I didn't mean complete stillness or still-frames, or even slowness, but that NTE's camera has a range that, at the low end, begins at a certain speed I find too fast to be effective. Compare the way the camera pans up GNR to give a sense of weight and importance in EoE to the way the camera...

You mention mood, and that's something that typifies Lynch to me. But NTE? The camera is never still enough for mood to register. Compare the technobabble that wastes screentime in Shin to Part 8 of S3 of TP, which has almost no dialogue for the entirety of 50 minutes of pure visual language. If th...

I've been watching a lot of David Lynch, both his works (Twin Peaks, Blue Velvet) and interviews on his process ( this channel has a lot of them ), and at some level the nonsensical parts make total surreal sense with no explanation . Considering a lot of parallels between Lynch and Anno (returning ...

Shin seems liable to be more like a flavor of the month that doesn't end up with the same legacy. Minor gripe that I can see dating (i.e. giving away its age) the film were the smartphone-like devices the WILLE crew was using. There's some meta-irony in smaller-in-scale-but-still-horrible events af...

I've been obsessed with Voyager recently and dug a bit into it's background (some recycled from an earlier post by Jayfive): • It was originally sung by Yumi Matsutoya in the early 80's: • • Miyazaki used her song, 飛行機雲 (Contrails), in "The Wind Rises." • • She wrote the eponymous theme to...

snip I'd highly recommend looking into the work of David Foster Wallace (mentioned in the head of the New Sincerity article), whom I discovered in the past year. I first heard of him from this video , which I've since grown to disagree with in some parts, but it's still a good primer into the ideas...

Self-referentiality that is a staple of post-modernism, i.e. awareness of itself as fiction , acknowledging its own medium , and reminding the audience of this. It's a logical extension of similar scenes from the original series: the acting room with stage lights and curtains and breaking mirrors, t...

So, to add on to this, what the hell does “3.0+1.0” actually mean? It's a numeral analog to the jo-ha-kyu structure that resolves with a return to the origin. From Donald Richie's "A Tractate on Japanese Aesthetics" (p. 65): The introduction jo is (in music and in drama) to be of a slow b...

That’s interesting, I wonder why they ended up going with a different design for NGE. I don't know much about animation, but intuitively a simpler palette would be easier to animate. It also visually horizontally divides the length of the body into two segments, kind of like wearing a horizontally ...

The final Rebuild film strikes me as being a bit more similar to some of the ideas in the Evangelion design documents than the series ended up being, too. Coupled with the Eva redesigns being more similar to the proposed color schemes , and the use of the archaic ヲ(wo) instead of オ(o) in the title ...

I initially thought that the first two endings would be EoE and the manga, respectively, considering EoE is arguably a retelling of the TV ending. However, Anno explicitly states in this interview that the TV ending and EoE are, in his mind, the first two endings: https://youtu.be/r_ksOBT7wYg?t=323 ...

It's interesting how seemingly unconcerned he was with the audience's interpretations in the past (e.g. dismissing the religious symbolism) but is now extremely concerned with conveying something understandable, to the point of rewriting sections due to poor test screening. Kind of anti-solipsist/-e...

*Rough vomit of ideas, this is not even at the level of a rough draft of a rough draft, but I wanted to share while the ideas are still fresh in my mind. https://scontent-ort2-1.xx.fbcdn.net/v/t39.30808-6/238904868_10226351305427808_4024921709462260335_n.jpg?_nc_cat=102&ccb=1-5&_nc_sid=0debe...

The simple version of this: humans exist in three-dimensional space. We can't see it, but we're moving through the fourth dimension, which is time. Somebody existing in a fourth-dimensional space would be able to perceive other times that they weren't in, the same way we can perceive other spaces i...

Shinji doesn't say "never again" though. (that would be a huge difference and unforgivable indeed, but that's not what's being said here) He just says that he's not gonna cry in this situation This is my reading of it, the actual Japanese line is 「もう泣かない」,「泣かない」= "to not cry," 「...

That's a normal human response to have, and I don't like the movie attempting to paint that as being selfish and wrong to do. "Cause shouldering the bereaved's sadness and anger is part of the job, I think," said by Toji, on having to quickly become an adult to survive and protect his fam...

Shinji's line about "never crying again" in his life I really disliked that line, it's such an immature approach to maturity. Not crying anymore does not mean being an adult, having a handle on your emotions and knowing when to healthily express them is. Shinji being stone-cold and emotio...

I see Mari as Shinji's mentor and friend as he faces reality and adulthood, with no romantic linkage at. Reading Mari as an amalgamated self-insert of various people around the production (the other animators, Moyoco), I see her as the guide that helps Shinji/Anno grow up and move past Evangelion o...

My first watch was Japanese+Japanese subs, then I rewatched some of the exposition scenes and action setpieces with English subs and felt a lot of nuance was missing or mismatched.

I can understand that for the first movie but the rebuilds construct a more sophisticated cosmology of world-historical eschatology that surpasses the mostly straightforward bildungsroman story of the 1995 show. Anno probably did have that in mind in the beginning but the interesting part about the...