Untranslated Material Compendium

For talking about all other entries in the Evangelion franchise: from the various manga and video games to merchandising and various video/audio releases.

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FelipeFritschF
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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Fri Dec 17, 2021 1:57 am

Erm... I'm not sure where else I could post this, so I guess it goes here. This is from Moyoco's ANNORMAL exhibition some months back. I can't find the source for the translation either. To be honest, it's late and I haven't really tried, plus I haven't kept up with things for these past months. The guy that sent me this says he found it on EGF, but I know it's not all from EGF since the other stuff isn't. If it is indeed posted somewhere else on the forums (I can't find it of course) please just link it and I'll delete this thread. I'll return if I find any more details. Some more stuff about Moyoco and Anno's married life:

Original Japanese  SPOILER: Show
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Interviews  SPOILER: Show
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EDIT: It's actually from From an interview collection with Moyoco called In Rompers Room, a taidan similar to Schizo and Parano. "Romper" is one of the nicknames for Moyooco, the name of her stylized self present in the Insufficient Direction manga about their married life. It was translated by ehoba (@htGOIW).
Last edited by FelipeFritschF on Sun Nov 26, 2023 12:39 pm, edited 1 time in total.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Sun May 01, 2022 9:13 pm

View Original PostFelipeFritschF wrote:
So, in my efforts to contact other parts of the fandom out there, I've met some Korean friends. Here are some finds they've passed me:

This is an interview with Akio Satsukawa for Love & Pop. From what I've been told, he comments on working with Anno and his writing style. Fascinatingly, he even recounts disagreeing with him on a few instances while making NGE, notably here in Episode 3's ending. Apparently Anno wanted it to end with Shinji, Toji and Kensuke laughing, but Satsukawa brushed it off as "too anime". Unfortunately, the original poster has disappeared and not provided any scans, so we have to rely on a Korean translation.


I've moved this translation to a dedicated thread: post/935375/Akio-Satsukawa-Love-and-Pop-Theatrical-Booklet-Interview/#935375 It is truly fascinating.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Wed Aug 31, 2022 6:55 pm

Super fun 2013 Higuchi interview in Korean here about Nadia and NTE:

http://gamefocus.co.kr/detail.php?numbe ... read=22r04

Machine translation  SPOILER: Show
'Sink of Japan' Shinji Higuchi, he talks about 'Nadia' and 'Evangelion'
Visit Korea for 'pifan 2013', a field in the Japanese subculture industry

Registration Date July 30, 2013 18:10send to twitter
Article enlargement Collapse article article scrap Email inquiry to print
Game Focus Reporter Lee Hyuk-jin ([email protected])

Shinji Higuchi (48 years old), a fan of the Japanese film and subculture industry, has returned to Korea. The reason he came to Korea was because he was invited as a jury member of the Bucheon International Fantastic Film Festival, and this is his fourth visit to Korea.



Shinji Higuchi is a pioneer in the Japanese film and subculture industry active in various fields such as movies, animation, games, and special shooting. He is well-known in Korea as a director of the popular animation 'Nadia' (director after 'Island' in the second half) and as a director of popular movies such as 'Sink of Japan', 'Lorelai', and 'Nobow's Castle'. Since participating in the monster modeling of 'Godzilla' in 1984, he has been steadily active in the special cinematography world, making his name known as one of the highest authorities in special photography.



Although he has a busy schedule as a film director, he is close to Japan's leading animation directors, such as Hideaki Anno (Evangelion), Kenji Kamiyama (Ghost in the Shell), and Keiichi Hara (Can't Stop Crayon, Colorful), so their works include continuity, etc. In many cases, it participates as In Evangelion, which he worked with Hideaki Anno, he adopted his name as the main character's name (Shinji).



He is also active in publishing, such as drawing the cover art for 'Mobile Suit Gundam Unicorn', writing a recommendation for Koichi Suda's masterpiece game 'Killer 7', and writing the continuation of the Tekken animation movie 'Tekken Blood Vengeance' included in 'Tekken Hybrid'. He also has a deep connection with the game side. Director Higuchi himself is also a huge fan of the Musou series such as 'Three Kingdoms Warriors' and 'Sengoku Warriors'.




Directed by Shinji Higuchi. I visited Bucheon by being invited as a jury member of the Bucheon International Fantastic Film Festival.



Game Focus met director Shinji Higuchi, who was about to return to Korea after a busy screening schedule, and prepared a time to hear about 'Evangelion' and 'Nadia' that Korean fans are curious about.



The story behind Nadia's production, an adventure that was possible when I was young,
I first heard about the story of directing the second half of 'Nadia' from director Shinji Higuchi.



He began to explain about his struggles as director Nadia, who Hideaki Anno took over.



"Nadia's director, Hideaki Anno, was exhausted around the time of the 'Island' episode. He was exhausted after only making 22 episodes. He said that it couldn't be like this and asked me to direct the latter part.



