tweet-body
— twitter-user (@username) date
You can send questions here: https://docs.google.com/forms/u/0/d/e/1 ... closedform
(though I'd make this into a separate thread. Might want to delete the old post.)
Khara Q&A on 1st anniversary
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- FelipeFritschF
- Armisael
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Khara Q&A on 1st anniversary
Khara is holding a Q&A section on the movie's anniversary, during a livestream:
You can send questions here: https://docs.google.com/forms/u/0/d/e/1 ... closedform
(though I'd make this into a separate thread. Might want to delete the old post.)
You can send questions here: https://docs.google.com/forms/u/0/d/e/1 ... closedform
(though I'd make this into a separate thread. Might want to delete the old post.)
Re: Khara Q&A on 1st anniversary
Thanks for the link.
In my case, it says it doesn't accept answers anymore.
I don't know if the time for questions has already ended. Or maybe I couldn't ask from my country.
In my case, it says it doesn't accept answers anymore.
I don't know if the time for questions has already ended. Or maybe I couldn't ask from my country.
- JoelcrNeto
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Re: Khara Q&A on 1st anniversary
The deadline for submitting questions was Saturday, March 5th.
“Like a miracle, life starts with the pain / Forever this will be” — “Heroes of Sand” by Angra.
“É porque nós gostamos de você. Obrigada por conversar comigo. Vem, me dá a sua mão para andarmos juntos.” — Rei to Shinji (Portuguese dub).
EvaGeeks official Discord server
“É porque nós gostamos de você. Obrigada por conversar comigo. Vem, me dá a sua mão para andarmos juntos.” — Rei to Shinji (Portuguese dub).
EvaGeeks official Discord server
- kuribo-04
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Re: Khara Q&A on 1st anniversary
So the Wunder is also voiced by Megumi Hayashibara.
tweet-body
— twitter-user (@username) date
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!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
