I think I've just about got "Waiting For the Worms" figured out.

--Although it kinda-sorta derails the momentum of Roger Waters' original concept of the fascist rally (naming "the other"/leading attacks against them/subjugating and mass-exterminating them), my concept for it goes:

pointing out who is unlikely to be tanged/destroying NERV with the JSSDF/celebrating as Third Impact plays out.

"Waiting for the Worms," then, shifts from being a battle-cry for the BNP to being the flip-side of John Lennon's "Imagine." You know, imagine all the people living life in peace/You may say I'm a dreamer/But I'm not the only one/I hope someday you'll join us/And the world can live as one.

But here, Lennon's utopia is considerably undesirable, because it's forced upon everyone. People are suddenly plucked from their bodies and join with others in this great big Jell-O mold in the sky. Normally, there's always room for Jell-O, but in this case it tastes good for a few seconds but leaves people sick of it forever thereafter.

So the trick is to come up with lyrics that fit the menacing cadence of the original but reflect the "Imagine" ideal.

What do all of you think about my running this one by Funimation and Reg? I'm a bit scared of either one, and I just wanted to get a general opinion from the forum members.

My rationale is, I'd like to get this thing officially blessed by both parties and avoid feeling like I'm doing something really wrong.

From another thread:

CyberXIII wrote:Now that that's out of the way, honestly I think he's a man that doesn't have any good options. To begin with, Yui's "death" more or less destroyed what remnants of sanity he had. After this, he's so wrapped up in the past and trying so desperately to regain what he's lost that he's willing to do anything to get what he wants. He can't move on past his wife's death, and that eventually destroyed him. Now he's a near-emotionless tyrant that will stop at nothing to start 3I and see Yui again, humanity be damned.

This might be a good basis for "Vera," actually--Shinji thinking about Yui and Gendo thinking about Yui and the past. It connects with the scene at the graveyard and the image of Yui's grave in "The Happiest Days of our Lives," as well as the pan across of the graveyard at the beginning of "Bring the Boys Back Home." It's brilliant! Oh, my head! All these random things are coming together in a most exquisite web!

IT...COULD...WORK!!!!!!!!!!!!!!!!!!!!

I finally saw The Wall this past week, so while I'm not too surprised it and EoE-NGE combinations have been done to death, I hope something works out.

I think JCMoorhead's suggestions on the first page are excellent (Mother=A/S duet, One of my Turns=Shinji flipping out/strangle scene, the (internalized/mental landscape?) Nazi-ish-fascist dictator of Pink=still Pink/Shinji although it starts with Shinji shooting Gendo).

I can't think of much else to say at the moment, but best of luck to you with all of this (even if it only is concept stage, but seeing this happen would be amazing).

EDIT: I'm assuming The Wall = AT Fields? (While watching the film, that's the connection I was personally making...)

RE: SSD

A werry interesting set of ideas you propose, though the overarching premise is to retell the story (or timeline) of NGE through the music of "The Wall." So, for "In the Flesh?" you've got Second Impact and Shinji's birth; for "The Thin Ice," you have Yui's death; for "The First Brick," you have Shinji's abandonment and daddy issues, and so on.

Also, the idea is to make "The Wall" seem like it might have been done as an accompaniment to NGE in some parallel world, just as Dub Side of the Moon was a reggae reinterpretation of Dark Side of the Moon. The sound effects get changed, and sometimes the lyrics get changed, though very subtly.

Yes, the ideas have been done to death and beyond, but you only ever see the same few songs on Youtube ("Comfortably Numb," "The Trial," and "Mother.")[/i]

I had another idea.

"ANOTHER BRICK IN THE WALL, PART II"

This song is about NERV and the EVAs. Reg wrote the original song as a protest against grammar-school-style education, but here it rails against the lies and bloodshed that NERV is built upon.

AHA!

I finally have a justification for "Waiting for the Worms."

Apparently in Japan they have these "sound trucks" that sometimes go around spouting right-wing propaganda. Good, so that means I can still use the megaphone voice-effect from the original.

Another revelation:

Since Shinji's an accomplished cellist, it only makes sense for the cello to be used as Shinji's leitmotif--it appears in various places throughout the show. I'll give you a list of places where it appears:

THE THIN ICE--accompanying the electric guitar at the end.

FIRST BRICK--takes the place of the keyboard during the instrumental.

GOODBYE BLUE SKY--takes the place of those ominous horns.

DON'T LEAVE ME NOW--takes the place of the piano throughout. Listen to the song and you'll figure out where the cello goes.

HEY YOU--takes the bass lines.

IS THERE ANYBODY OUT THERE--takes over for one of the acoustic guitars. This is where the cello idea took root.

COMFORTABLY NUMB--Represents Unit 01; the electric guitar represents Unit 02.

THE SHOW MUST GO ON--Accompanies the backing vocals.

IN THE FLESH--part of the instrumentation.

RUN LIKE HELL--accompanies the keyboard solo.

WAITING FOR THE WORMS--performs a triplet that segues into the Brick theme.

I also realized that it might be a good idea to have two Shinjis--one for Shinji as he exists in the real world, and one for his "thoughts." It would tie in with one of his lines from the show, and give an excuse for two lead vocalists. The places where I see this working most effectively are in "Mother" and "Young Lust," the latter because I'm slightly concerned about singing DG's vocals...I'm more comfortable with RW's vocals at the moment.

Ah-ha...how the hell did I not think of this one earlier?

In "Run Like Hell," the lyric "with your nerves in tatters as the cockleshell shatters" becomes "With NERV in tatters as the cockleshell shatters."

