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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Re: Untranslated Material Compendium

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Postby Zusuchan » Mon Apr 26, 2021 3:23 am

Understood.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Fri Apr 30, 2021 12:17 am

Hey Rikki, you might be interested in this. Since we've just gotten the extended NHK documentary, you might be interested to see Toshio Okada/OTAKING's commentary on it, from April 12th (I think?). I've noticed you translated some of his videos in the past and the NHK doc as well (please post it here too if you translate the extended version, I was waiting to see it!) so there's bound to be some interesting material too. From what I could gather, he's quite critical of it.

https://www.youtube.com/watch?v=Gkg0oc_kEUs

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Postby Riki » Fri Apr 30, 2021 1:43 am

Hi Felipe,

Lol, I watched this video, too. I like his channel so I'll enjoy working it. Thank you for your suggestion!
I liked the part Okada talked about Pre visualization. He explained that actually Yamaga already tried in "Royal Space Force: The Wings of Honnêamise". NHK documentary show says it's a bland new idea in animation but according to his memory it's not true. It was interesting to hear him talk a little bit about what was going on at Gainax at that time.

About Anno documentary, I made a playlist on Dailymotion,
https://www.dailymotion.com/playlist/x735r8

hope you enjoy it.

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Fri Apr 30, 2021 2:05 am

View Original PostRiki wrote:I liked the part Okada talked about Pre visualization. He explained that actually Yamaga already tried in "Royal Space Force: The Wings of Honnêamise". NHK documentary show says it's a bland new idea in animation but according to his memory it's not true.


Yes, a friend of mine commented on it, he found it interesting that Okada seems to think NHK was trying to make it look like it was the first time anyone had such an idea, as if they wanted to boost Anno's image as a pioneer. It's understandable enough now that he has been more-or-less appointed as the new visionary of the anime industry.

Thanks as always for your work!

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Re: Untranslated Material Compendium

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Postby Zusuchan » Fri Apr 30, 2021 2:31 am

Thanks, Riki!

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Sat May 01, 2021 2:44 am

Hey Rikki, it turns out that one of sources was only partially translated. It was this, the SF Magazine April 26th 1996 talk, published in August of that year. You translated it here:

https://www.buymeacoffee.com/rikki/the- ... evangelion

You translated another article mentioning an untranslated excerpt here: https://www.buymeacoffee.com/rikki/it-l ... never-came

Because that was only the first page, here: https://www.buymeacoffee.com/rikki/the- ... evangelion

You can also find the other pages here: http://anime-room.jp/modules/evangelion ... -2.htm#top

http://anime-room.jp/modules/evangelion ... -3.htm#top

http://anime-room.jp/modules/evangelion ... -4.htm#top

Trello page: https://trello.com/c/jJS1ezQe/294-augus ... f-magazine

As usual of course, you can look into whatever source you wish.

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Re: Untranslated Material Compendium

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Postby Riki » Mon May 03, 2021 3:05 am

Hi Felipe, yea you're right.
I totally forgot to go on to next page.
I'll work on it too after I finished the one I'm translating now. :wink:

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Re: Untranslated Material Compendium

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Postby Konja7 » Thu May 06, 2021 9:36 pm

View Original PostKendrix wrote:Her take on the finale of Q is also interesting as she saw it, this was Shinji really trying to take an active role for once but then when it started going wrong he was really just panicked & confused, like, "but I was told this would fix it..."


I think the active role of Shinji that Ogata mentioned (where he didn't accomplish anything and dragged a lot of people) is his actions in Ha. That's why she mentioned everyone around him is a stranger after that.

After that, she starts to speak about the finale of Q with the lances.

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Postby FelipeFritschF » Sun May 09, 2021 8:42 pm

Ogata's account of the choking scene from her "Evangelion Forever" interview has been summarized to me:
According to Megumi Ogata, Shinji's voice actress, the scene itself was modeled on a experience of a female friend of Anno's. This friend got into an argument with her boyfriend, and at some point he choker her in rage. Instead of reacting violently, this friend felt no fear, hatred or even a need for survivl, but rather a desire to caress him tenderly. In response, her boyfriend lost her grip. However, Anno's friend instead grew cold, and muttered Asuka's line from the EoE draft almost verbatim. Ogata believes this scene was how Anno wanted to "convey different ways how to bring feelings of love to a conclusion that exist in reality. You are you, I am I". Naturally, this reflects on the films of individuality and the duality of reaching out to others present in Eva.

Anno also guided Ogata to treat OMF partly as a separate story: "as something that just exists. As if everything that happened before in the movie is merely a dream that never happened. It is its own narrative unity, something that can fundamentally be taken away from its context in the movie and still be interpreted as a dramatic whole. It is and is not the final scene of EoE."

Furthermore, Ogata asked Anno to help her understand what Anno wanted to convey through the scene and how Shinji is supposed to act. Hearing this, Anno first stands silent and confused for a moment. Then he firmly wraps his arms around himself and hugs himself. This is on the "purpose" of what he is trying to express. As for how Ogata should play Shinji Anno asks her to not play Shinji: " ''"For this scene alone, I want Ogata to take on and express my feelings rather than Shinji's"'' - 『井手功二のエヴァンゲリオンフォーエヴァー』(アミューズブックス


Alternative translation by Richitzer, but it might need a revision.

May 10th Newtype is here too. It's about Shin. Not sure if these are the full scans though.

https://trello.com/c/0KHPuUXK/307-may-2021-newtype
Last edited by FelipeFritschF on Tue Jul 13, 2021 7:52 pm, edited 4 times in total.


