NAveryW wrote:Some of them are from Newtype articles that have been translated in their entirety.
Ah, I'll correct my translation in accordance with this.
Moderator: Board Staff
I think this is only a fan interpretation (by "Yuuto"), based upon Anno's comment in the Schizo/Parano interviews that "creation is a masturbation show." Aside from that quote, which I think is the title of one of the chapters of Schizo, I don't think there's any real information.
but second part seems to be from Newtype here http://home.gamer.com.tw/creationDetail.php?sn=863335
Born of Lilith wrote:What he said about Rei being finished after her smile, though, kind of affirms something in an interesting essay that I stumbled upon a few weeks ago, which asserted that Eva as a story ended at Rei's smile.
In my view, The End of Evangelion ended on the phase when Shinji, the hero, found Asuka as "the other." For Shinji, Asuka is an ambiguous existence. On the one hand she lectures and inspires him because she minds him, but on the other she is also an existence beyond his control-the other that can never be interiorized. Asuka's ambiguity is also the ambiguity of the work Evangelion as it is.
Xard wrote: Also, I can't be only one who has had thoughts like these after reading this excerpt but...well, I wonder if Anno's intentions for Rebuild harken back to these early master plans and Rei's alt. development and bigger role in 2.0 is him trying to resolve his "screw up" in ep 6 of original. The Shinji/Gendo relationship angle is the focal point of new films and Rei's role is vastly larger - Asuka hasn't eaten it away like in original.
So, naturally, I received, and agreed with, a proposal memo sent out by Tsurumaki, which said, "We have to provide Shinji, as well as the audience, with the same degree of shock and sense of loss as when Touji was lost in the TV series. For that reason, by boldly portraying Asuka as a 'good character'*, I hope to greatly convey that sense of loss." Because of that, I wanted to have Asuka pilot Unit-03 in order to do something for Rei, and Shinji, and others - something for other people. As Tsurumaki put it, it's like a "death flag" is raised. As a result, Asuka piloting Unit-03 ended up being made into the "peak" of her drama. I changed various parts of the script in accordance with this. For example, Asuka's impetus for piloting Unit-03 would connect with the story of Rei [learning to cook and?] preparing a dinner party for Shinji and Gendou. It seemed like these things, as well as Asuka's character, dialogue, and so on, had gradually become solidified.
---It's not just Mari and Asuka, who participate [in the new films] from "Break" onwards. It was impressive to see Rei display significant changes as well. In particular, there is the fact that she prepares a meal, or the shock of her saying "poka-poka." Concerning changes made to the regular characters as well, if there were reasons [for this], please inform us of what they were.
Anno: With Rei, for some reason, i just feel "it happened like that" naturally. I never remember why it happened that way. Regarding Rei's dinner party for Shinji and Gendo, that was originally a plot I had thought of using for episode 4 of the TV series. I remembered it and thought I would include it this time. I have a memory of it being, at that time, something like Shinji's birthday party. I think I replaced that with the dinner party this time. So, the episode where Rei prepares a meal was already in the first draft of the script. The dialogue where Rei says, "......it's a secret. I'll tell you when I get a little better [at it]" was included in the second draft, dated September 9th, 2006. That's the second time that Rei smiles at Shinji. The Rei of "Break" was established from this point on. Since I hit upon that dialogue, I feel like Rei spontaneously became a character whose emotions leak a little bit into her outward appearance. As far as Rei is concerned, [I am] unconscious. I don't control anything. With "poka-poka," as well, I felt like she said it of her own volition before I was even aware of it.
Tsurumaki: Right. There was a feeling that we wanted the difficulties to be, as far as possible, confined to "Break," because we wanted a situation where we would be able to try various things in the third part. So, after Rei's death in episode 23, Kaworu comes to Shinji; we attempted a structure similar to the TV series. But, in the end, Rei didn't die........
--- Instead, it seemed that Shinji and Rei "got together."
Tsurumaki: There is probably some other intention there, so I think you should check with Anno-san [about that]. However, because there was a feeling that Rei III had been poorly developed in the TV series, after Rei II died in "Break," we wanted to develop in detail the drama of Rei III in "Q."
--- So it's something you were not able to fully realize in the TV series. "Because I am the third" is an amazingly impactful, famous line of dialogue, but, in truth, I felt that [Rei III] didn't really mean much after that.....
Tsurumaki: I thought going deeply into that would be interesting, even in a "Science Fiction"-like way. As Rei realizes the fact, and the significance of the fact, that there has been more than one Rei before her, how, as a clone, will she achieve her independence as an individual? I wanted to develop a story like that. However, it was decided that Rei wouldn't die, and, in the climax of "Break," we strongly and actively push the idea of "Rei and Shinji being brought together," a development taken over from "Prelude."
--- This is quite a shock (laughing)! Surely, immediately following "Prelude," there are people who grin and say of the "love love strategy," "This is a big change!" Surely it leaves a strong impression on everyone. As a result, they will surely think during "Break," "Ah, as I thought, those two were brought together!"
Tsurumaki: The impression that Anno-san mainly wanted to convey was that Gendou and Fuyutsuki were devising a secret plot. Because Shinji happens to go to Rei's room just after that, that was what they discussed. When "secret plot" and "Shinji and Rei" were combined, it probably appeared something like "a strategy to bring together Shinji and Rei."