Ryuko: "I'm gonna knock ya on your asses!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
- hui43210
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Re: Khara Q&A on 1st anniversary
When through all the tweets with the Twitter translation, seems like there is some interesting stuff. I don’t have the time now, but hopefully someone can collect them all and provide a proper translation.
I mean, predictability is the central attraction and the narrative hook that we've all come to expect from the Evangelion franchise. How come Anno can't realize this? Twice? - FreakyFilmFan4ever
- FelipeFritschF
- Armisael
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Re: Khara Q&A on 1st anniversary
Here are the answers: https://twitter.com/i/events/1501193134164025349
Preliminary transcript of all Q&A in Japanese:
A friend has translated the Q&As already:
The cast has also given some statements again:
EDIT: Khara screwed up (or was it intentional?) and didn't include a bunch of questions from the stream on their twitter account. Eva-fan has thankfully done a transcript of the rest. Here they are:
Here they are translated (not complete yet):
Preliminary transcript of all Q&A in Japanese:
SPOILER: Show
Q：庵野さんは、実際初号機に乗れと言われたら乗りますか？
A：乗りません。
Q：劇中でマリが口ずさむ歌の選曲はどなたが？(どれも、昭和な薫りがする歌だと思うのですが)
A：選曲は自分です。歌詞とそのシーンのテーマが多少重なる様に選んでいます。
Q：（一部省略）シンエヴァのアバンでリツコ達が着ていたプラグスーツの足元に文言のデザインがあり磁石でくっついているように見えたのですが、あれは封印柱作業用の特注なんでしょうか？
A：はい。そのつもりで描いています。
Q：天竜二俣駅が第3村のイメージになった経緯を教えてください。どなたが天浜線をご存知だったのでしようか？
A：スタッフの平松禎史氏のお薦めです。
Q：シンジが見るコンテナは赤ウルトラマン、緑仮面ライダーで3つ目のコンテナが空なのは3作目が未定だから？
A:その様な解釈は初めて知りました。赤と緑の色分けは自分の指示ではないのでよくわかりませんが、多分違うと思います。
Q：エヴァ作品は名前に深い意味があるキャラが多いですが、鈴原家の「ツバメ」に何か由来はありますか？
A：特別急行列車です。
Q：トウジの娘であるツバメのアフレコはどのようにして行われたのでしょうか。
A:スタッフの娘さんの音声を気長に待ちながら収録しています。
Q：Aパートの脚本が丸々書き換えられたとドキュメンタリーで拝見しましたが、その前の脚本はどの様なもの？
A：テーマやキャラクターが上手く伝わりづらいものでした。なので、スタッフからの意見をもとに制作スケジュールの範囲内に合わせた内容変更をしています。プリヴィズとしてCG等による映像を事前に作成していたからこそ可能な事でした。
Q：田植えのシーンで一番意識したことはなんですか？
A：記号化されたアニメーションの表現で、田植えをしているように観客が感じられる描写にすることです。
