Evangelion 3.0 interviews (needs translation!)

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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unitM
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Postby unitM » Wed Mar 18, 2015 12:08 pm

View Original PostGuy Nacks wrote:Mari confirmed to be almost completely driven by Tsurumaki with no real input from Anno. Pointlessness confirmed.
Lol funny you'd jump to that conclusion. That makes no sense. If that were the case, Mari wouldn't be given a script at all. Maybe there's a reason Anno left Mari without criticism and let her be natural. Her character certainly embodies a really strong natural child archetype. I don't know how you got "let her act it her own way" to "let her do whatever she wants."

The only layers we've gotten from Mari are that she's really enthusiastic about being social, which is shown by her movements and her uninhibited parts of her actions, and that she also knows more, and that more is the something viewer did not know, in a very serious manner. So basically she's a free child, but balanced in the other egos as well. This is how she's marketed in almost every one of her scenes because it's her personality and her egogram. It almost appears as if she's normal and just well balanced, but tagging along for the ride(again, the representation of a free child: no responsibility but excited to be around). I think that's what makes her strange in the series though; she's just normal.

Whereas Asuka represents a strong critical parent ego, and Shinji the adapted child one, Mari takes the third one of the series. I think her placement is fine, to be honest. If there's a trip scene in FINAL, I really hope we're shown a happy-go-lucky Mari perspective.

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Postby kuribo-04 » Wed Mar 18, 2015 12:19 pm

View Original PostGuy Nacks wrote:The difference is Mari is an actual Eva pilot and thus is in a position to more greatly affect the narrative

I think this is just a notion we have. I think it's OK to have a pilot who is just a pilot.
Shinji: "Sooner or later I'll be betrayed... And they'll leave me. Still... I want to meet them again, because I believe my feelings at that time were real."
Ryuko: "I'm gonna knock ya on your asses!"
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Postby Kvanu » Wed Mar 18, 2015 2:41 pm

Some stuff I thought was cool/weird:

SPOILER: Show
That scene was still un-animated when I watched it at home, so Mr. Anno had to describe what was going on at the studio. I listened to his explanation, but… well, we were recording around March, and images of last year’s disaster (the 2011 Tohoku Earthquake) were still all over TV. I just imagined ”what if this was all my (Shinji’s) fault?” I just… it made me go “Woahhhhhh"…


So if they were recording in March of 2012 and scenes weren't close to being finished, and they still got it out in November 2012, is there a chance Shin can come out late this year or early next?

SPOILER: Show
This Rei is a different Rei, so I voiced her as being indifferent. When I asked Anno-san “What’s going on in the scene with the multiplying Reis?” he gave me a clear answer which I can’t disclose here, but Director Tsurumaki and other staff were super shocked.


What could Rei's VA mean by this?? Multiplying Reis? And what's the secret?

SPOILER: Show
It can be possible, in 3.0, to figure out where Mari comes from, but considering that it hasn’t been officially revealed yet, not even to me, I’d like to know more about it.


Does Mari's VA mean that photograph?

SPOILER: Show
And maybe I shouldn’t be the one to say things like this, but with respect to Eva… even if the audience reacts negatively to it, I feel like that’s perfectly fine. In fact, going back to my roots, I think that that’s the point of Eva. This is a new series. This is just my take on it, but I think that whatever opinions people form about this movie is fair game.


That's a nice way to look at things. I like how Gendo's VA is the most talkative and informative.

SPOILER: Show
There’s a line that alludes to the fact that he’d recently heard about Misato from Kaji.

The Kaji line directly links me to Yama-chan in my mind, so it was quite easy for me to get a feel for what kind of relationship they have, like that “Ah, I remember my good friend saying that…” kind of thing. But that’s really where it begins and ends, since a majority of my lines were Koji conducting work, and that’s not something that requires a lot of emotion on my part. On the contrary, he had to sound businesslike and efficient. It’s during the quieter moments that we can just pop those “Oh, so that’s what Kaji meant…” moments.


So Kaji is really alive just not on the ship. But how are Koji and Kaji friends if Misato and Koji haven't met until now? It doesn't make sense.

SPOILER: Show
Right after I got the part, I called Seki Tomokazu, who played Toji, and asked him how he’d done the role. His answer was roughly something like “Oh, it really isn’t an Osaka dialect. It’s a Toji-dialect.” Meaning, he wasn’t speaking with the mindset of a person from Osaka, but rather as himself, speaking with an Osaka dialect. All I could say was “Yeah, I feel you”. (laughs)


Sakura VA talks about Toji's VA like his role as Toji is over. Referring to his death maybe?
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Postby robersora » Wed Mar 18, 2015 3:32 pm

View Original PostKvanu wrote:What could Rei's VA mean by this?? Multiplying Reis? And what's the secret?


I guess it's Quantum Rei she is talking about.

View Original PostKvanu wrote:Does Mari's VA mean that photograph?


Not necessarily; I guess she implies the very specific time period the songs come from she sings. Also, calling Asuka Hime-sama, and saying Gendou-kun combined with the fact that she is being called "Kone-Megane" by Asuka, points to a Mari that was exposed to the Grudge of Eva in the same time-spectrum when Yui was absorbed.
(If, of course, Sadamoto's backstory for Mari is similar to Anno's; or Tsurumaki's)

View Original PostKvanu wrote:So Kaji is really alive just not on the ship.

I really don't see, where this is implied, but maybe I'm missing some nuances, because English is not my native language. From what I can read he only states, that Kaji&Koji have known each other for a long time.
View Original PostKvanu wrote:But how are Koji and Kaji friends if Misato and Koji haven't met until now? It doesn't make sense.

Kaji had a live in between the College-fling with Misato and his appearance in 2.22. Not to mention the 14 year-gap between Ha and Q. Also if this wasn't the case, why should Koji know Misato? Just because an old friend of his fucks her?

View Original PostKvanu wrote:Sakura VA talks about Toji's VA like his role as Toji is over. Referring to his death maybe?

Once again, I don't read that notion at all. Is it because it was translated into Simple Past instead of Present Perfect?
You should know, Japanese only has one form of grammatical past, so this being translated into Simple Past instead of Present Perfect Form could have just been a choice of style.
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Postby Kvanu » Wed Mar 18, 2015 4:07 pm

View Original Postrobersora wrote:I guess it's Quantum Rei she is talking about.

That doesn't explain the "secret" behind Quantum Rei that shocked everyone on the staff. Guess we'll never know till the movie comes out with answers (if it even has answers)

View Original Postrobersora wrote:Not necessarily; I guess she implies the very specific time period the songs come from she sings. Also, calling Asuka Hime-sama, and saying Gendou-kun combined with the fact that she is being called "Kone-Megane" by Asuka, points to a Mari that was exposed to the Grudge of Eva in the same time-spectrum when Yui was absorbed.
(If, of course, Sadamoto's backstory for Mari is similar to Anno's; or Tsurumaki's)

That's true. The hints that Mari is older than she looks have been around for a long time. There's no reason why their backstory should be different.

View Original Postrobersora wrote:I really don't see, where this is implied, but maybe I'm missing some nuances, because English is not my native language. From what I can read he only states, that Kaji&Koji have known each other for a long time. Kaji had a live in between the College-fling with Misato and his appearance in 2.22. Not to mention the 14 year-gap between Ha and Q. Also if this wasn't the case, why should Koji know Misato? Just because an old friend of his fucks her?