In fact, his teacher Hayao Miyazaki was similarly tired during the production of 'Future Boy Conan', so he only directed 4 episodes to someone else, and then returned to the final climax and took over as director. Future Boy Conan was okay because he only entrusted 4 episodes out of the total of 26 episodes, but Anno said that 22 episodes were the limit for one director to keep working hard to take over everything directly, so he said that he was also limited to 22 episodes.



There was no alternative but me, so I accepted the directorship, but by that time, the existing drawing team all disappeared. The drawing team I had been working with until then had made 22 episodes and disappeared, so I had to use a completely new team. A completely different team, different people. Naturally, the new team could never produce as good a picture as the old team. There is also an aspect that Anno couldn't stand the quality of his work and passed it on to me. he ran away You can't run away...



After leaving the director to me, Anno started working on the screenplay to make only the last part properly like Future Boy Conan. I was put in as a substitute while taking a break to create the climax scenario.



I was given a difficult task. How should we create and show a story with a manpower that is different from the first half in terms of the quality of the picture?



No matter what I did, the drawing quality did not come out well. Until then, episode 22 was a serious story, and the drawing had to properly support the story. The drawing is not good, but if the content is serious, viewers will be confused. Therefore, for me, the picture did not resemble Nadia before, but the story had to be made interesting. The result is Nadia after the island side."



Director Hideaki Anno and director Higuchi, who were in their 20s at the time, started producing Nadia at the request of NHK. Director Hideaki Anno directed the first half and last part, and director Higuchi directed the middle to second half.








Director Shinji Higuchi also talked about what it was like to work with NHK at the time.



"In the Nadia production process, the basic script was prepared and sent by NHK. However, the script sent by NHK was surprisingly uninteresting. It is educational, serious, and moral.



Actually, Nadia's original setting was just 'a child who likes animals', but I thought there had to be a reason for such a setting. Anno and I were mean when I was young. She likes animals, so she doesn't even eat meat or fish, so Nadia is made into a character with a selfish personality. She made her character and story more interesting by portraying what she likes but dislikes.



After fixing it like this, I was in a situation where I couldn't write the script that NHK gave me. I had to write NHK's script basically, so it wasn't fun, so I kept editing it, but I didn't change the whole frame of the story, and only the bits that went up there were uploaded in the opposite direction from what NHK had prepared. We changed the character's personality and made the content more interesting, and we broadcasted it every week on NHK... We ourselves called our work 'broadcast terrorism'.



Even if we talked to NHK anyway, it wouldn't work, but even if we sent the finished animation right before the broadcast, we couldn't refuse or ask them to remake it, so NHK had no choice but to broadcast what we sent. Anno and I used to joke around, 'Isn't this how we get arrested?'"



In Korea, for a long time, there has been a rumor that the quality of the Nadia Island version was lowered because it was subcontracted to Korea. I also asked Higuchi about the collaboration with Korea.



"Nadia did half of the work in Korea, but it was a condition NHK suggested during production. Collaborating with Korea was a prerequisite for the Nadia series production, so I proceeded that way. Everything was drawn in Korea, color was added, background was made, filming, and development were all done in Korea.



When I send the original drawing that passed the drawing director's check, the result came 3 months later, but there was a misunderstanding in the process of conveying the intention, and the picture was different from what I thought, so I had to make it again.



The obvious advantage of leaving it to Korea is that the longevity of fairy tales was able to far surpass the average TV animation.



In the case of TV animation in Japan, only about 6,000 fairy tales can be written per episode. These days, there are even 4000 pieces. However, the condition of NHK was that it was OK to write a few fairy tales. Korean companies do not have any conditions for purchasing Dongwha, so it doesn't matter how many copies.



When we ordered incredibly detailed animations, the Koreans worked hard to create them. All of Nadia's great action and so on was made possible by using the number of fairy tales that Japanese TV series couldn't do. I'm sorry to say that now, but it was possible because all the hard work was passed on to the Korean companies.



Thanks to that, Nadia was able to make almost full animations compared to Japanese TV animations in the time sheet, which use 8 frames per second and the screen moves once every 3 frames. I am reflecting on what I did to the people who worked in Korea. But it was all allowed by NHK, and the bad thing is NHK. (Laughs)



Contrary to such 'New Year', I think that I was able to create an interesting work thanks to the people who worked hard in Korea. I will never be able to make a TV animation of such high quality again. At that time, Nana Anno was young in her early to mid 20s. I think it was possible because she was young.”



Production of Evangelion New Theatrical Version and Final Version Begins
Evangelion is a work closely related to director Shinji Higuchi's name to the extent that the name of the main character was used. In the TV series, director Shinji Higuchi mainly participated in the part where 'Asuka' appeared. "She feels like a daughter," he said of Asuka.



First, I heard from him about what it feels like to keep being called by his name in the play.



