Evangelion 2.0 CRC: Anno Interview

Discussion of the new series of Evangelion movies ( "Evangelion Shin Gekijōban", meaning "Evangelion: New Theatrical Edition"). The final instalment made its debut in Japan on March 8, 2021.

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Postby Kendrix » Thu May 26, 2011 2:56 pm

Thanks for the translation, as always.
Yay, our beloved Movie seems to have been the result of quite some hard work. IT's hard to believe that the most awesome stuff was assembled so shortly before the deadline...

I guess now we know whose idea the Parachute scene was XD Way better/less stereotypical than tea.

It#s shocking to hear about all these struggles, given how awesome the final product was...

as for the cutting of the scenes with the adults, well, it's a movie series, we can't expect them to thoroughly develop the bridge bunniesXD
I wonder what they meant by "Asuka's relationship with her mother" - were they just originally going to give us her backstory a little earlier (compared to the series) or was the phonecall with the stepmother supposed to appear?
Anyway, we'll probably see it in Q anyway...
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Postby 1731298478 » Thu May 26, 2011 3:17 pm

View Original Postsymbv wrote:Thanks 1731298478 !!! I hope I can also contribute this time. Just my suggestion...

Thanks very, very much, symbv!! It's really appreciated. I added all your corrections into the original post. You really clarified the meaning of those parts of the interview. On top of that, sometimes I just made lazy mistakes, and some things I didn't realize at all (like the use of 年を越えて). Having your input is a really big help.

The "S-Dat" in the end is just the name of Shinji's tape player from the original series: http://img842.imageshack.us/img842/2875/sdaty.jpg Shinji still uses it in Rebuild.

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Postby Warren Peace » Thu May 26, 2011 5:51 pm

View Original PostKendrix wrote:I wonder what they meant by "Asuka's relationship with her mother" - were they just originally going to give us her backstory a little earlier (compared to the series) or was the phonecall with the stepmother supposed to appear?
Anyway, we'll probably see it in Q anyway...


Yeah, that's the most interesting question, in my view. Given how much Shikinami seems to be an emotional counterpart to Shinji, I'm beginning to think her mother isn't dead at all (that is, maybe Asuka has mommy issues the same way Shinji has daddy issues). Maybe Kyoko is a "tiger mom", driving Asuka to succeed...

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Postby symbv » Thu May 26, 2011 8:33 pm

View Original Post1731298478 wrote:The "S-Dat" in the end is just the name of Shinji's tape player from the original series: http://img842.imageshack.us/img842/2875/sdaty.jpg Shinji still uses it in Rebuild.


Thanks! Never realize that tape player is called S-Dat... And Shinji is still using that in Rebuild?? He is such a retro guy then. Perhaps he favors using floppy disc for his computer? :)
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Postby UrsusArctos » Thu May 26, 2011 8:36 pm

Shinji actually says that the player is Gendo's old player, which he keeps as a "bond" with his father. This may sound like an awkward explanation, but that's what they used to keep a 20-year-old piece of technology in the show.
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Postby Sailor Star Dust » Thu May 26, 2011 8:43 pm

Funny enough, Shinji's cello (was that ever mentioned or seen in New Movie Edition so far? Not that I recall but... Hmm...) was going to have been a memento from Yui (either in Proposal or one of the two pre-Anno Episode 24' drafts). It'd be a nice touch if a continuity of Eva had both the Sdat and Cello formally belong to Gendo and Yui (for Shinji to keep a memento of them both and such), but at least there's always fanfiction. :)
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Postby Warren Peace » Thu May 26, 2011 8:49 pm

OK, did someone actually move the discussion that used to be here somewhere else or did you just wipe it out?

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Postby Sailor Star Dust » Thu May 26, 2011 8:55 pm

Warren Peace: Not sure what you mean, the last page has Anno's continued discussion about Mari (Part 3). I didn't remove anything, either another staff member did or the forums are being buggy.
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Postby Warren Peace » Thu May 26, 2011 9:00 pm

There were a few more posts between me and Kendrix and a few others about Asuka. It wasn't that much of a digression, and had to do with her mother. If it was deleted, that seems pretty silly to me. Maybe the forums are just acting up like you say.

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Postby symbv » Thu May 26, 2011 10:09 pm

View Original PostUrsusArctos wrote:Shinji actually says that the player is Gendo's old player, which he keeps as a "bond" with his father. This may sound like an awkward explanation, but that's what they used to keep a 20-year-old piece of technology in the show.