Well the Wille crew are newly formed and mostly volunteers. It's reasonable to think that Kaji and Misato grew closer during the time-skip, if he's helping Misato going Anti-NERV. So it makes no sense that Koji and Misato wouldn't be acquainted until now. Or maybe not. Maybe Koji met Misato before but never saw her as a captain.
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Postby KurisuNimii » Sat Aug 29, 2020 6:46 pm

View Original PostElMariachi wrote:What bugs me is that line :

Ishida clearly says that Kaworu accumulated the memories and experiences of several cycles, these cycles could be NGE and even the manga, that would explain why his representation change so drastically in every continuity : from EMK the kitty-slayer to NGE!Kaworu much more gentle and loving Shinji to Q!Kaworu who this time is actively trying to bring him happiness.

Also, this line :

Ishida sounds like he's talking about what's in Kaworu's head, that he though that this time he won't make the same mistake and succeed, which ties with his line at the end of 2.0 : "This time, I will make you happy". But in the end he ends up manipulated again and had to die to let a chance to mankind, in front of Shinji which hurt him more than anything else, again.
Maybe that's what Anno meant when he said that "Eva is a story that repeats"?



What??? no.

I know this post is a bit old, but i really have to talk about it, the loop theory does not include manga

just NGE-several loops that no one knows about-(until finally arriving) Rebuilds

because the manga is meaningless chronologically
and according to the logic of the theory, manga is not part of the universe / main loop
Kaworu, pls come back in the 3.0 + 1.0

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Re: Evangelion 3.0 interviews (needs translation!)

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Postby Zusuchan » Sun Aug 30, 2020 4:27 am

KurisuNimii: Actually, the most plausible idea right now states both that the timeloop is not really a ''loop'' in the true sense of that word and that it happens specifically in Rebuild continuity only. The original NGE continuity is not a part of the ''loop''. If you want a more concise/detailed/good explanation, this thread is a great place: thread/20098/Thrice-Upon-A-Humanity-The-Deep-Lore-of-NTE-WIP/?hilit=

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Re: Evangelion 3.0 interviews (needs translation!)

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Postby Kendrix » Mon Oct 19, 2020 9:39 pm

So I was revising this now that the new one is coming;
Tech advanced a lot since Q came out so I decided to run the yet untranslated ones through a state of the art tool.
there are still some vague bits where id like detail but you can get the gist of most of them

Ritsuko  SPOILER: Show
--What was the first thing you noticed about that big change?

Yamaguchi: Actually, it was the first time I was able to see the whole thing from the recording video. I received the video for dubbing, but it was right before the recording, so I just checked out my own performance.

It's the first time I've ever seen this (character list) (laughs).

--(laughs) New actors were given a character list beforehand, but it seems the old ones were different.

Yamaguchi I'm glad that Ritsuko's style hasn't changed. She's become cooler and really ...... beautiful.

--What did you think of the actual recording?

Yamaguchi: In the case of "Eva", seeing the film on my own was completely different from seeing it in conversation with Anno-san. It's far beyond my imagination. At home, you can't go into the world of Eva at a moment's notice. I didn't know the overall storyline, and I approached the recording session with a vague idea of where I should go with my feelings. Last time, when I saw the finished film, there was a part of the film that I thought was a bit different. I told Anno-san about it (laughs).

--(laughs). What do you think about what happened during the time lapse this time?

We didn't know what Ritsuko was doing during that time. There's some information in the lines, but we can only imagine it on our own. I'd like to know a little more about it, but I don't know if it's necessary. ......

--I get the sense that, outwardly, you've cut your hair and there's quite a bit going on.

Yamaguchi My first impression is that I'm glad Ritsuko is alive. I thought she was going to die again. I was worried that she would disappear between "2.0" and "Q" and people would talk about her (laughs).

Ritsuko could have been killed off at any time. She was killed off once in the previous version of the movie. She was killed off once in the previous film, so that was the end of Ritsuko.

--I was able to start from a place where I felt that it had ended, and now I'm in a new place.

Yamaguchi: My first job as a voice actor was on the TV series Eva. I didn't know anything about the anime world and it was the first time I'd ever been in front of a microphone to speak. I really liked playing Ritsuko Akagi, but the pressure and the tension made my body hurt. That's why I've never watched the TV series. I've always felt that I wanted to start over. That's why I was so happy when I heard about the new movie.


Acting while being conscious of being an actress

--Ritsuko is a cool scientist and the lines themselves are difficult to follow.

Yamago Yes, back in the TV series, I was a newcomer, but Ritsuko had to lead the people around her. She has to be calm and strong and not show her emotions, and she has to not let her emotions get the better of her. There's a lot of words that come out of my mouth that I'll never be able to relate to (laughs). I had to say them so openly (laughs). It was really hard work.

It's just the way Anno-san makes things: ....... The way he instructed us was exactly the same as when we were making the play, in terms of the details and his uncompromising attitude. Even when it came to rescheduling, I was the one who wanted to ask for help as many times as I could, and I didn't want to be the actor who couldn't respond to the director's demands, because I was so proud of myself (laughs).

I don't have a clue about Anno-san's grandiose worldview. I wanted to get closer to what Anno-san had in mind rather than what I wanted to say. That's the only thing I wanted to do.

--What do you think he's looking for in Ritsuko?

Yamaguchi: I think it's about being an "onna". That's what I think he's looking for. Ritsuko is the kind of person who can't give up her womanhood. So that's all there is to it. ...... The weird thing is, I think "I might die". When it comes down to it, Misato can jump over it. I'm totally different from Ritsuko, but that's the part I like.

When Anno-san says, "It's a little different," I think she's going beyond Ritsuko and showing her own strength. I'm like, "Oh, that was me.

--(laughs). In this movie, it's "To be continued" again.

Yamaguchi I'm worried about her. I don't think Ritsuko has anywhere to go. If she's all alone, she won't be able to survive. I don't think she can do anything on her own.

--It's interesting. There's a part of Ritsuko that seems to know everything about the setting, and that's what's going on inside her. It's usually something that everyone else doesn't know, but then all of a sudden she starts talking about it.

Yamaguchi Knowledge is ....... She's smart, but she's ....... But that's just like a computer, isn't it? As a person, you're ....... I've just lived a hard, faithful, serious life. I'm weak on the inside ....... Maybe that's why I make up for it with knowledge.

--I think there's a reason why Ritsuko cut her hair, but how do you personally interpret it, Yamaguchi-san?

Yamaguchi: I think she broke up with him. I'm sure she's determined to say goodbye, and I'm sure she's done with ....... I don't think there's anything left.

--I also felt that the relationship between Misato and Ritsuko, standing on the bridge of the battleship, was similar to that of Gendou and Fuyutsuki.

Yamaguchi That's what I thought, too. For Ritsuko, I thought it was a good fit. I think it's easy to do. I'd like to see more of the story in the middle.

--I think Ritsuko was the key to the development of Vunder, and it was powered by the first EVA.

Yamaguchi: "Killing God" is an amazing ship, isn't it? How did you make it? I was like, "How did you do that? When I read the script, I couldn't understand where we were going to go from After the Catastrophe, and I was worried. I'm hoping that with one more film, I'll be able to see the light, though: .......


I cried alone to get back from "Eva's World.

--What do you think about the fact that the 14 years in the play are close to the reality of the actor's life?

Yamaguchi: As I said before, I feel like I'm playing an onna, so I prefer to play the part closer to my real age. In that respect, I feel like I was able to play the role of Ritsuko as my emotions were born in Q. I didn't change the quality of my voice.

--I think I didn't change the quality of my voice, but I changed my performance.

Yamaguchi: In the first recording, every time Anno-san said, "It's starting to sound different from Ritsuko's voice," it bothered me, so it was difficult to keep that in mind while acting. It was difficult to act while worrying about the tone of my voice, but when they offered to re-record it, it just happened to be a line that had been bothering me as well. I'm glad that they allowed me to do the retakes.

However, although it's fine to re-record, it's hard to get into the world of Eva: ....... It's not easy to say, "I'm going to re-record this part a little bit" or "Yes," because you have to raise your spirits.