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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Tue Jun 01, 2021 10:57 pm

Thanks as always. What about those excerpts from the scans being missing from the site? The ones here? thread/20814/Newtype-May-10th-issue-interviews/

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Re: Untranslated Material Compendium

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Postby Riki » Wed Jun 02, 2021 2:30 am

View Original PostFelipeFritschF wrote:What about those excerpts from the scans being missing from the site? The ones here? thread/20814/Newtype-May-10th-issue-interviews/


I haven't read the magazine interview, so I can't be sure, but I'm guessing that the web version and the magazine version of the interview probably have different content.
My guess is that the magazine interview has a more interesting story.

--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
I translated Miyamura part.
https://trello.com/c/0KHPuUXK

Hope you enjoy it,
https://www.buymeacoffee.com/rikki/inte ... pon-a-time

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Re: Untranslated Material Compendium

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Postby Zusuchan » Wed Jun 02, 2021 9:22 am

Thanks, Riki!

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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Tue Jul 13, 2021 7:28 pm

DeepL'd this account in Italian of Sadamoto's 2015 Japan Expo appearance, since it worked for his Milano Manga Days, says Joseki. Might need a revision. Trello page. Source here.

Yoshiyuki Sadamoto, character designer of the animated series Neon Genesis Evangelion and author of the manga, was the guest of honor for the anime section of Japan Expo 2015, also due to the fact that this year marks the twentieth anniversary of the airing of the first episode. And that's not all: 2015 is the year in which the events of the 1995 series are set.

On Saturday, July 4, Sadamoto was the protagonist of a long meeting with fans, in which the floor was given to the public: the opportunity to ask questions in the round ... except on any ongoing projects, of course. A limitation dictated, first of all, by a very specific need: the confidentiality around Evangelion: Final, the next film in the Rebuild of Evangelion tetralogy. The press silence also concerned Blue Uru, the planned sequel to The Wings of Honneamise; on this Sadamoto clarified, however, that the silence does not derive from specific confidentiality clauses, but more simply from the fact that there is still nothing definitive about this project.

As expected, the questions asked by the audience were mainly about Evangelion, with some digressions about 'old' successes such as Nadia or, more generally, about the path that led him to work at Gainax (message to Italian Sadamoto-fans: you can read the full text of the conference in a future article).

About Evangelion, the author first of all answered the questions of the readers interested in its genesis, recalling that the work for that project started after a rather critical period for Gainax, despite the success of Nadia, and Sadamoto was chosen to write the manga. He went on to point out how, at the time, there was no friction over character design development between him and Hideaki Anno, director of the animated series. "Everyone had a lot of creative space," Sadamoto said, pointing out that it was "very different from the work faced, for example, on Summer Wars with Mamoru Hosoda." In this case, in fact, the director put a lot of pressure on him because he needed definitive drawings to allow for the advancement of the writing of the story.

To define the characters of Evangelion, Yoshiyuki Sadamoto said that he had 2/3 months of time. He had identified a female protagonist, sexy and intelligent, and originally wanted all the characters to have very Japanese traits; then a sponsor expressed the desire to produce a video game, and it became necessary to make strong choices, with contrasts between different colors, to distinguish the characters. It was precisely in this context that the choice matured that led, for example, to the visual contrast between Asuka and Rei, the first with red hair and blue eyes, the other exactly opposite in her choice of color. When asked which Evangelion character he likes best and which he likes least, Sadamoto declared his preference for the character of Misato, above all for age reasons ("I wouldn't mind going out with her!" he joked), while the protagonist he likes least is Lorenz Keel, head of Seele.

The work on the Eva's, on the other hand, is the one that took the longest - about 10 months of recurring exchanges with mecha designer Ikuto Yamashita. The Eva are modern reinterpretations of the images of oni, traditional Japanese demons, and are different from the mecha of other series of the past, such as Gundam. A small graphic curiosity, finally: the Evangelion were the first successful characters to sport horns pointing forward, as well as for reasons related to make the appearance threatening, to pay homage to the Eastern tradition.

As in meetings with fans during other festivals and fairs, it was then time for questions about Sadamoto's well-known passion for cars (for example, it's common knowledge that the Renault Alpine A310 driven by Misato in Evangelion is the author's tribute to Lupin III, where a Renault Alpine A110 can be seen in a chase). But even more than certain Renault models, Yoshiyuki Sadamoto has admitted to being a big fan of Citroën cars. As he said, he owns several of them, including a 2CV and a Xantia; and a few days before Japan Expo, he took advantage of his stay in France to visit a car dealer...

On the dual career between anime and comics, Sadamoto - already in charge of design in several other series - has said he is now less and less suited to animation, which requires a lot of speed. It's not for nothing that his last job as animation director dates back a decade ago, with the first episode of the OAV series Aim for the Top 2! [Diebuster / Gunbuster 2]. For his future he sees himself more as a mangaka, which is why in the Evangelion manga he worked with great care on the details of the individual images, necessarily simplified in the anime to make the animators' work easier. "If I had wanted to make my own anime, I would have done it," he declared, adding, "the end I imagined for the Evangelion manga is actually very personal, also because I had no indications and no limits from the staff working on the anime." At the end of the conference, when asked about the use of digital in animation, Yoshiyuki Sadamoto stated that only the colorists' task is becoming easier, while the animators' task is becoming more complex, because it involves further intense manual work before moving on to the actual digital work.

To conclude the report of this long and passionate meeting with fans, our note - a bit otaku, we admit - is that we are sorry we could not take a picture of the author's new platinum blonde hair. For one simple reason: Sadamoto continues to be very strict about his own image, and has imposed a "No Video/No Photo" policy on everyone present, as is his custom in almost all public appearances.


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Re: Untranslated Material Compendium

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Postby BernardoCairo » Tue Aug 10, 2021 9:53 pm

Hey, Riki! Thanks for another amazing batch of translations!
I was missing you here. You're one of our coolest members! ^_^
Just sit here and waste your precious time. When you want to do something, don't do it right away. Don't do it when you can. Read my posts instead. It's the only way to live a life without regrets.