Pretty smart thinking, I have to say. This gives the player even more symbolic significance than the TV (in fact by late 90s when EoTV was shown, tape technology for consumer audio was already passe, at least in Japan).
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Postby Warren Peace » Fri May 27, 2011 6:10 am

The missing bit isn't back, and no Mod will admit to deleting it. Very odd...

"there was a scene where she had tea with Shinji on the roof of the school"

Would love for him to elaborate more on that. It seems inconceivable in the final film.

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Postby Xard » Fri May 27, 2011 6:21 am

View Original PostSeele00TextOnly wrote:I think what was meant was that there were intentions of having more development of the adult cast and their viewpoints. I think he intended to have more Kaji, Misato, Ritsuko, et al ruminating on more personal matters and on their interrelationships. As it is now they're moreso used purely for exposition. I mean, there's still some of the former, but I think what he's expressing is that he had been planning on there simply being more.


This already came up in Enokido interview which mentioned Anno had written many great, "cinematic" (in feel) scenes focusing on adults but they had to be cut.

Way they were described makes something akin ep 15/21 and Anno's serious films like Love&Pop and especially Shiki Jitsu likely models for style

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Postby Kendrix » Fri May 27, 2011 7:32 am

View Original PostWarren Peace wrote:
"there was a scene where she had tea with Shinji on the roof of the school"

Would love for him to elaborate more on that. It seems inconceivable in the final film.


There were drafts where Mari arrived along with Asuka and was incorperated into their "social circle", it might've been part of one of those.
Or Mari might just have randomly arrived at Shinji's school with a teapot. Wouldn't put it past her xd
Then again, it's better without that, I mean, the token british chick serving tea is just duh, too stereotypical.
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Postby Legendary » Fri May 27, 2011 3:30 pm

View Original PostXard wrote:This already came up in Enokido interview which mentioned Anno had written many great, "cinematic" (in feel) scenes focusing on adults but they had to be cut.


I desperately want to know why they were cut but the Kensuke and Toji scene was kept. The adults are going to contribute to the next movie's plot, but it is increasingly unlikely that the non-pilot children will.

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Postby SaltyJoe » Sat May 28, 2011 11:21 am

View Original PostLegendary wrote:I desperately want to know why they were cut but the Kensuke and Toji scene was kept. The adults are going to contribute to the next movie's plot, but it is increasingly unlikely that the non-pilot children will.

One of the greater mysteries of life, really. But, given what was said about "establishing the flow"="focusing almost exclusively on Shinji", it's probably a matter of time restrictions. Having Touji and Kensuke around as jock guy and nerdy guy required virtually no effort on the wirters part, and if they are there, hey, we might as well trollbait the old fans about Unit-03, which is pretty much the only reason i can see for keping them around. On the other hand, developing something meaningful between the college trio would have required too much time, attention to detail (something that's not an issue with Touji and Kensuke), probably along with a subplot of it's own that doesn't have much to do with the oh-so-interesting life of Shinji.

This probably means that plot involvement for Kaji and Ritsuko will mean being relegated to spewing exposition/philosophy, pretty much how things are now. Once again, i can only express how much i wish 2.xx was a completely different movie, but this is what we got.
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Postby Sailor Star Dust » Sat May 28, 2011 12:38 pm

Assuming 3.0 takes a cue (hah!) from Episodes 20 and 21 among whatever other content they want to throw in (remember, supposedly Nerv's past was going to be elaborated upon more (read the link I linked!), although plans change with time, and maybe that was in a different context of the film format), we should get some past and present information/exposition on the adults while Shinji and Rei are tripping out in Eva-01. Well, hopefully, at least. As usual, "we'll see".
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Postby shinji_ryoji_89 » Sat May 28, 2011 6:37 pm

View Original PostXard wrote:This already came up in Enokido interview which mentioned Anno had written many great, "cinematic" (in feel) scenes focusing on adults but they had to be cut.

Way they were described makes something akin ep 15/21 and Anno's serious films like Love&Pop and especially Shiki Jitsu likely models for style


Described? I just read the Enokido thread and didn't find anything that was really a description of those scenes. Any place to read something like that?

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Postby 1731298478 » Sat May 28, 2011 11:04 pm

Here's my attempt at the remainder of Part 4. Again, please forgive errors and uncertainties in the translation. Corrections and suggestions are highly appreciated!