Q：まだ誰も見つけて居ないような小ネタなどはシンエヴァ内に隠されていますでしょうか。あるかないか？
A：第３村の共同風呂の名前の由来はまだ気づかれていないみたいです。
Q：アスカがシンジにレーションを食べさせるシーンは当初、アスカはパーカー姿だったと伺いました。プラグスーツに変えたのは何故？
A：パーカー姿だと作画があまりに大変過ぎるからです。
Q：アスカはゲームをいつもプレイしていますが、なぜワンダースワンなのでしょうか？
A：鶴巻監督らのこだわりと聞いています。
Q：Aパートは絵コンテ無しで苦労して作ったようですがこの方法を試し良い作品になったと思いますか
A：良かったと思います。この制作方法をシン・エヴァで試していなかったらAパートは完成作品よりもかなり退屈でつまらない映像になっていたと思います。
Q：マリは奥さんの安野モヨコさんがモデルというのは本当？
A：マリのモデルが妻だと解釈した文章や動画等を散見しますが、それは一部の人の解釈・憶測にすぎません。 マリの人物像（アスカ他もですが）は鶴巻監督の手によるところが大きく、制作時の事実とは違います。
キャラクターやストーリーの解釈は観客の自由な楽しみですし、本作にもファンのフリーな知的な遊び場としての余地を持たせています。 しかし偏った憶測でスタッフや家族を貶められるのはあまりに哀しいことなので、この点についてはハッキリと否定しておきます。
Q：作品が完成した後に、後悔したことは？
A：一つだけ困惑した事があります。 本作の画面を構成しているのは、作品に必要な面白い要素、観客が見たく望むであろう要素、スタッフやキャストが持っている描写的な要素と好きな要素、自分が持っている描写的な要素と好きな要素、です。
その中の自分が好きな要素として、妻の作品を画面内に使わせて貰いました。作品世界に現実とリンクした情報としてジブリ作品の画像などと共に引用する事で、世界観に広がりを持たせたいという意図でしたが、逆にその事で違和感を感じさせてしまった一部の観客の方もいた事を知り、反省しています。
Q：制作時に一番こだわったこと
A：如何にもっと作品を面白くしていくか、です。
Q：庵野総監督は、企画、脚本、映像、監督と色々やってますが、どれが一番好き？
A：どれが好きというのはありません。作品にとってベストな、ベターな方法として自分が可能な範囲で作業に関わっているだけです。
Q：映画のストーリーを作るにあたって1番大切なことはなんですか？
A：観客の理解をなるべく得ようとすれば、基本に忠実。
Q：こだわりを持って制作したシーンはどこですか？
A：シーンと言わず、全カットになります。
Q：ゲンドウはお菓子が好きですか？！
A：苦手だと思います。
Q：マリはシンジ・アスカ以外と会話するシーンがありませんが、意図的ですか？
A：プロットや脚本にはいくつかありましたが、物語の流れに馴染まず最終的に本編ではカットしました。
Q：庵野総監督の作品には轟天対大魔艦など過去の映画に出てくる曲が使われていますが何故でしょうか？
A：作品世界と該当シーンにそれらの音楽が使用可能な曲の中で最も合っているからです。
Q：大量のEvangelion Mark.07とヴィレが戦うシーンは、金儲けのためにすり寄ってくる会社や人間の対決を暗喩しているなど、憶測が飛び交っています。実際そういったことまで考えている？
A：作品として必要で純粋に映像として面白いからです。その様な暗喩は考えてもいませんでしたし、世間とはそういうものだと経営者の片割れとして認識しているので、無意識下にも無いと思います。
Q：ヤマト作戦で沢山の敵を突破する際、アスカちゃんとマリさんが2人で手をかざす瞬間。なぜ決まり文句の｢A.T.フィールド全開！｣ではないのでしょうか？
A：すみません。忘れてました。
Q：庵野総監督はモノ作りに関して大事な事は何でしょうか？
A：作品の完成まで現場のスケジュールやリソースに配慮しながら、常時もっと面白くならないかと意識して作り続ける事です。
Q：高校で友達と短編の実写映画を制作しています。しかし、テンポ感があり、かつ、かっこいい映像にする事がなかなかできません。どこか違和感が残ってしまいます。自身の映画を編集する際気持ちのいい映像に仕上げる際に心掛けていることは？
A：自分の場合、感覚で編集しています。アングルでのメリハリ（視線の移動等）の心地良さや情報に必要十分な時間による気持ち良さ、カット尺による心地良さ、等に違和感を感じないように編集作業をしていきます。 自分が感じた違和感の原因を理解すれば、それを除去する方法も見つかるのではないかと思います。頑張って下さい。
Q：以前、エヴァはガンダムのように様々な形で後世に継承していきたいと仰っていましたが、その考えは今も変わっていないのでしょうか？