--It's not easy to say, "I'll just re-record this part," or "Oh yeah!

Yamaguchi: It's a lot of work. This time, only one person finished his or her turn, so it's hard to say, "Thank you for your hard work! I couldn't get back to reality when I saw their faces and said, "Thank you for your hard work! I had nowhere to put my emotions, so I cried in the bathroom of the studio for a while and then left (laughs).

--(laughs). The one who finished the film also had to go through that kind of trouble. ......

Yamaguchi Because I couldn't just get on the train. I couldn't get back to reality right away. I couldn't get back to reality right away because the studio was like one world, partly because I was working with Misato.

--I couldn't get back to reality right away, because I was working with Misato and the studio was like one world. If you have a message for the readers who are still amazed by the film, do you have anything to say?

Yamaguchi: To all the people who love Evangelion, thank you very much for watching this film. Thank you for your interest in Evangelion. It's a role that I'm very attached to, so much so that Ritsuko Akagi will never disappear from my life. I'm looking forward to seeing where Ritsuko and Evangelion are headed next time together with everyone else. If you're feeling down after the show, please go to the bathroom and cry before you leave (lol).

--(laughs). (laughs) But that's how great the film is.

Yamaguchi: I thought "Breaking" was a much gentler film, but "Q" is ....... But that made it all the more challenging. If it wasn't for my encounter with Evangelion, I don't think I'd be doing voice acting, so I'm really grateful for that encounter.


Yurigo Yamaguchi, born in Osaka. Freelance. Her major works include "One Piece" (Nico Robin) and "The Pocket Monster Series" (Joey).


She seems to have a very specific notion of the character that is pretty far from what ppl tend to associate with her

Gendo  SPOILER: Show
--What kind of character do you think of Gendou Ikari, having played him for many years?

Tachiki: There are many things about the role of Gendou that I don't understand. It's not the mystery of the content, but rather what Gendou is trying to do. Of course I know the bones of course, but what kind of place he's going to go to and what he's going to do, and what he finds most satisfying at the time: ....... In playing him, I feel like I'm on a journey to find that all the time. Especially since he's a quiet man and his lines are rather simple, I'm often rather inspired and satisfied by other people's lines.

--What was your impression of the script when you read it?

Tachiki: For me, the stage of "2.0" was about tracing what I had done in the past up to "2.0". But with "Q", I felt like "Q? But when I read the script, I didn't feel any different from the audience. I'm very much a part of the EVA world and I'm very much a part of it, so I have a strange understanding of what I'm doing.

When I read Kaworu's lines in this episode, I thought, "This boy is good, he's going to be a good adult. Shinji is Shinji, and I treat him as Gendou Ikari myself, so I really feel like a child, so I don't admire him. As for Shinji, "Go for it! That's how my parents felt when I was working on "2.0".

And yet, it's not that I'm conflicted when I play the role of Gendou, in fact I'm very comfortable with it. It's a strange thing to say, but I don't think I've ever felt this comfortable in a role. It's one of the three best characters I've ever played, and it's probably the best because it's not overwhelming.


I feel like I've been climbing a big mountain for a long time.

--Can you tell us more about that comfort level?

Tachiki: It's because it's the trunk of the story. I'm not sure if it's such a pleasant feeling for people to have a lot of hidden mysteries and to have lines that have connotations (laughs).

--(laughs) I feel like that's the closest to the core of the story again. (laughs) But I don't say what's important.

Tateki Yeah, that's right. But there may be relatively little sense of "acting" in myself about Gendou. It flows like air: ....... It's the way I speak, the way I act, the way I feel. ...... I don't relate to things like emotional ups and downs. I'm a bit of a storyteller, too. To be honest, the first time I encountered it on TV was the first time I encountered it, and it was also difficult to understand, so I had some trouble creating the characters. It wasn't a pleasant experience by any means, was it? I still don't know what it was like to have that turn around so much.

--I've heard that there was a lot of tension during the TV season.

Tateki: That was partly because of the atmosphere in the studio, and partly because of the bargaining between Anno-san and the cast. There were some people who asked me questions, but I'm not a person who says a lot, so I would ask questions like, "How do I get to know the characters? I'm not a person who says a lot, so I'm always thinking, "How do I get the character? I was always thinking, "How do I get the character?

--It was hard to know where the story was going.

Tateki: That's right. I think that was something that could only have been done at that time. I was a lot younger, and even if I did it again on TV, I wouldn't be able to show the quality of that time. That's why I feel that doing it on a bigger scale, like the new movie, is a good match for me. I think I'm naturally building on my own experience, and that's what I'm doing with Eva, and it's very much linked to my work.

--Is that part of the "Q" story that has matured as much as the current story?

Tateki: Yes, it has. And when it comes to "Q", it doesn't end there. I always feel like I'm climbing a big mountain (laughs). (laughs) The answer will come when you've climbed that great mountain and reached the top. I think it's just a passing phase. I've gotten older, but I still feel that I'm not quite there yet.

It was the easiest for me to get close to my real age when I was working on the first stage of the game, and when I was working on the second stage of the game, I felt a kind of ...... parental joy. It's a feeling I've never had with an EVA before (laughs).

--(laughs) I think the audience was surprised to hear that.

Tateki: I'm sure they were. I'm not the kind of person who creates pictures and sounds for anime. I'm playing an individual character, but with Gendou, I don't feel like I'm doing voice acting. He's really acting as an actor. That's why I often wonder, "I wonder when Gendou's life will end. ......" or something like that now.


Gendou is a character where it is important to keep the musical scale intact

--What was your impression of the new film?

Tachiki: I'd like people to watch "Q" seriously. The moment you saw part A in the script, the audience thought, "What's this? What is this? And that's why I wanted the audience to watch it.

--I'm not sure if the cast's perception of the film is in sync with what the characters are thinking.

Tachiki: When it comes to Eva, we don't get to see the other cast members together very often. That's why our thoughts and ideas about our works are probably different. That's what makes it so interesting.

--Have you talked to Anno-san about what happened over the past 14 years? At least your glasses have changed.

Tateki: No, we haven't talked about anything in particular (laughs). (laughs) When I would look at a script in the studio and try to say a line, I'd say, "Well, it's best not to think about anything else. It's like a ritual, and I'm just going through the motions in my mind. That's the way I go about it. So I don't get bothered by details like a pair of glasses that say, "This part has changed. If there's something different about the humanity of the characters, I'm sure Anno-san will tell me.

--I think it's wonderful that you and the cast are able to work together like that.

Tateki: In any case, with Gendou, it's important to be able to do ...... something that's like a subtle shift in musical scales. When I'm speaking the lines and feel the gap, I feel like I want to do it again, and when I do that, Anno-san says, "Please do it again," and the rhythm is perfect for both of us. That's why it's really easy to work with him. I'm sure he's a tough guy, but personally, I think the combination with Anno-san is very good for Gendou. Gendou is a character who can't be played if he's off base, even a little bit. That's what I've been paying the most attention to.

In that sense, it's still very difficult for Shinji ....... I'm not going to be able to tell you what to do, but I'm going to tell you what to do, and I'm going to tell you what to do, and I'm going to tell you what to do. In Shinji's case, that's the point. ......

--I think it's a good thing that you're thinking of Shinji.

Tateki: That's the first thing I think about. One of the reasons is that I don't get to spend much time with Shinji. This time we only met once in the studio, and I'm sure Shinji is often alone in the studio and goes, "Excuse me, can you repeat that? Yeah ....... I think he's probably suffering in a pretty good way.


The part of you as a person that feels like Gendou at the core

--Is there anything else that you keep in mind with Gendou?

Tachiki: When I work on Eva, I know the dubbing schedule in advance, so I adjust my voice to a certain extent. I always try to be in the best condition. I've been in good shape since the start of "New Movie". I've been in good shape since the start of 'New Movie'.

