninja Scroll" and "Akira".
Director Mamoru Oshii's 1995 animated film "Ghost in the Shell" was a particularly strong influence; producer Joel Silver has stated that the Wachowskis first described their intentions for "The Matrix" by showing him that anime and saying, "We wanna do that for real".
Mitsuhisa Ishikawa of Production I.G, which produced "Ghost in the Shell", noted that the anime's high-quality visuals were a strong source of inspiration for the Wachowskis.
He also commented, "... cyberpunk films are very difficult to describe to a third person.
I'd imagine that "The Matrix" is the kind of film that was very difficult to draw up a written proposal for to take to film studios".
He stated that since "Ghost in the Shell" had gained recognition in America, the Wachowskis used it as a "promotional tool".
The action scenes of "The Matrix" were also strongly influenced by live-action films such as those of director John Woo.
The martial arts sequences were inspired by "Fist of Legend", a critically acclaimed 1995 martial arts film starring Jet Li.
The fight scenes in "Fist of Legend" led to the hiring of Woo-ping as fight choreographer.
The film makes several references to Lewis Carroll's "Alice's Adventures in Wonderland".
The pods in which the machines keep humans have been compared to images in "Metropolis", and the work of M. C. Escher.
The Wachowskis have described Stanley Kubrick's "" as a formative cinematic influence, and as a major inspiration on the visual style they aimed for when making "The Matrix".
Reviewers have commented on similarities between "The Matrix" and other late-1990s films such as "Strange Days", "Dark City", and "The Truman Show".
Comparisons have also been made to Grant Morrison's comic series "The Invisibles"; Morrison believes that the Wachowskis essentially plagiarized his work to create the film.
Comparisons have also been made between "The Matrix" and the books of Carlos Castaneda.
The similarity of the film's central concept to a device in the long-running series "Doctor Who" has also been noted.
As in the film, the Matrix of that series (introduced in the 1976 serial "The Deadly Assassin") is a massive computer system which one enters using a device connecting to the head, allowing users to see representations of the real world and change its laws of physics; but if killed there, they will die in reality. 
Some musicians and acts have been classified as cyberpunk due to their aesthetic style and musical content.
Often dealing with dystopian visions of the future or biomechanical themes, some fit more squarely in the category than others.
Bands whose music has been classified as cyberpunk include Psydoll, Front Line Assembly, Atari Teenage Riot, and Sigue Sigue Sputnik.
Some musicians not normally associated with cyberpunk have at times been inspired to create concept albums exploring such themes.
Nine Inch Nails' concept album Year Zero fits into this category.
Billy Idol's "Cyberpunk" drew heavily from cyberpunk literature and the cyberdelic counter culture in its creation.
"1.
Outside", a cyberpunk narrative fueled concept album by David Bowie, was warmly met by critics upon its release in 1995.
Many musicians have also taken inspiration from specific cyberpunk works or authors, including Sonic Youth, whose albums Sister and Daydream Nation take influence from the works of Phillip K. Dick and William Gibson respectively.
Industrial music can be seen as cyberpunk, as well as various electronic body music acts.
Vaporwave and synthwave are also influenced by cyberpunk.
While vaporwave often relies on the commercial side of Neo-Futurists, synthwave is often based on the more gritty side of cyberpunk. 
In the film, the code that comprises the Matrix itself is frequently represented as downward-flowing green characters.
This code includes mirror images of half-width kana characters and Latin letters and numerals.
The effect resembles that of the older green screen displays, since the letters leave a fluorescent trace on the screen.
One origin may be a coding scene of the movie "Meteo", that is a hungarian experimental-pop culture movie film from 1989.
The 1995 cyberpunk film "Ghost in the Shell", a strong influence on "The Matrix", features opening credits similar to the digital rain.
No official version of the code's typeface actually used in the "Matrix" trilogy and in the website for the game "" has been released.
Several imitations have been made.
The font used in the film may have been compiled by CGI Artist Lindsay Fleay.