A：変わっていません。作品はすべからくアニメ業界のお役に立てればと考えています。
Q：「綾波が消えた帰り道、加持さんに教えてもらった土の匂いがした」と言うセリフは時系列がおかしいと思いますが、実はカットしたシーンがあったのでは？
A：プロットメモの段階で判断し、その間の描写はカットしています。
Q：シンエヴァの興行収入を超えるロボットアニメが現れるとしたら、どんなアニメだと思われますか？
A：少年ジャンプの人気連載ロボット漫画をアニメ化した様なアニメ、でしょうか？
Q：シンエヴァでなぜ8+2号機を登場させなかったんですか？
A：デザインが上手くまとまらなかったのとヴィレのエヴァを１機にすると物語が面白くまとまらなかったからです。
Q：ケンスケの車が赤いのはアスカを意識してですか？
A：車体の赤色は故金田伊功氏の愛車を意識しています。
Q：お好きなエヴァンゲリオン及びキャラクターは誰でしょうか？
A：エヴァは初号機です。キャラはミサトとアスカ、りっちゃんです。
Q：今、シンジは幸せですか？
A：キャラクターの受け取り方は、皆さんの感性と御想像等にお任せしています。
Q：アディショナルインパクト時のエヴァイマジナリーがリアルな顔で衝撃を受けた、関係者の誰かがモデル？
A：特定のモデルはいません。鶴巻監督のイメージした造形になっています。目の動きは自分の眼の芝居をキャプチャーしたデータが使われています。
Q：なぜミサトさんの車はルノーなんですか？
A：キャラクターデザインの貞本義行氏の趣味です。
Q：『ヱヴァンゲリヲン新劇場版：Q』予告に出たカットが本編に出てこなかったのは何故？
A：当時のプロットや設定で予告映像を作っていましたが、時間が経ち、改めて制作を始めた際に、より魅力的にする過程で、消えたり変わったりした要素もあります。
Q：ぶっちゃけシンエヴァの興行収入が100億円超えると思っていましたか？
A：ニッチなアニメ映画で越えることが出来たらアニメ業界のためにも良いなと願っていました。
Q：今回のエヴァンゲリオンを作っていくにあたって 過去のエヴァ作品とあえて同じにした もしくはあえて変えた様なものはありますか？
A：現場でのアドリブ、書き送り方式は面白い作品を作る方法として『新世紀エヴァ』を踏襲したところです。あえて変えたのは自分達の経験等を反映させた物語構造をやめて、フィクションとしての強度を持った物語構造にしたところです。
Q：公開延期中に映画の内容変更とかありましたか？
A：コロナ禍により制作現場の生産効率がかなり落ちた状況だったので、その様な余裕はありませんでした。
Q：実のところ公開延期って何回されたんですか？
A：２回です。２回目は作品完成後で公開直前でした。
Q：今日までに何回シン・エヴァンゲリオンを鑑賞しましたか。
A：ダビング（音響作業）後は０回です。
Q：副題で使われるSF小説題名はほかにも候補はあったのでしょうか？
A：ありませんでした。
Q：この作品に点数をつけるなら何点？理由も教えて！
A：点数にすればゼロから無限大です。映像作品の評価を数値に置き換えられるのは難しいからです。
Q：劇中で使用された「もろびとこぞりて」について、英語ではなく日本語で歌われたものにされたのは意図的？私はそこがすごく好きです
A：はい。意図したものです。
Q：新劇場版と前の劇場版、それぞれ描き終えて感じることの違いは？
A：違いはありません。両作品共に終わった後、大量の悪意に晒された現象は同じでした。あえて違いを言えば、新しい方は作品に関係のない家族が巻き込まれた事です。
Q：アイデアが一番浮かんでくるのはいつですか？
A：寝る前と寝起きです。
Q：今後エヴァンゲリオンを他の誰かに作って欲しいと思いますか？
A：思います。『日本アニメ（ーター）見本市』という短編企画で既に作って貰っています。
こちらの質問に出てきた“他の誰か”の手によるエヴァンゲリオンの映像作品は、現在「EVA-EXTRA」アプリ内の『日本アニメ(ーター)見本市』コーナーにてご覧いただけます。 https://t.co/bmRd17EYHA
Q：日本語字幕版（上映時）で、仮称アヤナミレイが「別レイ」になっていたのは何故ですか？
A：おそらく、制作現場ではそう呼ばれていたからなのかと思います。
Q：シン・エヴァの公開前、当初ポスターに書いてあった『さらば』が、公開後に公開された夕景版では『さようなら』に変わっていましたが、これはあの『さようなら』という意味？
A：公開後なので、劇中のシンジの台詞と同じにしています。
Q：「そのひとが言うと、それが正解になってしまう非関係者なひと」のことをどう思っていますか？
A：迷惑、と思います。