--Do you have any memorable moments during this recording session?

Tachiki: Even if it's a rough draft, the drawings are very detailed and beautiful. Even if there's no color on them, the design still impresses me in a visual sense. It's not a complete line drawing, but one that was designed to be completed. I think that's a very unique feeling to Evangelion. I think it's something very special, and I'm always impressed by it.

Also, from a fan's point of view, there are a lot of new characters in "Q", so I'm really looking forward to seeing them. When I saw it on the screen for the first time, I wondered how it was going to turn out.

--Do you have any expectations for the future of "Q"?

Tachiki: There are many changes in "Q", but Gendou himself didn't change that much between "Q" and "Break". Maybe the real surprise will come next. That's something I have high hopes for, myself. Maybe there won't be any (laughs), but I'd like to see something happen.

What's always strange about Gendou is that he's supposed to be the most important person in the world, but he hardly moves. It's not the same as if they were an actual team, but they are working very hard. It's always the other people who are fretting, right? Including the children. I think that's a very attractive contrast in this work.

--On the surface, there are some tragic things that happen, but Gendou makes me think that he has a human motive.

Taki: That's exactly what you're saying. It's not just that he's cool or inhumane or anything like that. It's really a part of the power of a human being. That's the biggest thing I've felt strongly since I started working on "New Movie".

That's why it's extraordinarily: ....... If there's an end to Gendai, I wonder what it would look like ....... Maybe at that point my true feelings for Gendou will enter into it. Right now it's just one big project. I'm working on completing it, and Shirobun is talking lines for it. That's kind of what it's all about.

--Finally, what are your thoughts on "Q" as a whole after finishing it?

Tachiki: "Q" is a completely different Evangelion, and I got the impression that it was not just one step forward, but many steps forward. I felt that it was not just one step forward, but many steps forward. In terms of memorable scenes, I can't help but look forward to seeing the outcome of the interactions between Shinji and Kaworu. I wondered how they would show it, including the music. I think that's where Shinji gets a good feeling of comfort, and then things start to heat up and the story of "Q" reaches its climax. I really want people to enjoy that part of the story.
--It's a bit like the perspective of a father.

Tachiki: In "2.0 You've had contact with Shinji in "2.0 You Can't Break", but this time, even though we've had contact, I've just given him instructions from a different perspective. This time I wondered how Gendou felt about Shinji, and even though it wasn't shown on the surface in this episode, it would be nice if people could get a sense of what was going on behind the scenes. If you think about it that way, everything about "Q" is new, isn't it?

I don't know if this is something I'm going to say, but when it comes to Eva, I think it's okay if the audience has a bad opinion of it, even if they think it's bad. In fact, if you go back to the basics, I think that's exactly what Evangelion is. It's a new series. I don't really care how my work is received.

--I'm trying to avoid making waves in the world, so I think I'm doing the opposite.

Tateki: Yes. Betraying the fans in a good way is entertainment. The appeal of Evangelion is that it's not a simple matter. The characters and characters are basically the same, but the way the pieces move and the stage is changing. ......

I think "Evangelion" always has a very adult aspect to it and a childlike aspect to it that tickles and shakes teenagers' emotions as only animation can. Of course, it's partly because the main character is a boy, but that's not the only reason I think it has a very mature and stylish quality. He has a very mature and stylish side to him, but at the same time he has a childish side to him in a good way. I think that's probably one of the reasons why so many people can relate to it.

I can't really think of it as an anime. I really think it's a genre, that "Evangelion is just Evangelion".

After working with Gendou for more than 10 years, I think now I have to think seriously about what I'm going to do from now on with this role in mind.


Fumihiko Tachiki was born in Nagasaki Prefecture and belongs to Osawa's office. Belongs to the Osawa Office. Her representative works include "Tales of Symphonia THE ANIMATION" (Kratos Aurion) and "Gintama" (Yasumi Hasegawa). He is active in many fields including narration.


He seems like a pretty deep guy...


Fuyutsuki  SPOILER: Show
Motomu Kiyokawa (Kozo Fuyutsuki)

--What was your honest first impression of the script for "Q"?

I was able to enjoy it with a new feeling because it was a different development from the TV series.

--What was it like to play Fuyutsuki after 14 years had passed?

Kiyokawa: It's 14 years after the previous game, but Fuyutsuki had an atmosphere that didn't make you feel the passage of time, so I didn't change my mind about playing the role.

But the scenario was different, so I was happy to see a new side to Fuyutsuki.

--Is there anything you had to keep in mind while acting in the film?

It's a character that you've entrusted to me for a long time, so I had to record it until I was satisfied with it so that it wouldn't change.

--What did you feel about "Q"?

Kiyokawa: I'm looking forward to seeing what the next one will be like, but for now, I hope you'll enjoy this longest work of "Q" over and over again.


(Email interview reconstructed)


Motomu Kiyokawa was born in Kanagawa Prefecture. Belongs to the Tokyo Actors' Cooperative Society. His representative works include "Mobile Suit Gundam" (played by Tem Rei), "Nadia of the Wonder Sea" (played by Gargoyle), and "The Time of Eve" (played by Shimei).




Sakura  SPOILER: Show
So you're in the mood for "I'm Sakura, I've just joined the team, and I look forward to working with you for a long time.

--I think Sakura will be a hot topic among the new characters in "Q". How did you come to be involved in the project?

Sawashiro: I worked with director Tsurumaki for the first time a few years ago on "Aim for the Top". I heard that my name came up because of my impressions of the film, which was also directed by Tadashi Hiramatsu.

--I heard that my name came up because of my impression of you at that time. It's just a picture.

That's right, I saw it on DVD.

--The only thing that hadn't been seen before was the idea that Toji Suzuhara has a younger sister, but there was an enthusiastic response of "Finally! and the fans responded enthusiastically, "She's finally here! And with the inclusion of Sawashiro's voice, I think it's going to get even more exciting.

Sawashiro: I've always had a stronger impression of "Evangelion" as a "social phenomenon" than as a work of art. I saw the poster of "Evangelion" together with the Olympics in the "Social Phenomenon" section of my school's graduation album, and I was surprised to find that it was OK to include an anime picture in the school's handouts. When I participated in this event, I am sorry to say this, but I saw the "New Movie: 1.0 and 2.0" for the first time, and I thought it was a story about Rei Ayanami, Shinji Ikari and the children, but I found out now that it was a story about a woman named Misato who is the core of the story, and I thought "What a wonderful woman's I thought, "It must be a person".

That and Hayashihara-san's singing of "Give me Wings" was so shocking that it took me away from the TV for a bit. I thought, "That's dangerous to listen to up close, I'm glad I didn't see that in the theater. ......

--You mean you could feel something like an aura?

It's not a matter of liking or disliking it, being good or bad, but it's a reflexive retreat, "Wow! It's not that I liked or disliked it, or that it was good or bad, but it was a reflexive retreat, a shock.

--It's not a good or bad thing, it's a reflexive retreat, and that was the impact.

How did the recording process go? The reason being that with Sakura, her identity is based on her youth and the new generation, so I thought it would have the opposite effect if I was too cautious. I heard that it was a serious manufacturing site, but I was trying to take it easy as best I could so as not to get caught up in it.

Misato-san became the boss I admired and respected very much. I think Anno-san told me that Misato should have respect for him as well. That's why I disliked Shinji so much (laughs). I was wondering why he was only talking about himself when there was someone else who was working so hard, and as the recording went on, those feelings started to creep in (laughs).

--(laughs). It's like I was getting more and more into the role of Sakura.