"Honestly, it didn't feel good to keep being called by my name during the recording process. Others keep calling me 'idiot' (ばか). Asuka used to call me a fool in the TV series and the old movie version, but the new theatrical version I became a kid (がKI) in Es. It was painful to listen to."



Next, we asked about the parts he was in charge of, such as the scene of 'Operation Yashima' in 'Seo' in the new movie version.



"Operation Yashima is the part that Masayuki is in charge of alone in the TV series. Masayuki is a friend who draws a very good storyboard and continuity. I thought it could be used in the new movie, but Anno wanted to change it, so I took over. I drew it after thinking about how to describe it. I am happy that the results I have produced have been well received.



In 'Far', I was in charge of the continuity of the part that changed episode 19 of the TV series, and I had to rebuild the part that Masayuki was in charge of in the TV series. In both cases, Masayuki's work was so good that it was difficult to change it to look good.



and queue. I think the best parts of the TV series are the Yashima operation part, the battle part of episode 19, and the part where Kaoru's army appears. Masayuki was in charge of all three of the most important scenes. Among them, I entrusted the battle rebuild of Operation Yashima and Episode 19 to me, and I was worried that Kaoru-kun would be entrusted to me, but fortunately, I entrusted it to Mahiro Maeda.



To be honest, I don't have the confidence to draw Kaoru-kun properly. As I say now, the thing I hated the most because the main character had my name on it was the scene in which Kaoru-kun appeared. Whenever Kaoru-kun said 'Shinji-kun', he couldn't stand it (laughs)"



Next, we asked about the production status of the final version of the new Evangelion theatrical version, which anime enthusiasts would be most curious about. Director Higuchi gave the good news that production of the finale had begun, but he said he did not know what it would be like.



“The preparations for the final version of the new Evangelion theatrical version have begun, and of course I am also participating. You may be curious about the contents, but I do not know what will happen.



The new Evangelion theatrical version is being produced by Anno himself, not through the production committee method. Usually, it is made with money, and it is necessary to listen to the wishes of the investor, but now Anno is making money himself, so he can proceed as he pleases.



If Anno tells you to make it again, you have to do it again, and if you say no, it's not. At first, I thought it was a theatrical version that was edited and fleshed out for a TV series, but when I participated, it was a completely new work and it was constantly changing. You never know when what has been decided now will change. So it's true that it's a lot of fun."




Director Higuchi gave cool answers to all the questions while wondering if Korean fans would really be curious about this story.



Finally, we heard about 'The Giant Beast Appears in Tokyo', which was screened at the same time as the Japanese release of Evangelion Q, directed by Shinji Higuchi. When 'The Giant Beast Appears in Tokyo' was released in Korea, it was unfortunately not screened at the same time due to copyright issues.



“The Giant Beast Appears in Tokyo is a short film made for screening at the Special Cinematography Museum.



It was not originally planned, but Hideaki Anno may have wanted to show it to the audience. At the time of making it for screening at the Special Film Museum, I didn't use CG, but made it with the old special film expression, but I think I was thinking about how far CG could be. There were a lot of requests from Anno to put this in CG and to put that in. He did it because he wanted to show a different way of showing the wings of a giant monster flying in the air.



There was talk of putting it together as a movie in front of Evangelion, so everything, including the window of light, was overlaid with CG. The same goes for parts of the city that are being destroyed, such as buildings. If you need more power poles, you can't take additional miniature shots, so I create and add CG to give it a miniature feel, etc. The sound was also newly recorded in 5.1 channel.



It's hard to explain why I put this in front of the Evangelion Q. There is no relationship with Evangelion at all, and there is a 14-year gap between Wave and Q, and I was thinking about how to express it. Maybe it was meant to be conveyed. Could it be that too?



In fact, what I was worried about was that Megumi Hayashibara's voice appeared in the narration of 'The Giant Beast Appears in Tokyo', and if I put this in front of the main episode of Evangelion, it would change the impression of Rei Ayanami. However, seeing that she was finished, surprisingly, Rei Ayanami had very few lines, so she felt like ‘what is it?”



Why
Higuchi Shinji Won't Direct Animation After Shinji Higuchi took over as director Nadia, he never took on the role of an animation director again. He was also named as a director on 'Band Red', but he said he only took charge of editing as the director of a full-length compilation that edited an existing series.



Why didn't he ever take on the role of an animation director again? It's not that I didn't have time to work on animation because I got to work as a live-action film director. While showing live-action films non-stop, he has been participating in various works whenever he has time, regardless of cel animation or CG animation.



Director Shinji Higuchi cited his personality and the circumstances of the Japanese animation industry as the reason for not taking on the role of animation director again.



First of all, regarding his personality, he said, "I don't really like to go out, so I don't like being a director that much," he said with a shocking remark, "I don't like taking responsibility.



He continued, "It's probably because of that personality that I didn't take on the role of the animation director again," he said. He continued, "There is a director who is really good at live-action movies, so if you entrust it to this person, if you want to do better, leave it to me and I just want to help," he said. .