One note about Anno's remark about "settei." Someone will probably understand it better than me, but as far as I understand it, "settei" refers generally to the background information (appearance, history, characteristics, etc.) regarding a given character, object, setting, etc., including the illustrations associated with this term. Settei that never gets used in the work itself but nevertheless secretly informs it is called "ura-settei" or hidden settei. Enokido remarked in his interview that Anno had spent some time going into detail with him about the ura-settei for Evangelion. If I understand him correctly, Anno is saying that he has changed the settei of the pilots in some manner (with Asuka's past history being a possibility, for example), but he doesn't know whether those changes will come directly to light over the course of the main work or whether they will remain "hidden."

EDIT: I have included symbv's corrections in the translation. Many, many thanks to him!!!

---

Part 4 [Continued]

---他にもマリの単独シーンがあります。
---In addition, there were scenes that just featured Mari.

庵野 マリに関しては最後の最後、編集時に「登場シーンが足りない。途中で忘れる」という意見がお貞からだったかな、出てきました。まあ、屋上のシーンを最初の予定位置より前致しした結果、Dパートでの登場まで間が空いたからそう感じてしまったと思うんです。で、その時点から制作可能な内容として追加シーンを考えることにしました。すでにアフレコは済んでいたので、セリフなしであれこれと考えて、他のカットの別テイクを流用したり、ラフレイアウトを起こして編集で差し込んで確認したりして「こりゃダメだ」というのを何度か繰り返し、最後的に「予定」の原画を使ったシーンをトウジの後に差し込むにしました。いやはや、マリに関してはギリギリ最後まで迷って、いじり致しましたね。こういうのをパッと思いついてくれる能力があれば、と思います。すぐにクリアするアイデアが浮かぶ力が、ほしいですね。
Anno: Concerning Mari, at the very last minute, during editing, the opinion was expressed - maybe by O-Sada - that Mari does not appear in enough scenes, that we forget her along the way. Well, I think he felt this way because, as a result of moving the roof scene to a position earlier than was originally planned, there was a gap until her appearance in Part D. So, we decided to think of additional scenes in the way of content we could produce from that point on. Because afureko was already complete, we thought of various [possibilities] without [using] dialogue, making use of different takes from other [unused] cuts; digging up rough layouts, inserting them in editing, and taking a look at them; and so on. We declared [options] to be useless a number of times, and in the end we decided on inserting a scene that used genga from the 2.0 preview trailer after [a shot of] Touji. Oh my, concerning Mari we really were at a loss and struggled till the very very end. I think for this kind of situation [it would be great] if I had the ability to suddenly hit upon something. I wish I had the power to quickly come up with ideas that could clear the challenges.

---そうした苦労の結果として、マリというキャラクターはどうフィルムに定着したと思われます。
---In what way do you think Mari's character was established in the film as a result of those difficulties?

庵野 出番が少ないわりに印象的な、いいキャラクターになったと思います。これはもう鶴巻のこだわりの賜物ですね。とにかく印象に残るように、と注意深く描いていました。マリは自分の中で他者、エヴァの世界でも異物にしたかったんです。なので、かなりの部分をマッキーに委ねています。僕がイニシアティブを取り過ぎると、既成のキャラになりかねない危険性があったので。結果がすごくうまくいって良かったと思います。キャラに異物感が混じってましたから。声のイメージも自分からは決めず、坂本(真綾)さんの推薦も確かお貞からだったと思います。マッキーもあのとき賛成してたかな。何か言ってたけど、最終的には「いいと思います」みたいなことを言ってたと思います。
Anno: I think she became a good character who for all her short appearance was impressive. This was again due to Tsurumaki's persistence. In any case, we depicted her with great care in order to leave an impression. I wanted Mari to be an outsider within myself as well as an alien presence in the world of Eva. Because of that, I entrusted a significant potion [of the work concerning her] to Makki. If I had taken too much initiative, there was a risk that she might become [just like] the already existing characters. I think the result was very good, and I'm pleased with it, because the character contains something of the feeling of an alien presence. The image of her voice was also not decided by me, and the suggestion of (Maaya) Sakamoto-san, if I recall correctly, was, in addition, made by O-Sada. I guess Makki also approved [of that suggestion] at the time. I think I said something then, but at the end I said something like "I think it's fine".