Sawashiro: My impression of "Eva" is not that it's a very artistic film, but that it has a lot of the everyday emotional interactions that you would expect in a normal workplace. I guess that's why I was able to do it through Sakura, but it didn't have the feeling of accomplishment that I had imagined before the recording. I didn't have that feeling of accomplishment that I had imagined before the recording.

--What kind of conversations did you have with the director Anno about the setting and the role?

Actually, I went to Anno-san first to ask him, "What do you think of this character? To tell the truth, I went to Anno-san first to ask him how he felt about this character. He replied, "Hmm. I only got one answer, "Pretty" (laughs). I tried to ask him some more about whether he was a child who was very proud of his work, or whether he had some kind of hatred for Shinji, but he said, "I don't have any more information, so I don't think it's worth it". I'll give it a go" and it started like that (laughs).

(laughs) But the takes just kept piling up. The first scene took the most time. When I tried to be cute, it became "a little more workable", when I tried to work properly, it became "too old", and when I tried to be nice, it became "just work indifferently" ...... and I didn't hit the target at all. In the end, my interpretation of the scene settled on just being rather plain at work, except for the scene where Shinji-kun says something like, "Please take off that thing around your neck," and I reply, "I won't ever take it off. We recorded that scene several times with various patterns, and there were some takes where I said it with a lot of hatred, not in a cute or plain way. For me, I didn't hate or resent them, and I threw as much as I could, so I don't know at this stage, when it's not yet complete, what combination of things made it into Sakura.

--So it's still not clear at this stage what kind of combination it's going to be.

Sawashiro: Ah, it was more like a bang in the pool again and again. And I feel like I jumped in (laughs). No going in carefully from the feet up or anything. I went into the field with a sense of abandonment, so I didn't do any delicate work, like groping. 'I've never done this form before, is this OK? What's wrong with it? I've never done this form before. (laughs) I think this might be the first time I've jumped in with so much abandonment.


The recording was like drawing a picture together on a white campus

--What was your impression of Anno after the recording?

There are many directors who record in a variety of ways, but my impression of Anno is ...... There was a big white canvas in front of the director, and the actors were throwing paint into it. But the canvas was a canvas that only Anno-san could see (laughs) and I didn't know how big it was or if it was even there. He wouldn't tell me what to do with it. So I didn't know what to do, but I just kind of jumped into the image that Anno-san showed me. If it's in the frame, I get the OK answer, but I don't know if it's right in the middle. Even if I'm on the edge, I'll sometimes say, "That's interesting, OK! It was a very fresh process.

For example, if you're going to hate them, if you're directed by a mental thing like, "Hate me more like this," or if you have an order to sound, and they say, "Make the endings prettier," you simply do it. That's a certain way of making things again. But in this case, I wasn't sure if it was the right way to do it, and then I said, "Well, let's try it again," and that was like collaborating on an abstract picture.

--I see. That's why you used the metaphor of the canvas.

Sawashiro That's why Anno never looks at me. He's only looking at the canvas in front of him, and he only cares about what he can throw in there. He's only looking at the canvas in front of him, and he's not directing the film looking at me. But that doesn't mean it's hard or sad, it's just that I'm very focused on it ....... I'm sorry to be so sensible, but .......

--It's an interesting story because it fits in with what the other actors have told me.

Sawashiro It's just that I felt that Anno-san was more suited to Ogata-san herself. I was impressed by the way she really participated in the creation of the film as an equal.

--I was impressed by the way she participated in the creation of the show as an equal. But when I observed the recording, Mr. Sawashiro showed me all sorts of naniwaza patterns for each take, and I thought, "Whoa! That's impressive.

Sawashiro: Is that right? (laughs) I'd heard beforehand that there would be a lot of overlapping takes. So I thought it would be confusing if I didn't respond to an abstract order with something clear and unambiguous. So even if I didn't understand it from the start, I decided that I would give them something clear, and I would do a series of takes. Otherwise, there was nothing I could do to change it, and I'd be like, "What can I do to change it? I was afraid of losing sight of it.

--And I was really scared of not knowing myself, "How can I change it? So it's not "A, A dash, A plus", but "A, B, C, D".

Sawashiro: That's right. That's how clearly you change things. But in many cases, the nuance we get from the other side is that we don't need to change things that much (laughs). In other words, they'd say, "A dash would have been fine, but you made a C." (laughs). Well, let's do it again. And that's how it ended in failure (laughs).

(laughs) --No, no. (laughs) -No, no, no, no. The reaction was "I can pick and choose all I want," so it was great. What I wanted to ask you about was how you created the role in the Osaka dialect, since you were Toji's sister.

Sawashiro: Well, I prepared for both the Osaka dialect and normal dialect. Right after the role was decided, I called Tomokazu Seki, my brother (who played Tohji Suzuhara), and asked him how he was doing. I asked him, "How did you do it? And he replied, "That's not an Osaka dialect, that's an Ore dialect". That means, "I'm not doing this for an Osaka person to read to you, I'm speaking in my Osaka dialect. I thought to myself, "Of course. (laughs) But people might say, "You could do with a little more Osaka dialect," so I prepared for it so I could compete with them.

As expected, they said "I don't need it at all," but the consonants became vocalized and I hoped they would smell that I was from the Kansai region a little bit. I thought it would be great if I could smell that I was from Kansai, a little bit. I had to re-record it because I had that feeling, and I had practiced so much that I couldn't get the accent out.

--So when you read the script, you had an image of an Osaka dialect. You basically speak in standard Japanese?

Sawashiro: Yes. But when someone asks me, "You're Toji's sister? I thought it would be fine if I had a few pinpointed nuances that sounded like the Osaka dialect, like when someone asked me if I was Toji's sister.

--I think that's what made the connection between the brother and sister come out.

Sawashiro: When I looked at Touji, he seemed like a really good guy. I thought that in a family where a man like him grew up together as an older brother, there wouldn't be any deep-seated resentment towards him. No, I wanted him to be able to tell people what was wrong and what was wrong with him. There's no need to be a lizard. If I had to choose between "sharp" and "flat," I'd be sharp, and if I had to choose between "moon" and "sun," I'd be the sun. I thought it would be great if I could smell his vivaciousness and good-naturedness somewhere in there. It's not just in the sound, but also in the character of the actor, that's what I was trying to do.

--That's interesting. It's interesting. That impression of Touji as a "good guy" started with his sister's accident. It's interesting that the impression of Touji as a "good guy" started with his sister's accident.

Sawashiro: In the scene where Shinji gets into the EVA and goes away, the scene where he says something like "That's enough! It wasn't done out of resentment, but out of anger. I wanted to play it in a way that wasn't mixed in with the rest of the movie.

--That's how you characterize Sakura, isn't it?

Sawashiro: No, it's more like a simple rule for me (laughs).


The role of connecting people with the world of Eva

--There's a lot of dialogue among the new characters, and it's easy to convey emotions. Sawashiro: That's right. Anyway, you shouldn't do anything too difficult. For me personally, I've been called upon to do difficult or crowded things recently, so I had the impression that Sakura wasn't very good at it. That's what I was battling with, so I was full of it.

I say "difficult" because it's actually a role with a gimmick like ......, or a role with an incredible mission. That was more often called for as a temperament, so this may be the first time I've ever played a role like this ...... that doesn't have so much of a vibe about anything.

--What do you think of Sakura's appearance? I'm sure she'll be a popular character.

Sawashiro: I hope that's the case. I was just comparing the character designs, and now that I've seen them, I'm reminded again that I'm in charge of youth, including the scenario. I'm really the only one who looks like a normal person (laughs). I guess I'm just an ordinary person (laughs). (laughs) I'm just an ordinary person.

--(laughs) What was the atmosphere like on set? What was the atmosphere like on set?