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Re: Untranslated Material Compendium

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Postby Riki » Wed Aug 11, 2021 4:43 am

View Original PostBernardoCairo wrote:Hey, Riki! Thanks for another amazing batch of translations!
I was missing you here. You're one of our coolest members! ^_^


Wow, thank YOU!!
You made my day. ^_^

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Postby FelipeFritschF » Fri Aug 27, 2021 7:52 pm

Thank you as always, Rikki.

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 dissapeared and not provided any scans, so we have to rely on a Korean translation. If anyone here is part of the BTS Army or something, perhaps you can help:

Korean  SPOILER: Show
한 에붕이가 에버지 관련 인터뷰 자료 발굴해서 번역해놓은거 모음



14일의 한낮이 좀 지난 무렵. 나는 긴자의 레스토랑에서 사츠카와 아키오씨와 만나기로 했다. '러브&팝'의 각본을 집필한 사츠카와씨는 '에바'의 메인 각본가로서도 유명하다. 또 요즘은 짓소지 감독의 좋은 파트너로서, 짓소지 감독 작품 'D언덕의 살인사건'도 올 봄 공개를 앞두고 있다.

사츠카와씨와는 첫만남으로, 여기에서 에바 관련 기사를 쓰던 당시부터 꼭 만나고 싶은 인물이었다. 만나기 전에는 마른 예술가 타입을 상상하고 있었지만, 모습을 드러낸 그는 놀랍게도 멋진 대장부였다. 그렇지만 잠시 이야기를 하는 사이에, 이 사람, 생각보다 터무니없는 예술 청년이라는 것을 알게 되었다...



짓소지 작품으로 각본가에


인터뷰어 : 사츠카와씨는 지금까지 계속 영화 일을 하셨었나요.

사츠카와 : 각본가가 되기 전에는 프리터였습니다. 알바 시절 마지막 일이 애니메이션 편집 일이었구요.


인터뷰어 : 처음부터 목표는 각본이었나요?

사츠카와 : 그렇다기보다 원래는 감독이 되고 싶다는 생각이 있었는데, 감독이 되기 위해서는 조감독부터냐, 각본가부터냐 하는 선택지가 있어서 저는 각본가를 골랐죠. 그래서 시나리오 콩쿨에 냈는데, 분명 심사위원이 바보였을 겁니다. 그럼 알아줄만한 사람을 찾아보자 하고 생각해서, 짓소지 상에게 작품을 보냈습니다. 그리고 그게 계기가 되어서 짓소지상한테 인정을 받아서 각본 일을 시작하게 되었습니다.

90년대 들어서 겨우 저한테도 때가 왔다 하는 느낌은 있네요. 80년대에는 뭘 해도 안 되는 느낌이었으니까요. 그래서 어쩌면 이 루트로 각본가가 될 수도 있으려나 하는 게 보이기 시작해서 말이죠. 그 전까지는 최대한 영상 일에서 떨어져 있었습니다. 영상 현장밖에 사회를 모르게 되면 안되잖아요? 폐색되고 자기모방에 빠져버리니까요. 그래서 공사현장 감독이 되거나, 웨이터를 하거나... 사실은 지금도 뭔가 알바하고 싶네, 하는 생각이 드네요 (웃음)


인터뷰어 : 영화를 보면 짓소지 감독이랑은 정말 잘 맞는 것 같은 느낌이 드네요.

사츠카와 : 아뇨, 이쪽이 맞춰주는 거죠. 안노상한테도 역시 맞춰주고 있고. 자질이 전혀 다르니까. 단지 안노상이랑은 애니메이션 편집 일을 하던 때에 인연이 있어서, (에반게리온에서도)생각보다 제대로 일이 됐죠. 만약 이게 첫대면이었고 각본가와 연출가로서 만났다면 아마 싸움 났었을 거에요.



안노 히데아키와의 만남


인터뷰어 : 안노상과는 편집으로서 '신비한 바다의 나디아'에 참가했던 게 첫만남인가요?

사츠카와 : 그렇네요. 나디아의 편집은 '그룹 택'의 후루카와 씨, '무시 프로덕션'의 오가타 씨가 담당하셨었는데, 두분 다 스케줄상 할 수가 없게 돼서, 다른 편집자가 하게 되어 있었습니다. 그런데 안노상과 그 사람 사이에 트러블이 생겨서 말이죠. 결국, 나디아의 10화 이후를 제가 일하던 편집실에서 이어받게 되었습니다. 까다로운 감독 같으니까 사츠카와가 해봐, 라는 식으로, 저는 연출가 지망이었기 때문에, 감독과 커뮤니케이션을 해가면서 할 수 있겠지 하는 이유로. 그런데 저, '왕립우주군'은 알고 있었지만, 가이낙스같은 건 몰랐어요. 그쪽 방면은 파질 않아서.


인터뷰어 : 실제로 일을 해 보니 어떠시던가요.

사츠카와 : 같이 편집을 해본 지 10분만에, 이 사람 엄청 재능있는 사람이구나, 하는 생각이 들었습니다. 필름 한 컷의 감각을 알더라구요. 두 컷은 알지만, 한 컷을 아는 사람은 흔치 않단 말이죠. 안노상도 제가 맘에 든 모양인지, 이런저런 제안을 하더군요.

저는 애니메이션은 별로 본 적이 없습니다만, 실사의 편집은 연구하고 있었습니다. 그래서 같이 일하는 동안에, 역시 같은 세대니까 보는 영화도 같아서. 어떤 대사의 모토네타(주 : 오마쥬 혹은 표절이나 패러디한 원본)를 지적하니까, 안노상이 소녀처럼 얼굴이 빨개져서 (웃음) '안되나요'라더라구요. '아뇨 괜찮네요'라고 했지만요. 그러니까 이런 식으로 생각보다 마음이 맞아서.. 같은 느낌입니다.