Next, we listened to the situation in the Japanese animation industry.



“It’s going to be a serious story, but a director alone cannot make an animation. The most important thing is an animator who can draw the original picture. There are only about 50 people who can use that animator in Japan. It doesn't come back to people.


Once Hayao Miyazaki says he's working on a new work, he goes there. If Mamoru Oshii said it was made, it would go away again. Oshii-san is a little less now. When Production IG or Otomo Katsuhiro do a new work, I go there again.



These days, when Mamoru Hosoda says he's making a new movie, they all go away. In the Japanese animation industry, it is a competition to see who has more talented animators of about 50 people.



Satoshi Kon was most loved while he was alive. He lost a sad person.



When he was alive, four people, including Kenji Kamiyama (Ghost in the Shell), Keiichi Hara (Can't Stop Crayon, Colorful), and Mamoru Hosoda (The Girl Who Leapt Through Time, Wolf Child), drank together. What the four of us had in common was that without Satoshi Kon (I can secure talented animators), my work could also be improved in quality. He started out as a cartoonist, so I remember saying things like, 'Go back to the land of comics'.



When Satoshi Kon made animation, he was so attractive that everyone wanted to do his job. Everyone was worried about not having a good animator take over their work.



Kenji Kamiyama has released '009 Recyborg' this time. It's CG animation. It's like, 'I'm not going to use an animator to make animations'. Because talented animators have such a high scarcity value, it is true that they are all selfish and difficult to control.



Even if he entered the fierce competition, it was unlikely that he would win the competition. Animators respect people who can draw, so they want to work with people who can draw well. I won't be popular because I can't draw. I think it would be better for someone who can draw well for animation.”



Then, I wondered if it would be possible for Higuchi to make CG animation like Kamiyama did. He explained, "CG may be more difficult." He explained, "You can fix a picture, but it's hard to fix CG."



He continued, "We've been developing our animations for good pictures, cool pictures, and great character poses," he said.



Director Shinji Higuchi has had little news since he released 'Nobou Castle' as a co-director with Isshin Inudo in 2011. However, it has been confirmed that he has already started preparing for his next work.



He said, "I'm preparing for my next film and waiting for the script," he said, "It's my fourth time coming to Korea, but I like it as a country where there's always new discoveries, and I hope you get along well with Japan." "The next movie will probably surprise Koreans too. It will be an amazing movie, so please look forward to it.”

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Wed Nov 09, 2022 10:24 pm

Utada interview on Beautiful world: https://www.evangelion.co.jp/1_0/news/det_10537.html

SPOILER: Show
宇多田ヒカルオフィシャルインタビュー掲載! 


2007.07.23


テーマソング「Beautiful World」について宇多田ヒカルのオフィシャルインタビューが届きました!

<2007年6月26日 宇多田ヒカル オフィシャルインタビューより抜粋>

生きる、ってほんと耐え難いものじゃない?何かそれに耐えうる拠り所っていうか、これがあるから生きていようとか、これがあるから居られるなここに、みたいなものがあるから、「Beautiful World」と言えるっていう。どんな場所でも、誰か深く想える人がいるとか、存在してるとか、そういうことで、そこが居るに耐えうる場所になるんでしょ、って思って。

シンジが、お母さんの何か、魂に一瞬だけ会うシーンがあるのね、エヴァンゲリオンの長いストーリーの中で。その時に、「あ、何だ、ただもう1度会いたかっただけだったんだ」って彼は言うの。彼自身そんな願いがあったなんてわかってなかったんだけど、結局そういうことを思ってたんだってその時に気づく。だから「そうそう。そんなもんだよね」みたいなね。

願うことが生きること…だから。願いたくないのに願っちゃうし。ここだけはもうどうしようもなく、生き物の本質だと思うから。

アスカみたいに、どれだけ自分で「もうだれも要らない」とか、「もう私は自立しててだれにも負けない!」って言ってても、結局はママに愛されたいだけ、みたいな。「この木はもう目の前にあるってことは認めなきゃいけねえのか」ぐらいの、根本的な願いっていうのは誰しもあるわけで、人の子である限りそうなわけで。ま、それは親じゃなくても、人は何かしらそういうものがあるわけだから、「しょうがないよね、それはねぇ」って思う。

やっぱり、エヴァンゲリオンのストーリー、名セリフとか肝のシーンとか、私的になんか胸に来たところからもヒントを得てるっていう意味で、やっぱりエヴァを通して書いたっていう感じ。エヴァンゲリオンの絵とか雰囲気とかと一緒にこの歌が鳴ってて、あんまり変じゃないようにって、いろんな考慮をした上で出来た曲なのね。ただテーマ的に考慮したとはいえ、結局エヴァンゲリオンのテーマも、私自身がいつも歌ってるようなことと共通点が多いストーリーだから、私らしさみたいなものは結局あるんだけど。


DeepL  SPOILER: Show
We have received an official interview with Hikaru Utada about the theme song "Beautiful World"!