I didn't realize until I got there that there was less information among the senior members of the crew than I had expected about the dubbing process. I was able to work with Mr. Mitsuishi, Mr. Yamaguchi and Mr. Ogata.

If I had to say I was impressed by Ogata-san, it would have to be him. I don't think his mental stamina has changed despite the fact that he's been working for so long. I saw him trying to make the role consistent across time, as if to say, "If it was like this in 2.0, it should be like this in this scene. I thought it was amazing that he was able to make such a suggestion after looking at the whole thing calmly and with a great deal of logic, rather than just a one-off feeling of discomfort as a performer's physiology.

...... Also, when Anno-san called Yamaguchi-san, "Ritchan, there," it sounded really good (laughs). (laughs). Each of them had a completely different sense of distance and a completely different way of communicating with the actors, so I felt that each of them had a different style and had been working on the film for a long time.

--What are your expectations for the rest of "Q"?

What are your expectations for "Q"? I don't know much about the whole thing because I didn't even receive a script other than the part I was in, so I don't really know how it's going to turn out. ...... I'm also sure this is what it feels like to be a live-action actor. We usually attend to the place where the film is being made, so we have a good idea of the overall picture. We understand what the story is going to be about, and then we subtract from that and start recording. But this time, I didn't know how it would end, so I just went ahead and threw a ball into the scene, which is something I don't usually do. I don't have any experience of showing my face, but I'm sure that's how I feel.

--I don't know if I've ever done that before, but I think that's how I feel.

Sawashiro: If the role is 100% live, it's a live performance, but if the role is 80% you and the rest is you, then the live performance is ....... I was particularly nervous this time because I was playing a role that was different from my true self, rather than being called up for a role that suited me. But after I started and gave up the role, I tried to become a little absent-minded. So when Ritsuko called my name and I answered her, I tried to be as absent-minded as possible in front of the microphone, and until the last minute I was thinking, "What shall I eat today? And I said, "Wow, yes!" and that was a lot of fun. I thought, "Oh, this is fun!" (laughs).

(laughs) I think the live performance in "EVA" is at a much higher level, but when we exorcise the live aspect of the song, I think it's just a matter of spontaneity (laughs). (laughs) I'm really looking forward to seeing how it turns out, including that.

--I'm really looking forward to seeing how they show that and other aspects of the show.

Sawashiro: A lot of the new actors who came on board this time had difficult lines of dialogue about operations, but I was the only one who came out of my own mind. I'd like to be able to appear in more scenes of everyday conversation in the future. I'm sure you'd look great in your clothes.

--I'm sure there are many people who have already fallen in love with you at first sight, so do you have any final message for us?

Sawashiro: I'm glad that you really like it. That's all I can say at the moment, but from my point of view, it's like saying, "I'm Sakura, the newest member of the team, and I look forward to working with you for a long time. The fans who have been watching and loving the series since the beginning have taken great care of it, and the fans and the creators have enjoyed it together, and it's only been a year or so since I first came into contact with it, so I can't say anything shallow. I'm so happy to be able to be a part of the fun!

Without this opportunity, I don't think I would have had the opportunity to experience the artworks properly, so I'm really glad to have been part of the group. I'm more than happy to be one of the people who can enjoy Eva with you, and as a fan, I'm looking forward to the rest of the show. As a fan, I'm looking forward to the next episode!


Miyuki Sawashiro was born in Tokyo. Belongs to Mouse Promotion. Her major works include "Rosen Maiden" (played by Shinku), "Ka-Monogatari" (by Suruga Kanbara), and "LUPIN the Third - A Woman Called Fujiko Mine" (played by Fujiko Mine).


The circulated quotes were clearly out of context
Seems that if anyone was a low effort character it wasn't Mari but Sakura
The gist is neither secret hate nor special niceness but just like... "customer service voice"

Takao  SPOILER: Show
Akio Otsuka (Koji Takao Takao)


Anno-san, you know, thought, "I haven't wanted to see you in a while, so I'll call Otsuka. I'm happy about that. He was like, "I'll do anything! That's what I was thinking.

--You played Captain Nemo in Nadia: The Secret of the Mysterious Sea, so you've been working with Anno for a long time, haven't you?

Otsuka: That's a long time, but it's been about 20 years since I've worked with him. Nadia was your first time directing a TV series, and you seemed like a young and energetic version of yourself. But when I met him about ten years ago on NHK, he seemed to be a different person, maybe because he was tired, and it was interesting to see what had happened in the meantime.

--What was it like working with Anno-san for the first time in a while?

Otsuka: I think it was partly because of the work that we were making, but also because you seem to be in such good spirits. Of course, he's not the same as he was when he was younger.

--Takao is an acquaintance of Kaji. I have the impression that Akio Husuzuka and Koichi Yamadera, who plays Kamochi, have worked together a lot with Batou and Togusa ("Ghost in the Shell"). There's a strange sign in reality. ......

Otsuka: I used to work with Yama-chan a lot in the past. Not so much these days, but we worked together on "Yamato" ("Space Battleship Yamato 2199", with Mr. Otsuka playing Domel and Mr. Yamadera playing Dessler). We may feel that we are contemporaries who have worked together. However, I haven't heard much about whether Takao has that much detail, and I don't know much about it. From the looks of it, it's just that he's a beat up job site. It would be interesting to see if this is a good cadet who graduated from school (laughs).

--(laughs). What was the recording process like?

Otsuka: The last time I worked with Anno-san was for a TV series, but this time it was a movie, and we recorded each scene individually, so we had to re-record in great detail. But I'm conscious of the fact that we used to work together for a year, so we had to re-record a lot of details. So, rather than focusing on the details, I was more interested in "Let's do it! That's what I was thinking, "Let's do it!" rather than the details. If Anno-san had that in him, I think it would have resonated with him, too.

--This time, there will be a battleship for the first time in Eva, so I'd like to introduce you to the role of Captain Nemo in Nadia (......).

Otsuka: I'm sorry, do you remember him? I first asked Anno-san if the battleship was powered by an annihilation engine. I asked him, "Are these battleships powered by anti-annihilation engines? He answered, "No, it's not that old of a technology" right away (laughs).

--(laughs).


A role where doing what's asked of you is more important than asserting yourself

--It was like you were the one who was holding down the weight of the new characters.

Otsuka: But then again, Mitsuishi and Hayashibara are all veterans, so I don't really need to be the weight of the band (laughs). In a band, I would be the bass player. In a team project, you have to think about what your role is. You have a vocalist, a lead guitarist, and a drummer.

--Maybe it's because I've been imprinted with the role of Yamato's chief engineer, but it was a shock to me when I was told on the recording session that I had a black beard and was surprisingly young.

Otsuka: I thought he had no color on him, so I thought he was an old man at first (laughs). (laughs) I think it's best to play a role like this by doing what you think is best, rather than asserting yourself. There's a limit to what I can think, and it's a role that shouldn't be played out of hand.

--I don't want to play the role of a man who doesn't act like he's afraid.

Ohtsuka: When you're talking about Kamochi, who's an acquaintance of yours, it's easier to relate the images in your mind by saying, "That's what he told me. ...... That's really all there is to it. Orders for work aren't really a part of the human condition, so I would just go about my work in a business-like manner, crunching through it. When I felt relieved, I'd say something like, "Hey, that's what Kaji said..." (......) When you put out "I'm going to ask you to do something.

It's true that sometimes it's the actor's job to create the parts that aren't written in the script. But with this kind of role, you have to make sure you communicate what's in the script. That's the first thing. So in that sense, it wasn't a very difficult role for me, and I enjoyed playing it.

--What did you think of the quality of the voice?

Otsuka: I look at the character list to get an idea of what I'm going to do, and then I try to play the part exactly as I feel it. I tried to make it sound thick and bold because of the atmosphere, but if you look at the character, the sound comes out on its own. You have to follow it as it comes out on its own. Often, I feel more comfortable that way. That's why I don't like it when people ask me to do someone's voice when there's no picture in front of me. If you've done a long series, though, you'll have a statue in your head.