인터뷰어 : 그 후에 '에바'가 시작될 즈음에, 사츠카와씨는 짓소지 감독의 '다락방의 산보자'로 각본 데뷔를 하셨었는데, 그걸 보고 안노상이?

사츠카와 : 아뇨, 그 때는 '다락방'은 안 봤어요, 안노상.


인터뷰어 : 그럼 갑자기 부탁해온 건가요.

사츠카와 : 그렇네요. 그러니까 제가 쓰던 건 읽어보지도 않았을 거에요. 첫 회의 때, 저는 로봇물은 본 적도 없고 못 쓴다고 하니까, 드라마를 써 주면 된다고 하더군요. 그럼 OK할게요, 했죠.



실사감각을 애니메이션으로


인터뷰어 : 처음에 담당하신 건 뭔가요?

사츠카와 : 3화 '울리지 않는 전화'네요. 4화('비, 도망친 후')도 접니다. 4화에 관해서는, 안노씨의 원안에서 3화 마지막에 신지와 토우지가 간단히 사이가 좋아지는 형태로 되어 있었던 게 도저히 용납이 안 돼서, 이런 애니메적인 전개는 타기(唾棄; 침뱉듯이 버림)해야 할 이야기가 아닌가, 하는 소릴 했죠. 로봇에 타라 같은 소리를 한다면, 도망치는 게 당연하다고 안노상한테 말하고 4화를 썼습니다만.

5화 6화는 비교적 간단히 써졌습니다. 완성된 필름도 (각본을) 그리 손대지 않아서. 예를 들면 아야나미의 방도, 안노상의 메모에서는 '살풍경한 방' 뿐이었어요. 그건 제가 알바하던 시절에 실제로 봤던 방을 그대로 적어서 구체화했습니다.


인터뷰어 : 실제로 그런 방이 있었다구요?

사츠카와 : 네. 패킹을 교환하는 '수도진단'이라는 알바가 있었는데, 아야나미의 그 방이랑 똑같이 생긴 맨션에 간 기억이 있었어요.


인터뷰어:그러고보면 전에 야마가 히로유키(주 : 가이낙스 전 대표이사) 씨랑 얘기했는데, 에바가 그런 심리극이 된 건 사츠카와 씨의 영향이 큰 게 아닐까 하시던데요.

사츠카와 : 심리라고 해야 하나, 제가 처음에 3화에서 '고슴도치의 딜레마'라는 말을 가져오긴 했습니다. 그리고 4화가 추가된 걸로 인해서 안노상이 내면세계에 들어가는 계기가 되었다고는 생각합니다만... 그리고 캐릭터에 대한 제 해석이 애니메이션같지 않았기 때문이기도 할까요.


인터뷰어 : 내적인 독백이 후반에 많이 들어가 있는데, 그건 사츠카와씨의 영향인가요.

사츠카와 : 아뇨, 후반의 그런 건 안노상의 세계입니다. 보통 실사에서 내적 모놀로그 같은 건 잘 안 하잖아요? 하더라도 잘 안 되죠. 그러니까, 소위 '에바'에서 유명해진 대사는 거의 안노상 거라고 해도 좋을 겁니다.


https://gall.dcinside.com/m/evangelion/232511





에바와의 연속성


인터뷰어 : 그래서 저, 봄에 '에바'가 완성되냐 안되냐 하고 난리가 났던 시기에 말이죠, 분명 작년(1996년) 말 쯤에 안노상이랑 만났는데, 그 때 벌써 '러브&팝'의 이야기를 살짝 하더군요. 한창 수라장이 펼쳐지는 와중에 그런 얘길 하고 있었으니, 설마 이렇게 빨리 착수할 거라고는 생각을 못 했지만 말이죠(웃음).

사츠카와 : 그도 그럴 게, 'DEATH편'의 각본을 안노상한테 의뢰받은 게 작년 11월이었으니까요. 저도 회의 때 안노상한테서 '러브&팝'을 하고 싶다는 소리는 들었습니다만, '에바'로부터 도망쳐서 이런 소릴 하고 있구나 싶었죠(웃음). 아니 회의 중에 한 시간이나 '점보그-A(주:나무위키 링크)'의 이야기를 하더라니까요(웃음). 단지 '러브&팝'은 프로듀서 난리(南里)씨한테도 얘기해뒀다고도 하니까, 이거 진심인건가 했죠. 그 때는 1000만엔짜리 자주영화로 하거나, TV도쿄의 심야시간대에 조용히 할 터였지만 말이죠.


인터뷰어 : 그게 결과적으로는 이렇게 돼버렸군요.

사츠카와 : 네. 투자하는 회사가 늘어서 영화관에서 공개하게 돼서, 1억엔이라는 예산이 생겼다고.


인터뷰어 : 첫 단계에서는 안노상으로서는 '에바'를 빨리 끝내버리고 뭔가 즐거운 걸 하고싶다는, 말하기 좀 그렇지만 도피같은 느낌은 있었으려나요.

사츠카와 : 그렇다고 할까, 다음에 '러브&팝'이 있으니 '에바'를 버텨낼 수 있었다고 생각합니다. 이게 없었다면 아마 안노상, 2년은 망가져 있었을 거에요.


인터뷰어 : 그래서, 엄청 금방 다음 이야기를 시작하는 데에는 놀랐네요. 단지 '에바'같은 혼신의 역작을 만든 다음에 이상하게 뜸을 들여버리면, 그건 그거대로 큰일이죠. 주변의 기대도 올라가버리고. 그게 프레셔가 돼서 찍지를 못하게 된다든지. 그런 걸 피하려 한 걸까요.

사츠카와 : 그것도 있었을 거고, 단순히 원작이 마음에 들었던 것도 있었을 거라고 봅니다. 주인공에게 끌렸다고 얘기하고 있었으니.


인터뷰어 : '러브&팝'에는, 뭔가 '에바'의 속편같은 요소가 있지요. 이건 사견입니다만, 양쪽 다 '타인과의 만남'이라는 테마를 가지고 있는 것처럼 보이는데요, 안노상한테서 그런 이야기는 안 나왔나요.