<(Excerpt from Hikaru Utada's official interview on June 26, 2007)

Isn't life really unbearable? There is something that makes it bearable, something that makes you want to live because of it, something that makes you want to stay here, so you can say "Beautiful World. I thought that no matter what kind of place you are in, if there is someone you care about deeply, if there is someone who exists, then it becomes a place where you can endure being.

There is a scene in the long Evangelion story where Shinji meets his mother's soul for a moment. He says, "Oh, what the heck, I just wanted to see her one more time. He didn't know that he had such a wish, but he realizes then that he had been thinking about that after all. So I said, "Oh, yeah, that's how it is. That's how it is.

Wishing is living. I don't want to wish, but I do. I think this is the essence of living things.

Like Asuka, no matter how much you say to yourself, "I don't need anyone else," or "I'm independent, I won't lose to anyone! But in the end, they just want to be loved by their mother. Everyone has a fundamental wish, like "I have to admit that this tree is already right in front of me, right? Well, even if you are not a parent, you have something like that, so I think, "It can't be helped, can it?

I also got hints from the story of Evangelion, famous lines, and key scenes that touched my heart, so I felt like I wrote this through Evangelion. I tried not to make the song sound too strange with the pictures and atmosphere of Evangelion, so it was written with various considerations in mind. But even though I took the theme into consideration, the theme of Evangelion is a story that has a lot in common with what I myself always sing about, so there is something uniquely me in the song after all.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Sun May 14, 2023 7:08 pm

Cyharding sent me these pages from the October 1997 issue of Newtype, with some apparently previously unseen material on EoE. I'm posting it here with his consent.

Cyharding wrote:There was something else that was Eva related in that issue too. It's called "Last Voices" and it's related to EoE. I don't know if it's an Eva related thing or it's for anime in general. This issue would have been released around the 10th of September, 1997 and EoE came out on home video on the 26th.


SPOILER: Show
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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Mon Jul 17, 2023 3:03 pm

Not untranslated, but here's Yoko Takahasi's interview from Evangelion FINALLY. Nothing new I'm afraid.

SPOILER: Show
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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Wed Jan 10, 2024 4:49 pm

New interview with Hayashibara, as part of the newest wave of Eva Pachinko.

https://www.eva-project.jp/interview/

Evangelion:BR did a translation to Portuguese, but I don't know if it was done by machine or something, will ask.

EDIT: Yeah, it is.

https://evangelionbr.com/2024/01/08/ent ... -dez-2023/
https://evangelionbr.com/2024/01/22/ent ... -dez-2023/
https://evangelionbr.com/2024/02/12/ent ... -dez-2023/
Last edited by FelipeFritschF on Fri Apr 26, 2024 6:49 pm, edited 1 time in total.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Fri Mar 15, 2024 3:53 pm

https://www.itmedia.co.jp/news/articles ... ws054.html

As partially featured on:


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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Fri Apr 26, 2024 6:47 pm




DeepL wrote:I don't direct my own films now; I'm totally exhausted after three consecutive years of presenting films. For a while, it will be Yamato (50th anniversary project). If I were to do it again, I would prefer to do animation because live-action is really physically demanding. I think I can do it even when I am old because I can do it remotely.


Reminds me of Mamoru Oshii saying "Hideaki Anno is More of a Producer Than a Director These Days".

Anyway, this guy has a column on the Asahi Shimbun and says he held a "short" interview with Anno, will be published Monday. https://www.asahi.com/rensai/list.html?id=226

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Re: Untranslated Material Compendium

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Postby girlifyoudidnt » Sun Apr 28, 2024 6:41 pm



Part of the Newtype Jun 2021 issue interview with Sayuri Matsumura, Haruka Kaki and Tsurumaki.

DeepL wrote:Tsurumaki: I also thought that I was going to make some episodes based on this idea, but as a result, "Q" was suddenly drawn from the story 14 years later (laughs).
Matsumura: I was also surprised when I was talking with Kakki (Haruka Kaki) about "EVA," and she said she was a Shinji fan. I felt that this was a sign of the times (laugh).
Tsurumaki: Indeed, at the time of the TV series, there were people who said that Shinji was irritating to watch. In fact, he was a character that gave a negative impression.
-----Do you have a favorite character, Matsumura-san?
Matsumura: Asuka by far! So please don't pick on Asuka too much...
Tsurumaki: Asuka had a terrible time in the Unit 4 startup test for "2.0," and the staff told me so, but for my part, I saw Asuka as more like an actor. "Asuka herself would be happy to have more appearances and play a more important role, wouldn't she?" Like that.
Matsumura: If you put it that way, I would be happy to play a villain in a movie or TV drama as long as I get to be in it a lot (laughs).
Kaki: Still, I feel sorry for Asuka!