--- Rather than being disappointed, I'm impressed. All the more, I have a pleasant feeling that things have become "Eva-esque." The fact that this consistency is inherent [makes it] extremely valuable; I am delighted [to think] that this may be the much-discussed "live feeling." [*] In any case, there will surely be many viewers who have the impression that, this time, Gendou's Human Instrumentality Project [somehow depends on] this "love love strategy." Fuyutsuki also says something like, "As we thought, owing to those two Unit-01 has awakened."
[* There is a footnote about this. It refers to Anno's desire to bring the "live feeling" of theater into anime.]
Tsurumaki: And Gendou replies something like "A little while longer, and our project is complete." I had doubts storyboarding that conversation, and sent Anno-san a series of questions about it. "So Gendou knew this would happen to Unit-01? Or was Gendou also surprised and troubled? Or was Gendou surprised, but pleased with the outcome?" I didn't understand the specific meaning of the statement, so I struggled to interpret it. Anno-san replied that, "For now, we'll say he aimed at this and things went the way he expected." I wondered if that was enough. For myself, I am still skeptical that even Gendou isn't really panicking inside, but...
Hideaki Anno "tried in absentia" by the staff of Evangelion
Aum Shinrikyo and Eva
An unprecedented service...A tentative "happy end"
Not merely a copy
One should mix in poison
"EVANGELION is my life", Anno says, "and I have put everything I know into this work. This is my entire life. My life itself!" As many fans want to know about the ending of this series, episodes 25 & 26, he says that he is making a different version and those two girls (Misato and Ritsuko) are dead in the end. He says, "I truly believe that sex and violence are part of our human life. These days in Japan, I think Japanese children need to know about those things more... instead of being protected too much from the society. Those matters are a little like a poison: we need to give them to the children little by little to establish an immunity, so they would have the ability and mental strength to resist. A lot of youth I know just don't have this immunity, and when something terrible happens, they can't deal with it. In a way, the poison can be the medication at the same time, and I believe that the more we know about those things, the more we can protect ourselves against specific matters."
The Dead Sea Scrolls
We have no time
The AT Field
Anxiety after the end of the broadcast
Hayao Miyazaki's view of "Royal Space Force"
Anime loses money
The suspension of "Blue Uru"
What's so great about Gendo?
Why is the main character a boy?
On the last two episodes
Critique of Otaku
Nagisa Kaworu The fifth Eva pilot whom Seele sent in. To Shinji, he was both the very first friend he could confide in as well as a same-sex romantic interest. On the account of his true nature as an “Angel”, he attempts to merge with the First Angel, Adam, ensconced in Nerv’s underground, to trigger Third Impact. Driven at the far end of his anguish, Shinji kills that beloved friend of his with Eva Unit-01.
1731298478 wrote:Anno: No, um, I made a certain promise, though I think now I should have broken it. At the very beginning, when [we] drew up the plan [for Eva], [I met] with the producer, from King Records, who told me, "I will approve the plan you submit, whatever it is, because I have faith in you. However, there will be two conditions. The first one is that you will remain with me for five years. You cannot, for example, do a film version with another [producer]. The additional condition is that you will not kill any children. The adults can die, but I don't want children dying." Because of that condition I couldn't kill [Toji].
Guy Nacks wrote:Well I guess all that went out the window when Anno made EOE. So, I guess that this proves once and fro all that Toji, as far as Anno is concerned, was meant to die as he did in the manga. I wonder if Anno would have killed off anybody further during the series if he didn't have that restriction in place.
Takekuma: There are people who will not rest satisfied with works [of fiction], but feel they must change reality. Is there something within you that is “Asahara-like,” or are you conscious of something like a desire to change reality?
Anno: I think so.
Oiziumi: Is it that you are trying to do this through the production of anime?
Anno: Mmm. Right. To an extent I was also trying to change the consciousness of the anime industry itself. However, it seems to have been a failure.
Takekuma: Do you mean that people in the industry regard Eva as having been an exceptional case?
Anno: That’s right. [They see] (Gainax) as an exception. So they don’t take [us] as one of their own. And that’s given rise to jealousy, abuse, and slander - to something like an inferiority complex. But there were a few people [on our side]. There were certainly people who tried to understand what it is we were doing, or who understood fairly well. I was happy about that. There were [such] people both in the industry and among the fans. So there was value in doing it, I think.
Takekuma: So you’re not in despair.
Anno: I do feel despair, but that’s where [you] begin from. Everything begins out of despair. In the words of Yukio Mishima, “love is born only out of despair”; “true reformers do not speak of [their] despair.” I think that might be the case.
(From “Nothing Changes in the World” / Parano)
The spirit and body cannot question one another. The spirit can only ask questions [of the body]. It can never receive answers, only an echo. … Love is born only out of despair. Spirit against nature; love is the movement of the spirit towards something it cannot comprehend. Then why question? For spirit, there is no way of demonstrating its existence save through questioning something [else]. An unquestioning spirit’s [very] existence is placed in jeopardy.
Yukio Mishima, Kinjiki (Forbidden Colors) [Source]
Every reformer is shadowed by a profound despair; but reformers do not speak of [their] despair. Despite the fact that despair is the fundamental power behind their idealistic passion, their ideals [themselves] are oriented towards that power’s eradication.
Yukio Mishima, “Utsukushiki Jidai” (“Belle Époque”) [Source]
Users browsing this forum: No registered users and 4 guests