사츠카와 : '타인과의 만남, 운운'같은 이야기는 하지 않았습니다만, '러브&팝'이 '에바'와 같은 흐름이 되는 건 느낄 수 있었으니까요.


인터뷰어 : 촬영 대본은 바로 그 '기분나빠'라는 대사로 시작되기도 하지요.

사츠카와 : 대본에서는 처음에 쓰레기가 바다에 떠 있다고 되어 있지요. 그럼 '기분나빠'로 시작하는 것도 좋을까 해서 제가 넣었습니다. 그래서 드라마가 시작하는 날짜도 'THE END OF EVANGELION' 개봉일인 1997년 7월 19일로 해 봤습니다.


인터뷰어 : 완성된 영화에서는 '기분나빠'는 편집됐지요. 분명한 연속성을 띄게 하는 건 좀 그렇다고 생각하셨나요.

사츠카와 : 뭐 촬영대본까지 대사가 남아있었다는 건 아슬아슬한 데까지 생각했다는 거라고 생각합니다.



다큐먼트에의 지향


인터뷰어 : 각본은 원작에 아주 충실하지요. 그대로라고 하면 실례입니다만.

사츠카와 : 애초에 안노상은 다큐멘터리같은 걸 만들고 싶다고 했습니다. 안노상이 등장인물로서 화면에 나와서, 여자아이를 찍는 다큐멘터리 터치의 초안을 제가 썼습니다.


인터뷰어 : 그건 그거대로 재미있었을 것 같은데요.

사츠카와 : 예산이 1000만엔이라면, 그런 게 어울린다고 생각하기도 하구요. 궤도 수정은, 아마 히라노 카츠유키(주:AV 영화감독)씨의 유미카(由美香, 비디오 타이틀 '두근두근 불륜여행')라는 작품을 안노상이 보고, 자신은 저렇게까지 자신을 드러낼 수 없다고 쇼크를 받은 게 계기 중 하나가 되었다고 생각합니다. 그리고 1억이라는 예산이 생겼으니, 제대로 된 영화를 만들어야 겠다는 것도 당연히 있었을 거구요.


인터뷰어 : 완성된 영화를 봐도 다큐멘터리를 노리고 있었던 것 같은 느낌이 듭니다. 차라리 그 아이디어를 고수했으면 더 좋지 않았을까요?

사츠카와 : 어떠려나요 (웃음).


인터뷰어 : 아니, 그, 안노상은, 프라이빗 필름이라고 말하고는 있지만, 역시 원래는 자신을 내세우는 건 서투른 타입이니 말이죠. '에바'의 경우에는 애니메라는 필터가 있어서 반대로 그게 가능했던 면이 있었다고 생각합니다만, 실사로 자신이 날것으로 나오는 게 되면 거기까지는... 이라는 거였을까요.

사츠카와 : 그럴지도 모르겠네요.


인터뷰어 : 무책임한 말만 하고는 있습니다만 (웃음)

사츠카와 : 초안에서는 하메도리(주 : 출연자와 촬영자 둘이 찍는 섹스신)도 있었어요. 안노 상과 여자아이가.


https://gall.dcinside.com/m/evangelion/233765




인터뷰어 : 하메도리요? 제 의견을 솔직히 말하자면, '러브&팝'은 안노상이 '에바'의 라스트에 서서, 반 걸음 나아가서 두리번거리는 인상입니다. 믈론 의욕은 느껴지고, 영화로서 제대로 된 작품이 되어있는 건 과연 안노상이라고는 생각합니다만.

사츠카와 : 저는 좋아해요. '에바'를 포함해서, 지금까지 안노상와 해온 일들 중에서 이걸 가장 좋아합니다. 여자아이가 잘 찍혀있으면 괜찮다는 주의라서 (웃음)


인터뷰어 : 그래도 여자아이를 찍는 방법도, 아마 이건 확신범이라고 생각합니다만, 그다지 각각의 캐릭터를 세우는 식은 아니지요.

사츠카와 : 그렇죠. 각본 단계에서부터, 여자아이 네 명이 한 인격이라는 설정은 제가 노려서 썼습니다. 보통의 드라마로서 짜 나간다면 다른 세 명은 방해가 되죠. 히로미와 원조교제하는 남자들과의 관계로 이야기를 만들면 더 드라마틱하게는 됩니다만, 안노상은 (원작에 있는) 네 명을 제대로 보여달라고 말씀하셨기 때문에.


인터뷰어 : 거기는 원작에 충실하게 말이군요.

사츠카와 : 네. 다만 후반에 한 명이 되었을 때에도, 네 명의 인격은 이어지고 있지요. …그래서, 역시 오디션에서 여자아이가 정해지지 않으면 어떤 영화가 될지 모른다고 안노상이 이야기하기도 했습니다. 여자아이가 정해진 7월 중순 쯤부터, 실제 촬영용 각본을 쓰게 되었습니다.


인터뷰어 : 꽤나 평범한 여자아이를 골랐지요.

사츠카와 : 그렇네요. 그건 안노상이 처음부터 이야기를 했습니다. 소위 코갸루의 원조교제 영화에는 별로 관심이 없다고. 원작보다도 더 평범하지요.



「가짜 안노」가 등장한 이유


인터뷰어 : 사츠카와씨가 영화에서 마음에 드는 부분은 어디인가요.

사츠카와 : 친구와 헤어질 때, 히로미가 손을 흔드는 컷이 굉장히 좋았습니다. 그리고 어떠려나요. 안노상의 결벽증스러운 부분이 좋지 않았나 싶네요.