JP Text  SPOILER: Show
鶴巻: 僕もてっきりこの案で何かしらエピソードをつくるものだと思っ こうですが、結果的に「Q」は いきなり14年後の話から描かれることになりました(笑)。
松村: 私もかっきー (賀喜)と「エヴア」の話をしていてびっくりしたことがあって、かっきーがシンジ推し だと言っていたんですよ。これは時 代だなと感じました(笑)。
鶴巻: 確かに。TVシリーズ当時は 「シンジは見ていてイライラする」と言う人もいましたからね。むしろネガティブな印象をもたれるようなキ ャラクターでした。
松村さんは推しのキャラクターはいるんですか?
松村: 断然アスカ! だから、あまりアスカのことをいじめないでください...
鶴巻: 「破」の4号機起動試験でアスカがひどい目に遭って、スタッフからもそう言われたんですけど、僕としては、アスカを役者に近い感覚でとらえていたんです。「アスカ自身も出番が多くて、重要な役割があったほうがうれしいでしょう?」みたいに。
松村: そう言われたら私も、映画やドラマで悪役をやることになっても 「出番が多いほうがうれしい」と思っちゃう派ですね(笑)。
賀喜: それでもアスカがかわいそうですよ!

FelipeFritschF
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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Sun Apr 28, 2024 8:43 pm

View Original Postgirlifyoudidnt wrote:
Part of the Newtype Jun 2021 issue interview with Sayuri Matsumura, Haruka Kaki and Tsurumaki.


Nice catch. Yeah, we didn't get to translating that Newtype yet.

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Re: Untranslated Material Compendium

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Postby girlifyoudidnt » Mon Apr 29, 2024 6:49 pm

Part of one of the Takeshi Honda interviews about Boy and the Heron got translated by someone on Wikipedia. Explains why he didn't work on Shin beyond that promo art for the UCC coffee cans in 2020.
https://en.wikipedia.org/wiki/Takeshi_Honda_(animator)

Honda moved to Studio Ghibli in 2017 to accept the post of animation director for Hayao Miyazaki's The Boy and the Heron. He had already been offered a position on the final film in the Rebuild of Evangelion series, Evangelion: 3.0+1.0 Thrice Upon a Time, but Studio Ghibli producer Toshio Suzuki approached director Anno directly, resulting in his transfer to Ghibli. It all started in the summer of 2016. He was approached by Hayao Miyazaki himself, who had long held him in high esteem, about taking part in his new film. When Honda withheld an answer, he was summoned by Toshio Suzuki at the end of the year to discuss the matter. Honda concluded that he would work on both films, but he tried to arrange a meeting with Anno, believing that he should speak to him directly. However, six months passed with Anno avoiding him, and when he met with Anno in June 2017, perhaps having already had discussions with Suzuki, Anno gave him a curt attitude, as if to say he could do as he liked. After meeting with Anno, Honda was excluded from all meetings on Evangelion, so he decided to concentrate on Miyazaki's work and began actual production in July.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Sun May 12, 2024 9:52 am

Interview took longer to be released than I thought, but here it is:

https://www.asahi.com/articles/ASS590GP ... L03CM.html

Reaffirms what we knew before:
- Anno is exhausted from live action. He says it demands a lot of energy from him, and he has a hard time adjusting to it. Draws comparisons to sensei Miyazaki and best frenemy Tomino ("I'll destroy Evangelion!"), but he says they have energy at 80yo that he lacks at 63.
- Will do animation next
- New Eva is possible, but it will probably not be made by him. Largely a reinterpretation of his many, many past statements on, ironically, the "Gundamization of Eva"
- Yet he isn't sure how distant he will be
"There may be something in the works" this is what puzzles me, because it could be distorted by the machine translation. Does he not know if there's something in the works, can he not know if he's not directly involved? Is he teasing it?

Raw Japanese  SPOILER: Show
「エヴァンゲリオン」シリーズや「シン・ゴジラ」の庵野秀明監督(63)が4月22日、「庵野秀明展」開催中の名古屋市で朝日新聞のインタビューに応じた。「3年続けて映画を発表し、すっかり疲弊した。監督作はしばらくいいかな」などと語った。(聞き手・小原篤)

 ――ゴジラやウルトラマンなどに新たな命をふき込んできたが、今後は?

 「映画は一区切りですかね。しばらくは『ヤマト』(出版やイベントをプロデュースする『宇宙戦艦ヤマト』50周年特別企画)です。自分で監督をするというのは今はいいかな。コロナ禍でスケジュールが圧縮されたこともあり、続けて作品を発表することになって肉体的にも精神的にもボロボロ。そんなに心が強い方じゃないので作品を出す度に削られます。3年連続で削られてほとんど残ってない」

 ――宮崎駿さんや「ガンダム」の富野由悠季さんは80代でもなお創作に燃えているようですが。

 「いや、元気だな。僕らの世代はそこまでやらないと思う。そんなに元気な人いない。自分は、やれる機会があれば」

 ――実写? アニメ?