The expectation of looking 10 or 20 years into the future

--Incidentally, in the scene where the battleship Wunder is launched, the same theme from the Nautilus as in "Nadia" 20 years earlier is arranged and played.

Otsuka: Really? I was the captain of the ship then, so I'm a lot lower in rank (laughs).

--(laughs). Nadia has just been digitally remastered on NHK.

Otsuka: I'm too embarrassed to watch it. I was about 30 years old at the time, and I had to force myself to play a grown man with a big girl, so when I listen to it now, I can tell that I've grown up. Even if the voice itself was reasonably well done, the psychological stuff was sweet. That's why I'd like to see them cancelling the re-runs of their old work (laughs)

-- I think fans will be happy to feel like the world is connected to them. Is there anything memorable about this recording that you would like to share with us?

Ohtsuka: He was very considerate of me. He told me he wasn't very good-looking for the role. I don't care about that. Anno-san said, "It's been a long time since I've wanted to see you, so I'll invite Otsuka. I'm glad to hear that. He was like, "I'll do anything! That's what I was going for. That was the most impressive thing about this project, meeting Anno-san, who looked so healthy.

--So you're like a friend in the war?

Otsuka: In a larger sense, yes, but it's a little different. But there must have been a lot of conflicts in the sound process, wondering if it would turn out the way he wanted it to. But in terms of the sound process, there must have been a lot of conflicts in terms of whether or not it would turn out the way I wanted it to, and I felt that I wanted to do everything myself.

--Twenty years on, what do you expect from Anno-san in the future?

Otsuka: In this day and age, the animation world is becoming increasingly polarized: there's the micro world of making films in order to see how many DVDs they can sell, and the macro world of making films that are intended to be seen by a wider audience and for which you can spend as much money as possible. If the people who are capable of making those kinds of big productions don't stay healthy, Japanese animation will weaken and I won't be able to make my mark. I don't have much to offer to moe anime (laughs).

We actors tend to get swept up in the work of the immediate future, but Anno-san is looking 10 to 20 years into the future. I wonder how hard those people who have that kind of power and can influence the world will work. ...... "If you make it, I'll pay for it," they say. I think that will be an important part of Japanese animation in the future. I hope that you will continue to work hard and take care of yourself.


Akio Otsuka: Born in Tokyo. Belongs to Mouse Promotion. Works include "Fate/Zero" (Ryder), "Ghost in the Shell" series (Batou), and "Nadia, The Mysterious Sea" (Nemo).

I actually didn't realize that many of those roles were done by the same guy

Nagara  SPOILER: Show
Sayaka Ohara (playing the role of Sumire Nagara)


We don't get upset over trivial things, and we think calmly and choose our words without saying what we think, even if it comes out on our face. I guess that's the kind of image I have.

--How did you get involved in "Q"?

Ohara: Actually, I've already participated in "Q" and "2.0". You spent a lot of time recording an enormous amount of announcements. When I auditioned for the role and was named this time, I felt like, "I've made it! I felt like "I've made it!" (laughs). (laughs) On the other hand, I had a lot fewer lines to say, but I was happy about it anyway!

--What was your impression of the long-awaited character of Nagara Sumire?

Ohara: I got my impressions from the character sheet. I asked to see the other new characters together, and I wanted to make sure that "the character of Sumire" stood out among them. I tried to play the character with dignity and dignity, as if she were a big sister and would lead the ship after Misato. But the only lines were operations-related, so I didn't have a clue as to what kind of language she was using and how she was acting in her natural state.

--It's been 14 years since the last game.

How do you interpret that? Ohara I think she's gone through a lot in her own way. I'm sure she's lost someone important to her. ...... The first time she showed Shinji, she didn't have a line, but I thought it was typical of her. I'm not going to be able to get it right. That's my interpretation of the role, so I think the tension is close to Misato's. He doesn't get upset over trivial things, and even if he expresses his thoughts, he doesn't say them out loud, but thinks calmly and chooses his words. I guess that's the kind of image I have.

--What do you think of the atmosphere on the recording site?

Ohara We would repeat the lines over and over again, but the reason for that was never explained to me. There was no explanation as to why. But it's because we have to record and choose the little differences in the patterns and the way we put our energy into it. I couldn't always deliver the same thing 100% of the time, and I could sense that they were trying to choose the most subtle nuances, so I decided to give it my all and not think too much about it. As a result, when the recording was over, my vocal cords were almost hollow. I was so exhausted that I thought, "That's what I'm supposed to be doing at the movie: .......

--How did it feel after you finished recording with the regular actors?

Oohara: I usually have the opportunity to play the "older sister" character, but when I was still a rookie, I was often ordered to "look like Misato-san" (laughs). It was one of my goals to be able to play a cool woman like Ms. Mitsuishi, so it was a dream come true for me to work for Misato-san in the world of Eva, and now I'm over the moon. ...... I was hooked on "Eva" when I was a student, and when I was credited for "Evangelion" and "Evangelion: 2.0", I received e-mails from friends from school who I haven't heard from in years, and the response was huge, so it's a huge accomplishment for me. While I'm a performer, I'm looking forward to seeing it released to the public. I didn't expect the battleships to be in it, and it feels like it's going in a different direction than I expected and getting more and more visually flashy. The big picture still feels like it's grabbing at the clouds, but I also think that the lack of clarity is very Eva-like.

From a violet point of view, I have a strong feeling that I don't want this to be the end of the story. I want to show more of her presence and emotions. I'd really like to see the 14 years of the past of the new operators that weren't depicted in this episode be depicted in an extra episode or something. My hope is that everyone will love Sumire as much as I do, so that we can get to that point.


Sayaka Ohara. Sayaka was born in Kanagawa Prefecture. Belongs to the Tokyo Actors' Cooperative Society. Her major works include "ARIA" (playing Alicia), "xxxHOLiC" (playing Yuko Chiihara), and "FAIRY TAIL" (playing Elsa Scarlet).


This is clearly before her connection with Mari emerged , but still very interesting- it seems that Anno had a clear idea about the Operators (& hence micromanaged them) but forgot to tell the actors about it so they were left to draw their own conclusions. Her relation to Mari looks more like little sister than big sister though I suppose she's senior to Tama and Kitakami, and she's the same age as Asuka, who is a "leader of armies".
I do hope that a scenario where Misato dies & gets succeeded by Sumire would not actually come to pass I don't want Misato to die XD Aoba & co would be older, but I guess Sumire would be the one with the will to do it who isn't overtly or secretly a follower personality. Age has nothing to do with that. I mean shes about the age Misato was pre timeskip & she's the one who kept some ragtag bunch persevering through the apocalypse

I really wish Maya's VA had one of these tho.
Last edited by Kendrix on Mon Oct 19, 2020 9:45 pm, edited 3 times in total.
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Re: Evangelion 3.0 interviews (needs translation!)

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Postby Kendrix » Mon Oct 19, 2020 9:39 pm

(Doublepost because of post lenght limit)
Tama  SPOILER: Show
Anri Katsu (Tama Hideki)


As I recorded it over and over again, I got past the nerves and the atrophy, and I got to the point where I was able to let myself go and say, "I feel like a different feeling is coming out of me now.

--First of all, how did you get involved?

Masaru: I heard that I was chosen from a number of people based on the quality of my voice. Director Anno gave me direction for the role, saying that it should be "in the style of today's generation, with no sense of danger, in a generational way. It's true that even in the script, even though I'm a professional crew member, I'm like, "This is the right thing to do, right? I'm like, "This is it, right? I'm not sure if that's true or not, but I think it's very interesting that he came straight out of college, and I think it's linked to the tension I feel when I'm in the midst of all the other actors who've worked on Eva over the years.