인터뷰어 : 확실히, 여자아이의 팬티를 바로 아래에서 보는 듯한 구도가 잔뜩 들어가 있는데, 전혀 야하지 않지요. 안노상, 꽤나 엣찌하네요 (웃음)

사츠카와 : 아뇨, 결벽증 아닌가요? '에바'에서도, 알몸 씬은 나오지만 전혀 야하지 않지요.


인터뷰어 : 엣찌의 방향성이 다르군요.

사츠카와 : 그 쪽의 자질은 역시 저와는 다르구나 하고. 그건 '나디아' 때부터 느꼈습니다. 'DEATH편' 때, 안노상이 제작회사 쪽 사람한테 저를 소개할 때 '이 사람이랑은 안 맞아서요' 같은 소리를 했단 말이죠.


인터뷰어 : 그래도 아마 안노상은 그게 좋은 게 아닐까요. 사츠카와씨의 '자신에게는 없는' 부분이. …그런데 히로미와 비디오방에 가는 남자가 나옵니다만, 그거 아무리 봐도 안노상이던데요 (웃음)

사츠카와 : 같은 모습을 하고 말이죠 (웃음)


인터뷰어 : 그거, 안노상이 그렇게 하고싶다고 한 건가요?

사츠카와 : 의상 정하는 날에, 배우 테즈카 토오루 씨한테 '북경원인'(영화)의 티셔츠를 입혔단 말이죠. 그럴 거라면 목에 핑크색 타올을 두르게 하고, 페트병도 들게 하자고 제가 말했습니다.


인터뷰어 : 완전 본인이네요 (웃음)

사츠카와 : 마무리로 샌들을 신겼죠. 그 의상 회의는 촬영 개시 이후에 현장이 돌아가기 시작한 때 쯤이었기도 하구요.


인터뷰어 : 그거, 뭔가 정말 캐릭터가 독특했습니다 (웃음). …그래서 완성된 영화의 마지막 장면은, 각본과는 전혀 달라졌군요.

사츠카와 : 그건 로케까지 갔으니, 일단 대본대로 할 생각이긴 했을 겁니다만, 여러 사정으로 찍지 못했다고 하네요.


인터뷰어 : 그래서 시부야의 시궁창을 여자아이가 걸어가는 라스트가 된 건가요. (웃음) 그래도, 저, 그 라스트 씬은 정말 좋아합니다.

사츠카와 : 네, 저도 좋아합니다. 그래서 그 사람은, 역경에 섰을 때의, 뭐라 할까, 극복하는 방법이 굉장하다고 할까요.


인터뷰터 : 각본대로 갈 수 없게 된 시점에서, 터무니없는 아이디어를 뿅 하고 내놓죠. 거기에서 안노상의 파워가 나오죠.

사츠카와 : 그렇지요.



https://gall.dcinside.com/m/evangelion/237830




2000년까지는 감독을


인터뷰어 : (사츠카와씨는) 안노상이나 짓소지상같은 개성적인 감독들하고만 일하고 계시군요.

사츠카와 : 컬트 뿐이에요 (웃음) 저, 실제로는 전혀 다른데 말이에요. '에바'에서도, 제 개성이 가장 잘 나온 건 카오루군과의 이야기같은 게 아니라, 15화의 '거짓과 침묵'이라고 생각합니다.


인터뷰어 : 사도가 안 나오는 미사토와 카지의 연애 드라마의 회차군요?

사츠카와 : 사도도 안 나오고, 에바도 한 컷 뿐이죠. 저, 영화는 데이비드 린이나 구로사와 아키라의 팬이에요. 그리고 나루세 미키오라든지.


인터뷰어 : 컬트적인 건 별로 없나요?

사츠카와 : 컬트적인 자질은 없어요. 짓소지 씨에게 각본을 보냈던 것도 딱히 울트라 세븐의 팬이어서가 아닙니다. 에도가와 란포도, 짓소지 씨와 일하게 되어서 그제서야 읽은 정도입니다.

그래서 짓소지 씨랑도 어느 정도 각본이 완성된 뒤의 회의는 음악을 어떻게 할까 하는 이야기가 많습니다. '울트라맨 티가'의 '꽃'이라는 에피소드에 나오는 외계인은 푸치니의 '마농 레스코'라는 오페라에서 가져왔고, '리스카웃 성운의 마논 성인'이 되어 있습니다. 레스코를 영어로 읽어서 '리스카웃'이라고. 음악은 '나비 부인'의 이중창 '벚나무 가지를 흔들어라'. 세 명의 우주인도 거기에 등장하는 버터플라이, 스즈키, 고로에서 모티브를 따 왔습니다.


인터뷰어 : 굉장히 잘 알고 계시네요. 그러면 '에바'에 쓰인 클래식도 사츠카와씨가?

사츠카와 : 15화에서 신지가 연주하는 첼로 곡은 제가 지정했습니다. 'DEATH편'의 곡도 오리콘에서 1위가 될 줄 알았다면 좀 더 진지하게 고르면 좋았을 텐데요 (웃음)


인터뷰어 : '러브&팝'도 스테디셀러 중의 스테디셀러인 클래식이 쓰였죠.

사츠카와 : 이번에도 좀 골라달라고 하길래 도망쳤습니다 (웃음) 선곡에는 관여하고 있지 않습니다.


인터뷰어 : 저는 사츠카와 씨와 안노상의 관계가 전부터 흥미로웠는데, 이야기를 들을 수 있어서 재미있었습니다. 사츠카와씨가 감독한 작품도 기대하고 있습니다.