 「実写は本当に体力を使うので、次やるとすればアニメの方かな。スタジオに行かなくてもリモートで出来るようになったので、年をとってもやりやすい」

 ――アニメの作り方も画面の情報量が格段に上がるなど変化しています。

 「前と同じ作り方をしてもスタッフはついてこない。新しいスタッフも集まらない。現場に合わせた作り方をした方が効率いい。コストパフォーマンス優先でいいと思います」

 ――新しいやり方で、これまで見たことのない映像を作り出したい?

 「そうはならないんじゃないですか。今の若い人は新しいものを欲してない。見たことのないものを見てストレスを感じるより、見たことのあるもので安心を維持したいんだと思う」

 ――庵野さん自身もその方向でいいんですか?

 「もう僕が作るものはメインストリームじゃないんで、端っこで細々とやれればいいです。今、メインはジャンプ原作ものとかそっちですよ」

 ――「エヴァ」は更に続編を作るとか、庵野さん以外の人に作らせるとか、何か構想はありますか?

 「んー、何かしらあるかも知れないですね。自分以外の人間が作るというのも、あるんじゃないですか。決めていないというか、自由度が高い方が作品にとっていい。商売になるか、面白いか、その辺はコンテンツですから。『二度と作らん』とかそういうことではない」

 ――「エヴァ」のテレビシリーズとその後の劇場版を終え、テレビアニメ「彼氏彼女の事情」を制作中の1999年にインタビューした時は「死に場所を探している」と言っていました。今現在の心境は?

 「変わってないです。結婚して妻がいるので、妻とはなるべく長くいたいですけど、もの作りに関しては常に『これで終わりかな』と思ってやっています」

 ――「庵野秀明展」を見ると、少年時代からの膨大なインプットから庵野作品という豊かなアウトプットが生まれたと分かります。今のインプットは?

 「仕事をしているとインプットしている暇がない。代わりとなるのは、自分の実体験とか、本です。本と言っても小説などは読まず実用書。経済、経営、建築、あとは料理の本も面白いですね。もの作りの共通点を学べます」

 「特に料理は、人によって同じものがすごくおいしかったり全く食べられなかったり、好みで分かれる。映像作品に似ている。本を読むようになったのは、映像に興味がなくなったからというのもあります」

 ――庵野さんの口から「映像に興味がなくなった」という言葉を聞くとショックですが。

 「ひとの作った映像を見ても自分には『べからず集』になってしまうんです。うまくいってないのを見れば、何でダメなんだろう? ああここか、と考える。うまくいっているのを見れば『でも自分がこれをやるっていうのも違うな』。マネするとかそういうトシじゃない、もうそういう時代じゃないと思うんです」

       ◇

 「庵野秀明展」名古屋会場を見て回った後、報道陣の囲み取材も受けた。

 ――巡回も最後になった「庵野秀明展」を振り返っての思いは?

 「自分の人生を振り返るのはまだちょっと早いかな、と思ったんですが、こういう展覧会をやりたいというお話が来たとき断る理由もなく、お願いすることにしました」
「自分の好きだったもの、自分の作ったものが時系列で並んでいるのをこの展覧会で見てもらって、刺激を受けるというか、特撮やアニメはこうして出来るんだと興味を持ってもらえたら、そして、自分も面白いものを作るぞとひとりでも多くの才能が業界に来てくれたらうれしい。自分の展覧会というのは恥ずかしいものですけど、そういう形でスタッフやキャストへの恩返しになるなら、そっちの方が恥ずかしさより上でした」

 「50周年の『ヤマト』や、撮影が終わった『シン・仮面ライダー』の資料が増えているのが名古屋の見どころです。恥ずかしかったけど、やっと終わるんだな、というのが今の気持ち。次(の展覧会)はなかなかないと思います。いやあ終わってよかった。いや、まだ終わってませんけど」
    ◇

 あんの・ひであき 1960年、山口県宇部市生まれ。「シン・ゴジラ」(2016年)脚本・総監督、「シン・エヴァンゲリオン劇場版」(21年)原作・脚本・総監督・エグゼクティブ・プロデューサー、「シン・ウルトラマン」(22年)企画・脚本、「シン・仮面ライダー」(23年)脚本・監督。

 「庵野秀明展」は21年の東京を皮切りに全国を巡回、8番目の開催地・名古屋(金山南ビル美術館棟)が最終となる。少年時代に夢中になった特撮作品の模型、アマチュア時代から現在までに描いた膨大なイラストやアニメ原画のほか、名古屋会場では「シン・仮面ライダー」の撮影で使ったマスクも追加展示されている。6月23日まで。


DeepL  SPOILER: Show
On April 22, Hideaki Anno, 63, director of the “Evangelion” series and “Shin Godzilla,” gave an interview to the Asahi Shimbun in Nagoya City, where the “Hideaki Anno Exhibition” is being held. He said, “After three years of releasing films in a row, I am completely exhausted. I think it will be a while before I direct another film. (Interviewer: Atsushi Obara)

 --You have breathed new life into Godzilla and Ultraman, but what about the future?