I've been following this forum for a bit now, forgot about it briefly and now suddenly remembered it again. I was wondering if you had the time to provide a quick runthrough of what you have, including the new ideas. I also want to know what kind of support you have on this project right now. You have mine, but, me being in Canada, it probably doesn't help you.

Support? Right now, none whatsoever. BUT! I do plan on going directly to the top and bringing this idea to Funimation's attention. I figure I can get a hell of a lot more done faster if I get it officially sanctioned.

Oh, by the way: http://www.megaupload.com/?d=PJBCUL9O

That's a download-link for the Spec Script PDF file. Don't worry, it's legit.

OOH! I also thought of parodying the "Collateral Murder" thing from The Wall 2010 during my version of "Run Like Hell." It goes like this:

JSSDF GRUNT: Commander Ikari...we have received visual on the Geofront interior.
Shinji/GENDO: What do you see in there?JSSDF GRUNT: I see a young woman, about 20 years old, with a Desert Eagle in her hand. There's a young man next to her, and he's got an MP5K in his hands.
Shinji/GENDO: Anything else?
JSSDF GRUNT: There are a few people in there with...SIG552s. Yes, they're SIG552s. And there's a limp rag doll in schoolboy clothes not doing much of anything. Awaiting your command.
Shinji/GENDO: Light 'em all up.

*cue flamethrower action and massive overkill bombardment.*

RUN LIKE HELL:

I told everyone here before about the "two Shinji's" concept, right? Namely, that two actors portray the character: one in the real world, and the other expressing the inner mind. So, for "Run Like Hell," the idea is this: Shinji/Gendo is on the stage singing Roger's (or Guy Pratt's) verses, while Shinji is at the other end of the room with David's verses. Spotlights illuminate each singer, and speakers project the vocals from the stage.

WAITING FOR THE WORMS:

Last night, I accidentally stumbled upon an interesting bit of wordplay I've made. The line "would you like to see the morning sun rise again" can be interpreted as "the morning sun" as in Japan, OR as "the mourning son," as in Shinji, who has spent all his life in mourning but rises again through Instrumentality. Then he sees what's going on while he rises again!

I've been reading the script and I like the ideas. I think it would be an interesting idea to draw parallels in Adams parts to Anno. In the Flesh could be him addressing the audience, since (at the time) they really weren't expecting all the emotional instability that the series was based off of. You can also see a bit of Anno's infamous creator breakdown in Adam's second song: Empty Spaces. It's just something that struck me and thought I should share.

Also, a few pages back you mentioned the Asuka/Shamshel and Gendo/Whichever-angel-he-was-fused-with creatures, and you said you had sketches. Could you post a link to those?

Duckfish wrote:I've been reading the script and I like the ideas. I think it would be an interesting idea to draw parallels in Adams parts to Anno. In the Flesh could be him addressing the audience, since (at the time) they really weren't expecting all the emotional instability that the series was based off of. You can also see a bit of Anno's infamous creator breakdown in Adam's second song: Empty Spaces. It's just something that struck me and thought I should share.

Also, a few pages back you mentioned the Asuka/Shamshel and Gendo/Whichever-angel-he-was-fused-with creatures, and you said you had sketches. Could you post a link to those?

1: Hmm...yes, that's a good idea. You caught me at a good time. I was just about to "lock-down" most of the stuff I already have. Now--Adam, I suppose you could say he serves as a Greek chorus, even though he only appears for two songs. He introduces the show as a spirit, much like Henry V.

If you think about it, "Empty Spaces" is the B side of the first record. It makes perfect sense for Adam to introduce that, I think, but another idea I had was for "Goodbye Blue Sky" to be Misato's theme, where we see the girl she started as and the woman she grew up to be. Adam's looking down on her, Shinji, and everyone else, and commenting on the way things currently are.

2: I'm in the middle of refining those things. I've got something even wilder for Gen/Sachiel coming up.

I think my work on The Wall vs. Evangelion is drawing to a close, or else just the parts I can have creative control over. (I'm not sure how to create/edit AMVs.) It's simply that I'm at the point where I feel I cannot add any new ideas to the mix--most of the content is "locked down."

TO that end, I would like to get a bunch of signatures from everyone on this site for when I take it to Funimation for their official support. Would everyone in favor of this please PM me with their usernames and real names so I can add them all to a masterlist?

Many thanks.

Righto.

It's been a while, and I've had a few personal things to take care of (like finding a job, etc.) but having seen Evangelion 2.22, I think my interest has been renewed.

The movie aspect seems the most economical way to go...I actually think I could film it inside someone's garage (my own, perhaps, if I can get it clean enough). Which is to say, get a bunch of musicians together, set up three cameras (camcorders ought to suffice for now), and do it up in a somewhat minimalistic fashion.

It would have to take place at night so as to get the best qualities of the darkness. I think I would have to hang the projector up in the rafters so that it doesn't interfere with the action on the floor...I'll post other thoughts as I come up with them.

Am glad to see this concept is still in the works.

TomasJC wrote:Am glad to see this concept is still in the works.

I know. It'll take forever trying to get approval from either RW or Funimation, so I think I'll just have to damn the torpedoes and go full steam ahead.

My only problem is finding people to help me see this through...I'm so used to people not only saying "no" but also telling me why it'll never work, how stupid my ideas are, and what a sorry excuse for a human being I am. That's why this hasn't gotten anywhere--I can't do it myself, but I know that nobody's going to help me.

However, that may change. I'm going to an event called Digitour next week, and I may be able to find some good musicians there.