사츠카와 : 각본가 일은 내년까지만 하고 일단 스톱할까 하고 생각중입니다. 일단, 세컨드 임팩트 전까지는 감독을 할 예정이지만요 (웃음)


https://gall.dcinside.com/m/evangelion/238188


And some summary threads on past media events. These are also their own recountings (titles are GT'd, yeah), so do take that into account, but they might have some info we're not yet aware of:

https://gall.dcinside.com/mgallery/boar ... &no=233037

[Information] Summary of interview with New Type Shin-Eba Special .txt: https://gall.dcinside.com/mgallery/boar ... &no=228271

[Information] Arrangement of voice actors and stage greetings comments.txt: https://gall.dcinside.com/mgallery/boar ... &no=173313

[Information] Asuka's voice actor radio comment complete version.txt (add comment): https://gall.dcinside.com/mgallery/boar ... &no=163097

[Information] Summary of comments from Shin-Eba special radio officials. txt (modified): https://gall.dcinside.com/mgallery/boar ... &no=251911

This is from a Quick Japan magazine issue, the same one that had the S&P excerpts before they were collected in the book proper. It also includes interviews with Ohtsuki and Anno, see: https://www.ohtabooks.com/qj100/archives/017/

Later, my Chinese friends have also several material of their own I'll be looking to bring over.

FelipeFritschF
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Re: Untranslated Material Compendium

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Postby FelipeFritschF » Sat Aug 28, 2021 10:44 pm

And another Sadamoto one, from 2017, on a Spanish site. DeepL'd this one like the Italian ones. I can speak Spanish well enough and can't see any problem:

SPOILER: Show
===Yoshiyuki Sadamoto Interview (AlfaBetaJuega 2017/07)===
'''Source''': [https://www.alfabetajuega.com/noticia/entrevista-a-yoshiyuki-sadamoto-n-68208 AlfaBetaJuega]
'''Date'': July 12, 2017

During the celebration of the FicZone16 event, attended by AlfaBetaJuega, we had the honor to interview Yoshiyuki Sadamoto. The interview was conducted as a round table with several colleagues from different media such as Cool Japan, Koi-Nya and Otaku Music Radio, which intervene in the interview with several questions of which we include. We would like to thank all of them for giving us their questions and creating a great atmosphere throughout the interview. Of course, we want to thank Eladia Gómez, FicZone's press officer, for her great treatment and for making this whole process much easier.

Yoshiyuki Sadamoto, author known mainly for his work as a designer for anime and as creator of the Neon Genesis Evangelion manga, has also worked as a designer in other Gainax projects such as Nadia, the secret of the blue stone or FLCL and for several of the films directed by Mamoru Hosoda as Summer Wars or Wolf Children. He has made his first steps as an animation director and also as an illustrator, even making a couple of covers for Eric Clapton's albums. In his first visit to Spain he showed himself to be a very approachable person who enjoys talking about his work but is wary of his private life and his image, a fact that he confirmed by not allowing himself to be photographed. He kindly agreed to answer all the questions he was asked in a very funny, extensive and interesting way. Without further ado, we leave you with the interview, which we hope you enjoy reading as much as we did...

Question.- You are an artist who has worked in different facets as a character designer for animation, manga author, illustrator... in which field do you feel more comfortable?

Yoshiyuki Sadamoto: Working as an illustrator is a job that depends only on me, I am alone in that aspect, but when I work as an animation designer I feel that other aspects depend on my work, for example, music or animation itself. In that aspect, within that group I feel important, working and collaborating. I feel part of a whole of which nothing can be missing and that feeling for me is also very important.

PR.- In Japan, a special edition of the last volume of Evangelion was released that included a CD with the songs you like to listen to while you work, how did the idea of releasing that CD come up? How does that music influence your final work?

YS.- Whenever I work I have to be listening to music. For example, if I have previously seen a movie and its music has moved me, I use that soundtrack while drawing, or an album of a band or singer I like, influencing that music in my final work. I don't really know in what way, but it does influence my drawings.

PR.- You were one of the key members in the creation of Daicon Films which later became GAINAX, how did you live this process and what was your role in the establishment of GAINAX?

YS.- The idea of creating the studio came from the University. Some university classmates started with the idea of this project and proposed me to work with them. After this idea, there was an offer from BANDAI so we went for it and little by little it grew to become GAINAX.

When I was in the second year of my career, the MACROSS animation series project came up. I was asked to collaborate and although I had never done animation before, I accepted the challenge. The following year there was an event in Osaka and that's where the germ of Daicon Films was born.

PR.- This year Hideaki Anno together with part of the staff of Rebuild of Evangelion, release the new Godzilla movie and we know that the director has turned 100% in its production, do you know if the studio Khara is already working on the fourth and final film of Evangelion and if we should expect its release for the end of this year or early next year?

YS.- As Hideaki Anno is the director of both projects and Godzilla's release for Japan is in July, I suppose that after the release he will get to work on Evangelion. At the moment I don't know anything...

PR.- Continuing with Hideaki Anno, how was your experience working with him? Do you think that his vision of how to present a story to the viewer has marked you, such as giving vital importance to the small details? In short, what is Hideaki Anno like for you?

YS.- (laughs) I can't answer that... (laughs)

PR.- In addition to Hideaki Anno, another name with which he is recognized as a great success is that of the excellent director Mamoru Hosoda, what is it like to work with this magnificent director? How does Yoshiyuki Sadamoto face a new project with Hosoda and of all the films in which he has participated, which would you say is his favorite?

YS.- Ummm, how complicated... (laughs) Personally, the Mamoru Hosoda film that has been most important for me and that has marked me the most was the first one I worked on with him: The Girl Who Leapt Through Time, because it meant for me a change of director and even a change of animation studio. Besides, he went all the way to Aichi, where I was living at the time, to tell me that he needed my drawing. That marked me. Hosoda has always wanted to work with me even though his last film The Boy and the Beast was in a new studio and was very successful without my work, so I think that from now on maybe his films will continue without my designs.

The first film was the first time I did a job outside my original studio, that is to say GAINAX, and I was very interested to know what difference it would make, how other studios worked...

PR.- What was it like to make the adaptation of Evangelion to Manga? Did you have complete freedom or did you follow some kind of guidelines?

YS.- I was told to work the way I wanted (laughs).