あれはスタジオ内で飲み会のとき、アフレコ時期も迫ってるのに僕から候補者出ずキャストが未定だった事態にシビレを切らした大月さんが、その場でスタッフに「新キャラの声優は誰がいいか」とリサーチして、そこで坂本さんの名前が出てました。周囲のスタッフの反応も良くて。で、大月さんが「庵野さん、坂本さんでいいよね、決めるよ。明日、事務所に話すよ」「うん、いいよ」と。僕はイベントで挨拶くらいしかしていなかったんですが、なんかいいんじゃないかと思いました。『トップ2(トップをねらい2!)』でもいい芝居でしたし、お貞とマッキーのお薦めなら、間違いないだろうと。まあ、ボンズの南(雅彦)には「庵野がウチのマーヤを勝手に云々」と後でいろいろと呑みのときに言われてましたが(笑)。
That was at the time of a drinking party at the studio. Otsuki-san, who had grown impatient with the fact that, despite being close to the afureko period, the casting was still undecided without me having made any suggestions, was asking staff members then and there which seiyuu would be good for the new character, and Sakamoto-san's name was brought up. The response of the surrounding staff members was favorable. So, Otsuki-san said, "Anno-san, Sakamoto-san is fine; we'll choose her. Tomorrow, we'll talk at the office." "Yeah, that's fine," I said.
[So far] I had only said hello to her in some events, but I thought that [the decision] was something good. She also performed well in in Top 2 (Aim For The Top 2!), and as it was a recommendation from O-Sada and Makki, I thought there would be no problems. Well, later when I went to drink with various people, I was told by Minami (Masahiko) of Bones, "Anno took our Maaya without asking us blah blah" (laugh)

---結果としてはどうですか、真綾さん。
---What was the result like, [using] Maaya-san?

庵野 坂本さん、すっごく良かったですね。十年以上たっていてすでに出来上がっているレギュラーチームの中で気後れすることもなく演じていて。いや、良かったです。最初のテストを聞いたときに「これはいける」と確信しました。唄もうまかったですね。
Anno: Sakamoto-san was extremely good. She performed as part of a regular team that had already been formed more than ten years ago without hesitation. Well, she was good. When I heard her first test I was convinced that it would work. Her song was excellent as well.

---その「三百六十五歩のマーチ」を歌うというのは、庵野さんからの出たアイデアですか。
---Was it your idea that she sing that, the "365-step march"?

庵野 あれは僕ですね。僕が子どものころ聞いていた昭和歌謡です。初陣でもお気楽な感じを出したくて歌わせました。他には立ち上がるのに「どっこいしょ」と言ったり、「よし。そうだ」ってときに思わず手を叩いたりする仕草も、昭和のおやじっぽさをキャラとして出したくて入れていました。料理で言えば最終の塩加減ぐらいのものですが。
Anno: That was me. It was a song from the Showa period I heard when I was a child. I had her sing it as I wanted to bring out a feeling of ease despite it being her first campaign. In addition, wanting to bring out a 'Showa-era old man' feel from her character, I also put in actions like her saying "Dokkoisho" when she stands up, or her unconsciously striking her palm with her fist when she says "Yoshi. So da." [*] To put it in terms of cooking, that was just about the final seasoning.

[*] Mari's actions during the battle with the 10th angel.

---マリのネーミングについては庵野さんからだと思いますが、どんな由来でしたか?
---Concerning Mari's naming, I believe [the name] came from Anno-san, but what was the source for it?

庵野 イラストリアスは英国空母の名前ですね。真希波は旧帝国海軍ではなく海自(海上自衛隊)の「あやなみ型護衛艦」から来ています。式波もそうですね。本編で語るかどうかわかりませんが、『新劇場版』ではEVAパイロットの設定を旧作とは変えています。なので、アスカも惣流から式波に変わっています。マリという名前は、もともと嫁さん(安野モヨコ)の漫画に出ていたキャラの「マリコ」という名前を持ってきていたんですが、いろいろとあって「マリ」としました。まあその方が、ブッちゃん(出渕裕の愛称)も喜ぶだろうし(笑)。
Anno: "Illustrious" is the name of an English aircraft carrier. "Makinami" comes, not from the former Imperial Navy, but from the Japan Maritime Self-Defense Force's Ayanami class of destroyers [escort ships]. "Shikinami" is the same. I don't know whether or not I will bring this out in the main work, but in the new films, I altered the settei of the Eva pilots compared to the original. Because of this, Asuka['s name] changed as well, from Soryu to Shikinami. As for the name "Mari," I originally got the name "Mariko" from a character who appeared in my wife's (Mayoko Anno) manga, but for various reasons it was changed to "Mari." Well, Bucchan (Yutaka Izubuchi's pet name) was also probably pleased with the change (laughs).

