Question: What 1995 Japanese cyberpunk film had a strong influence on The Matrix?
About the article "The Matrix", section "Production design".

Candidate passages:
"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. 
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. 
"Burst City", since its release in 1982, has had a strong effect on the underground Japanese film scene.
This starred Shigeru Izumiya, who would, four years later, go on to direct his own Cyberpunk film, "Death Powder", in 1986.
"The Phantom of Regular Size" was ""'s precursor, a 1986 short by Shinya Tsukamoto.
He himself expanded this a feature-length film three years later, in 1989. 
In the film, the code that comprises the Matrix itself is frequently represented as downward-flowing green characters.
This code utilizes a custom typeface designed by Simon Whiteley, which includes mirror images of half-width kana characters and Western Latin letters and numerals.
The color green reflects the green tint commonly used on early monochrome computer monitors.
Lynne Cartwright, the Visual Effects Supervisor at Animal Logic, supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsey Fleay and Justen Marshall.
The portrayal resembles the opening credits of the 1995 Japanese cyberpunk film, "Ghost in the Shell", which had a strong influence on the "Matrix" series (see below).
It was also used in the subsequent films, on the related website, and in the game "", and its drop-down effect is reflected in the design of some posters for the "Matrix" series.
The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence.
"The Matrix"s production designer, Owen Paterson, used methods to distinguish the "real world" and the Matrix in a pervasive way.
The production design team generally placed a bias towards the Matrix code's distinctive green color in scenes set within the simulation, whereas there is an emphasis on the color blue during scenes set in the "real world".
In addition, the Matrix scenes' sets were slightly more decayed, monolithic, and grid-like, to convey the cold, logical and artificial nature of that environment.
For the "real world", the actors' hair was less styled, their clothing had more textile content, and the cinematographers used longer lenses to soften the backgrounds and emphasize the actors.
The "Nebuchadnezzar" was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on films like "Star Trek".
The wires were made visible to show the ship's working internals, and each composition was carefully designed to convey the ship as "a marriage between Man and Machine".
For the scene when Neo wakes up in the pod connected to the Matrix, the pod was constructed to look dirty, used, and sinister.
During the testing of a breathing mechanism in the pod, the tester went into hypothermia in under eight minutes, so the pod had to be heated.
Kym Barrett, costume designer, said that she defined the characters and their environment by their costume.
For example, Reeves' office costume was designed for Thomas Anderson to look uncomfortable, disheveled, and out of place.
Barrett sometimes used three types of fabric for each costume, and also had to consider acting practicality.
The actors needed to perform martial art actions in their costume, hang upside-down without people seeing up their dress, or work the wires when strapped to the harnesses.
For Trinity, Barrett experimented with how each fabric absorbs and reflects different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character.
For the Agents, their costume was designed to create a secret service, undercover look, resembling the film "JFK".
The sunglasses, a staple to the film's aesthetics, were commissioned for the film to designer Richard Walker from sunglass maker Blinde Design.
Ashbaugh is well known for his 1992 collaboration with science fiction and cyberpunk novelist cyberpunk pioneerWilliam Gibson, AGRIPPA A BOOK OF THE DEAD.
Gibson’s influence, and that of his friend and fellow cyberpunk novelistBruce Sterling, on Ashbaugh is undeniable.
Ashbaugh himself notes, “Their writings had an important impact on me…When I first walked through the chaos of the East Village and thought, ‘Oh what a lovely place this is.’ It changed mynotion of urban decay”.