 I guess there is a break from movies. For the time being, I will be working on “Yamato” (a special project for the 50th anniversary of “Space Battleship Yamato,” for which I am producing publications and events). I don't think it's a good idea right now to direct a film by myself. My schedule was compressed by the Corona disaster, and I'm physically and mentally wrecked from having to release films in succession. I'm not that strong-minded, so every time I release a work, it gets cut down; three years in a row, and I have very little left.”

 --Hayao Miyazaki and Yoshiyuki Tomino of “Gundam” fame seem to be in their 80s, but they are still burning with creativity.

 No, they are very energetic. I don't think our generation would go that far. No one is that energetic. I would do it if I had the chance.

 --Live action? Live-action or animation?
Young people today don't want new things.

I think I'll probably do animation next, since live-action is really strenuous. Now that I can do it remotely without going to a studio, it is easier to do even when I am older.
 --The way of making animation has also changed, as the amount of information on the screen has increased dramatically.
 The way animation is made has also changed, as the amount of information on the screen has increased dramatically. New staff members will not be attracted to the project. It is more efficient to adapt the production method to the site. I think it is better to prioritize cost-effectiveness.
 --Do you want to create images that have never been seen before by using new methods?
 I don't think so. Young people today don't want new things. Rather than feeling stress from seeing something they have never seen before, they want to maintain their peace of mind with something they have seen before.
 --Is that the direction you yourself are going in?
 I'm not in the mainstream anymore, so it's fine if I do things on the margins. Right now, the main focus is on works based on Jump movies and that kind of thing.
 --Do you have any plans to make a sequel to “Eva” or have someone other than Anno make it?
I think there may be something in the works. I think there is a possibility that someone other than myself will make a sequel. It is better for the work if it is not set in stone, or if there is a high degree of freedom. Whether it is commercially viable or not, whether it is interesting or not, that is the content. It's not like I'm saying, 'I'll never make another one.
 --When we interviewed you in 1999, after you had finished the “Eva” TV series and the subsequent film version, and while you were working on the animated TV series “Karei Kanojo no Jijo” (Boyfriend and Girlfriend), you said that you were “looking for a place to die. What is your current state of mind?
I have not changed. I am married and have a wife, so I want to spend as much time as possible with her, but when it comes to making things, I always think, 'Is this the end?

 --When we look at the “Hideaki Anno Exhibition,” we can see that Anno's rich output of works was born from the vast amount of input he has had since he was a boy. What is your current input?

 I don't have time for input when I am working. Instead, I rely on my own experiences and books. I don't read novels, but practical books. Books on economics, management, architecture, and even cooking are interesting. You can learn about the similarities in the way things are made.

 Especially in cooking, people have different tastes, and the same food can be very tasty or completely inedible, depending on the person. It is similar to video works. I started reading books partly because I was no longer interested in visual images.”

 --I am shocked to hear you say that you are no longer interested in visual images.

 I am shocked to hear Anno say that he is no longer interested in video. If I see something that isn't working, I wonder why it's not working. I think, “Oh, here it is. If I see something that is going well, I think, 'But it's not the same for me to do this. I don't think I'm old enough to copy, and I don't think that's the way it is anymore. 

After touring the “Hideaki Anno Exhibition” in Nagoya, we were interviewed by the press.

 --What are your thoughts on the “Hideaki Anno Exhibition,” which is now on its last tour?

 I thought it was a little early to look back on my life, but when I heard that he wanted to do an exhibition like this, I had no reason to say no and decided to ask him.

 I would be happy if people could see what I liked and what I created in chronological order at this exhibition, and if they could be stimulated, or if they could be interested in how to create special effects and animation, and if as many talented people as possible could come to the industry and say, “I want to create interesting things, too. It is embarrassing to have my own exhibition, but if I can repay the staff and cast in this way, that is more than embarrassing.
The highlight of the Nagoya exhibition is the growing collection of materials on the 50th anniversary of “Yamato” and “Shin Kamen Rider,” for which filming has been completed. It was embarrassing, but now I feel that it is finally over. I don't think it will be easy to have the next (exhibition). I am glad it is over. No, it's not over yet.
    ◇ ◇Hideaki Ano

 Ano Hideaki was born in 1960 in Ube City, Yamaguchi Prefecture. He wrote the screenplay and general director of “Shin Godzilla” (2016), wrote the original story, screenplay, general director, and executive producer of “Shin Evangelion the Movie” (2009), planned and wrote the screenplay of “Shin Ultraman” (2010), and wrote and directed “Shin Kamen Rider” (2011).

 The “Hideaki Anno Exhibition” began in Tokyo in 2009 and traveled throughout Japan, with the eighth and final exhibition in Nagoya (Kanayama Minami Building, Art Museum Building). The exhibition will be held in Nagoya (Kanayama Minami Building Museum of Art) for the eighth and final time.


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