---出渕さんの喜ぶマリって、『勇者ライディーン』の桜野マリですか?
---The Mari Izubuchi-san enjoys, would that be Brave Raideen's Mari Sakurano?

庵野 ええ。旧作が終わったころにブッちゃんから「アスカとレイって、ライディーンの明日香麗だよね?」と聞かれたことがあり、『ライディーン』にはちょっと疎いので、「そんあキャラいたっけ?」と、ついうっかり聞き返したら「いるよっ!」と力説させたんです。言われるまで気がつかなかったですね。まったく意識していませんでした。途中で「ちづる」にしようかとも思ってましたが、それだとショウちゃん(河森正治の愛称)がかなと。嫁さんのキャラにもいますし、せっかくだからここはライディーンつながりということでブッちゃんの顔を立て、やはりマリとしようと(笑)。
Anno: Yeah. Around the end of the original Eva, I was asked by Bucchan if Asuka and Rei['s names came from] Rei Asuka of Brave Raideen. I was somewhat unfamiliar with Raideen, and unthinkingly responded with the question, "Was there such a character?", upon which I was emphatically told, "Yes, there was!!" Until I was told that, I hadn't noticed it. I hadn't been conscious of it at all. Part-way through [production] I thought about changing [Mari's name] to Chizuru [*]; if I had done that I think it would have pleased Sho-chan (Shoji Kawamori's pet name). There was also my wife's character; and after all happened I finally had a chance to save Bucchan's face by making a link with Raideen; so after all I went with Mari (laugh)

[*] The editor mentions in the endnotes that Anno is referring to Chizuru Nanbara from Combattler V.

---それは実に麗しい友情ですね。
---That's a truly beautiful friendship.

庵野 そうですね(笑)。ちなみに『ライディーン』のマリの声は前半の方が好きです。岡ひろみ、良かったですね。
Anno: It is, isn't it (laughs). By the way, I prefer the voice of Raideen's Mari in the first half of the show. Hiromi Oka - she was good, wasn't she? [*]

[*] Makoto Kosaka, who also voiced Hiromi Oka from Aim for the Ace.
Last edited by 1731298478 on Thu Jun 02, 2011 4:08 am, edited 2 times in total.

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Postby Nonoriri » Sun May 29, 2011 3:52 am

View Original Post1731298478 wrote:"Shikinami" is the same. I don't know whether or not I will bring this out in the main work, [?] but in Rebuild, I altered the settei of the Eva pilots compared to the original. Because of this, Asuka['s name] changed as well, from Soryu to Shikinami.


Uh-oh

View Original Post1731298478 wrote:Anno: Yeah. Around the end of the original Eva, I was asked by Bu-chan if Asuka and Rei['s names came from] Rei Asuka of Brave Raideen. I was somewhat unfamiliar with Raideen, and unthinkingly responded with the question, "Was there such a character?", upon which I was emphatically told, "Yes, there was!!" Until I was told that, I hadn't noticed it. I hadn't been conscious of it at all. Part-way through [production] I thought about changing [Mari's name] to Chizuru [after Chizuru Nanbara from Combattler V]; if I had done that I think it would have pleased Sho-chan (Shoji Kawamori's pet name). There was also my wife's character, and, as I had the opportunity, of course I decided - with the link here to Raideen - to allow Bu-chan
to save face, and go with [the name] Mari (laughs). [?]

---それは実に麗しい友情ですね。
---That's a truly beautiful friendship.

庵野 そうですね(笑)。ちなみに『ライディーン』のマリの声は前半の方が好きです。岡ひろみ、良かったですね。
Anno: It is, isn't it (laughs). By the way, I prefer the voice of Raideen's Mari in the first half of the show. Hiromi Oka - she was good, wasn't she? [*]

[*] Makoto Kosaka, who also voiced Hiromi Oka from Aim for the Ace.


Haha oh wow.

Warren Peace
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Postby Warren Peace » Sun May 29, 2011 4:01 am

Thanks again for taking the trouble to translate, always appreciated. This altered "ura-settei" stuff is very interesting. There's a theory that Asuka's affection for dolls means Re!Kyoko never committed suicide. Could Anno be referring to this?

Also, I don't wanna drag TOO much of the Rebuild vs. NME/NTE debate into things, but...

View Original Post1731298478 wrote:I don't know whether or not I will bring this out in the main work, [?] but in Rebuild, I altered the settei of the Eva pilots compared to the original.


... did Anno actually use the term "Rebuild" to refer to the new series?


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