--What was your first impression of the character of Tama?

Masaru: When I first saw the picture, I thought he was rather handsome and a little unserious. But as I read the lines, I saw that he was self-paced, completely lacking in the desire to fight, and weak, and I became interested in his character. In my imagination, Tama is not a hot person. If anything, he's a serious and timid person. He doesn't deliver lines that are too tense, but rather he communicates properly. When things are in trouble, he shows his weakness and does it properly. He has the minimum level of training, but he's still not a professional.

--How do you feel about your participation in "Eva"?

Masaru: When I first heard about it, I was still shaken up. It's one of my favorite animations, so I was happy, but I was also scared and anxious, and even though I had worked with most of the people I'd worked with on other sets, I was still nervous about working with Eva's characters. I heard a lot of irresponsible gossip about how tough it was to shoot for Eva. But the reality is that it's a no-compromise process of recording a variety of patterns. In my case, after recording over and over again, I got to a point where I was able to release myself and say, "I'm starting to get a different feeling from what I was doing before. I got the impression that I was able to produce more in the studio than what I had brought with me from the first script.

-- especially for the new characters, the voices seem to be a clue to the characterization as well.

Masaru: I really felt that we were working together on this project, and it was refreshing to see how much time we had to spend trying things out and trying them out given the limitations of the project. I felt like I was working on a live action film or on a stage, which was a very intense experience for me as an actor.

--It was an intense experience for me as an actor.

Masaru: He told me to "breathe in a single word of the ad-libs that I was feeling, and then get into the lines. When we tried it, I thought it felt more like a live performance.

During the recording, I had a conversation with Anno-san and he told me that he wanted the character to be more than just an operator, and that he wanted the character to show weakness and humanity. That's how you can make it look three-dimensional. There's a sense of danger because of something outrageously unrealistic happening, but it depicts the daily life of one person at a time. I thought that even if there were battleships in the film, the basis of Evangelion's vibrancy would still be the same.

--Finally, what are your thoughts after the recording?

Masaru: In any case, I'm looking forward to the completion of this project. I was very particular about the atmosphere of "a new crew on board," and I think I was able to be one of the pieces of this ship, which has such and such a crew, and that's how this ship exists. I feel honored to have been able to participate in this project, and I believe that this fresh experience will be very useful for my future as an actor.


Anri Katsu was born in Tokyo. Belongs to Ken Productions. His representative works include "To Aru Majutsu no Index" (Motoharu Tsuchimikado), "Cardboard Senki" (played by Daiki Sendo), and "Bishounen desu" (Gielmi).


I'd hate to think of him and Kitakami as an "avocado toast" level juvenoia shallowtake of "today's generation"... You'd hardly expect ppl to turn out the same with 2 apocalyptic events in close succession anyways
The bits about using minor roles to bring about a sense of humanity seems very salient tho
I always got the sense that this is what he was doing with the original 3 bridge bunnies, showing a spectrum of human reactions to make the setting meatier

Kitakami  SPOILER: Show
Mariya Ise (played by Midori Kitakami)


It's a very distinctive design with the lips sticking out, so I thought if I spoke with that in mind, I'd sound more "relaxed".

--How did you perceive the role of the new character?

How did you think of the role? Director Anno gave me instructions to play the role with a lot of composure, and I thought, "I'm glad I'm of that generation," so I tried to play it naturally. I tried to embody in my play what people think of as the "generational" generation. They are cumbersome and don't like to do difficult things. He's a bit of a pain in the ass and doesn't like to do difficult things, and he's a bit of a joke to his superiors, like ...... (laughs).

--(laughs) What do you think of the character's appearance?

I think she's cute. Her hairstyle and make-up are very "modern" and unique. I think she sounds "relaxed" when she speaks with her lips sticking out in front of her head. When I'm in a tense situation and my voice tenses up, Anno-san gives me a hard time. When I was in a tense situation, Anno-san would complain, "You look dull, you look like you can't wait to go home" (laughs). And when I read it bluntly, he'd say, "Great, great! He was very happy to see me.

--You look like you.

I'm very happy to hear that. I've cut it off now, but at the time, my hair was similar and I think my expression was close to yours. In the recording, I was saying "There it is! Core block," I felt a sense of accomplishment when I said, "I did it! I felt a sense of accomplishment. I'd been feeling the story of how I'd fought for the core up to 'EVA: 2.0', so I was happy to be able to say those lines as I entered the world of 'EVA'.

--How did you feel about being in "EVA"?

Ise: To tell you the truth, I feel like it was my destiny to be in this movie. When I was in high school, I was cast in an anime called "Sugar Sugar Garoon", and when I had dinner with the original writer, Moyoko Anno, and the cast, I was introduced as "My husband, Hideaki Anno". I was still in a fearful mood when I asked Anno-san, who was drinking from a wine glass in hand, what kind of work he was working on. He was drinking from a glass of wine and I asked him, "What kind of work are you working on? I think everyone froze (laughs). (laughs) Anno-san was very kind and said, "You'll have to look it up. He gave me the DVD of "Love & Pop" and said, "I've made a live-action film, so I'll give you this. I was so happy to hear that, and I've been wanting to work with Anno-san someday.

--What was the atmosphere like on the set?

Ise: I was really nervous about it, but it was easy to work on and it was fun. On the other hand, it was difficult to develop the characters with short lines. It was very exciting for me to see Ogata and his co-stars grinding their souls up close and personal.

--What do you think of the story and what do you expect from it?

Ise: Through Shinji, you can see the dark side that everyone has, the side that yearns for light, and the inner conflict and rebelliousness of adolescents. I'm sure you'll feel it as if it's your own. I felt that this was because of the power of the actors who risked their lives to perform the role. In addition to that, a lot of people are fascinated by the atmosphere and the worldview of the Anno world. I don't think it's easy to find such a great work of art, so I'm really happy to be involved in the world of Evangelion. I'm going to give my life to the best of my ability and play the role of a woman named Midori Kitagawa with great care, so I would like to ask for everyone's support.


Mariya Ise was born in Kanagawa Prefecture. Belongs to ACROSS ENTERTAINMENT. Her representative works include "Yes!
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Re: Evangelion 3.0 interviews (needs translation!)

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Postby Zusuchan » Tue Oct 20, 2020 7:04 am

Thanks, Kendrix! This is great!

I know qmisato has already translated all of those interviews, but the Wiki explicitly forbids "mirroring" her translations without permission and considering her last visit to the forum largely consisted of her stirring up problems and being unlikeable, I have a hard time seeing her give anyone that. This means I can use your interviews to spice up the wiki article for "Evangelion Q Records Collection" a bit! (I will most likely make some small changes though-I'm not a Japanese speaker, but if something seems especially clumsy I'll try to make it less so.) So danke again!

Talking about the interviews themselves, there's some interesting stuff here. Strange to see Fuyutsuki's VA talk so little and I find Yamaguchi's comment about Ritsuko being unable to give up her "womanhood" interesting. Sawashiro seems pretty knowledgeable and open too.

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Re: Evangelion 3.0 interviews (needs translation!)

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Postby Derantor » Tue Oct 20, 2020 7:14 am

I stumbled over the comment about Ritsuko's womanhood as well; if anything, she came off as not caring about it, but maybe that's just a facade. Maybe she's trying to rid herself off it in an attempt to not end up like her mother, and iirc, it was Casper, the "Dr. Akagi as a woman" part of the magi, who betrayed her in EoE and refused to kill Gendo. That would let her haircut in Q appear in a new light, as well. (My own unsubstantiated headcanon was that she got cancer due to smoking too much.)
My writing on Ao3 and FFN


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