PR.- Talking about the Evangelion Manga, since the release of Rebuild of Evangelion there has been a lot of speculation about the nature of the story thinking some fans of a story that repeats like a loop, that is, at the end of the Manga we see Shinji living as an ordinary guy, is it an interpretation of you or is it the official idea?

YS.- My idea is that absolutely all aspects of the series create Evangelion and regarding what you ask, in the first chapter of the Manga we see that Shinji says something that he repeats exactly in the last chapter but with another intention. My idea was to show that Shinji in a short period of time has grown up and is being an adult. That was my idea.

In the last chapter there is a scene where we see Shinji quite grown up, a scene on which I based my own personal experience. When I started as a university student, I had to move from Yamagachi (a prefecture in southern Honshu) to Tokyo, and I was separated from my parents by miles and miles. When I arrived in Tokyo for the first time, it was snowing heavily and I felt that I had to become an adult. That personal feeling, which marked me a lot, is what I tried to capture in that scene.

PR.- As we have learned, you are also going to participate in the sequel of FLCL, a very beloved series in Spain, could you tell us how the project came about and what we can expect from your work in this continuation?

YS.- The first FLCL series was a joint work between GAINAX and Production I.G., this sequel is a project exclusively by Production I.G. so I personally won't be working on this series but Production I.G. has asked to work with my designs and maybe they will ask for my help at some point but I don't know much more about this sequel.

PR.- What series and authors have been Sadamoto's biggest influences, especially in the beginning of his career? Do you read manga or watch anime nowadays? What are your favorite series?

YS.- Leiji Matsumoto (Captain Harlock) and Gô Nagai (Mazinger Z) were my first influences but later I have also been influenced by the works of Hayao Miyazaki (Studio Ghibli) and Katsuhiro Ôtomo (Akira). Maybe he is not very well known but I also like very much the author Hisashi Sakaguchi. These have been the ones I have tried to resemble the most but there are many great authors.

PR.- Going back to the Evangelion Manga, at the end we see that Mari Makinami appears, which is surprising because we thought she was a character only from Rebuild of Evangelion, are her appearance at that point of the story and her falling in love with Yui official?

YS.- Indeed, that was the intention.

PR.- Is that appearance part of the character's development in the movies?

YS.- Ah! What I just answered is not official, it was my point of view (laughs) The truth is that the love story of Mari and Yui came up while chatting with the scriptwriter of Evangelion as something that could be interesting and curious but we should not give it much more importance (laughs).

And this is the end of the interview with this great author, did you find it interesting?


Some thoughts:

- Sadamoto's... eight confirmation of the manga not having links to the Rebuilds?
- In mid-2017, Sadamoto already seemed mostly unaware of Shin's production, and refrained from making comments on Anno. There has been speculation on them falling out for a while, as I've noted in 2019 when he went on a racist uncle tirade on Twitter.

Additionally, this twitter account has a wealth of material I'm going through:



SPOILER: Show
https://twitter.com/htGOIW/status/1432927228816285696

https://twitter.com/htGOIW/status/1431863294063570945

https://twitter.com/htGOIW/status/1431760430729293832

https://twitter.com/htGOIW/status/1431678464533295105

https://twitter.com/htGOIW/status/1431245484237082624

https://twitter.com/htGOIW/status/1431283141906415620

https://twitter.com/htGOIW/status/1431281937742581764

https://twitter.com/htGOIW/status/1431270564908257301

https://twitter.com/htGOIW/status/1430529063559462922

https://twitter.com/htGOIW/status/1430062365878358016

https://twitter.com/htGOIW/status/1429820961562394626

https://twitter.com/htGOIW/status/1428665490709176320

https://twitter.com/htGOIW/status/1426481976257642501

https://twitter.com/htGOIW/status/1425780810674622466

https://twitter.com/htGOIW/status/1420410342002225153

https://twitter.com/htGOIW/status/1406374613165117443

https://twitter.com/htGOIW/status/1406172493065248771

https://twitter.com/htGOIW/status/1405904511504318464

https://twitter.com/htGOIW/status/1405867419453714436

https://twitter.com/htGOIW/status/1404049844725895179

https://twitter.com/htGOIW/status/1403928169359368195

https://twitter.com/htGOIW/status/1402118731170336771

https://twitter.com/htGOIW/status/1396695630844620800

https://twitter.com/htGOIW/status/1395009803706007553

https://twitter.com/htGOIW/status/1393461303964958726

https://twitter.com/htGOIW/status/1389514619010568195

https://twitter.com/htGOIW/status/1389479419975135232

https://twitter.com/htGOIW/status/1384862638216302592

https://twitter.com/htGOIW/status/1384300781134782471

https://twitter.com/htGOIW/status/1381751773862391815

https://twitter.com/htGOIW/status/1381837117144227840

https://twitter.com/htGOIW/status/1381561992486420490

https://twitter.com/htGOIW/status/1375048246469353472

https://twitter.com/htGOIW/status/1381751773862391815

https://twitter.com/htGOIW/status/1373181721068195846

https://twitter.com/htGOIW/status/1369928922163376130

https://twitter.com/htGOIW/status/1369690851618615298

https://twitter.com/htGOIW/status/1321976428431175680

https://twitter.com/htGOIW/status/1360494767566557186

https://twitter.com/htGOIW/status/1309806087005024256

https://twitter.com/htGOIW/status/1135493567122591744

https://twitter.com/htGOIW/status/1369660306008330244

https://twitter.com/htGOIW/status/1387730823386861570

https://twitter.com/htGOIW/status/1411360893623947265

Zeruel48
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Re: Untranslated Material Compendium

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Postby Zeruel48 » Mon Nov 22, 2021 1:10 pm

Hi. I made some temporary "translations" of the Movic Shinji and Asuka audio cassette, along with the games 1st and 2nd Impression because I couldn't find any alternatives. I'm curious as to if we could get these properly translated, especially since the games are like complete lost episodes.


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