Q：マリとシンジが何処に向かって行ったんでしょうか？
A：先日残念ながら閉店した「喫茶らいぶ」です。
Q：僕と父の地元でもある宇部市で観ました！ラストシーン、宇部新川から宇部興産が映ったと思います。父が、昔おそらくあの位置に、展望台があって、そこからの景色なのではないか？と。意識して撮影されたのでしょうか？
A：お父さんが話されている展望台とはおそらく大和タワーの事だと思います。駅前大和と中央大和の屋上、六角堂等からの市内の風景は子供の頃から好きでした。 改めてこの街の風景が絵になると感じたのはテレビ番組「ようこそ先輩」のロケ時です。その時に映像としての街の魅力に気づき拙作「式日」の舞台にしています。
Q：ラストシーンの庵野監督が自分の好きなものを入れたと舞台挨拶で仰っておりましたが、何を入れたんでしょうか。何度も見直して宇部新川駅から出発していた電車かな？
A：映画「式日」の舞台にもなっていた、現存していない建物です。
Q：庵野さんのエヴァンゲリオンは本当に終わりなんですか？
A：３度も終わらしたので、今はもういいかなと。
Q：公式薄い本はエクスキューズか、サービスか、行間埋めなのか？ 本当のところはどうですか
A：ファンサービスです。
A：乗りません。
Q：劇中でマリが口ずさむ歌の選曲はどなたが？(どれも、昭和な薫りがする歌だと思うのですが)
A：選曲は自分です。歌詞とそのシーンのテーマが多少重なる様に選んでいます。
Q：（一部省略）シンエヴァのアバンでリツコ達が着ていたプラグスーツの足元に文言のデザインがあり磁石でくっついているように見えたのですが、あれは封印柱作業用の特注なんでしょうか？
A：はい。そのつもりで描いています。
Q：天竜二俣駅が第3村のイメージになった経緯を教えてください。どなたが天浜線をご存知だったのでしようか？
A：スタッフの平松禎史氏のお薦めです。
Q：シンジが見るコンテナは赤ウルトラマン、緑仮面ライダーで3つ目のコンテナが空なのは3作目が未定だから？
A:その様な解釈は初めて知りました。赤と緑の色分けは自分の指示ではないのでよくわかりませんが、多分違うと思います。
Q：エヴァ作品は名前に深い意味があるキャラが多いですが、鈴原家の「ツバメ」に何か由来はありますか？
A：特別急行列車です。
Q：トウジの娘であるツバメのアフレコはどのようにして行われたのでしょうか。
A:スタッフの娘さんの音声を気長に待ちながら収録しています。
Q：Aパートの脚本が丸々書き換えられたとドキュメンタリーで拝見しましたが、その前の脚本はどの様なもの？
A：テーマやキャラクターが上手く伝わりづらいものでした。なので、スタッフからの意見をもとに制作スケジュールの範囲内に合わせた内容変更をしています。プリヴィズとしてCG等による映像を事前に作成していたからこそ可能な事でした。
Q：田植えのシーンで一番意識したことはなんですか？
A：記号化されたアニメーションの表現で、田植えをしているように観客が感じられる描写にすることです。
Q：まだ誰も見つけて居ないような小ネタなどはシンエヴァ内に隠されていますでしょうか。あるかないか？
A：第３村の共同風呂の名前の由来はまだ気づかれていないみたいです。
Q：アスカがシンジにレーションを食べさせるシーンは当初、アスカはパーカー姿だったと伺いました。プラグスーツに変えたのは何故？
A：パーカー姿だと作画があまりに大変過ぎるからです。
Q：アスカはゲームをいつもプレイしていますが、なぜワンダースワンなのでしょうか？
A：鶴巻監督らのこだわりと聞いています。
Q：Aパートは絵コンテ無しで苦労して作ったようですがこの方法を試し良い作品になったと思いますか
A：良かったと思います。この制作方法をシン・エヴァで試していなかったらAパートは完成作品よりもかなり退屈でつまらない映像になっていたと思います。
Q：マリは奥さんの安野モヨコさんがモデルというのは本当？
A：マリのモデルが妻だと解釈した文章や動画等を散見しますが、それは一部の人の解釈・憶測にすぎません。 マリの人物像（アスカ他もですが）は鶴巻監督の手によるところが大きく、制作時の事実とは違います。
キャラクターやストーリーの解釈は観客の自由な楽しみですし、本作にもファンのフリーな知的な遊び場としての余地を持たせています。 しかし偏った憶測でスタッフや家族を貶められるのはあまりに哀しいことなので、この点についてはハッキリと否定しておきます。
Q：作品が完成した後に、後悔したことは？
A：一つだけ困惑した事があります。 本作の画面を構成しているのは、作品に必要な面白い要素、観客が見たく望むであろう要素、スタッフやキャストが持っている描写的な要素と好きな要素、自分が持っている描写的な要素と好きな要素、です。
その中の自分が好きな要素として、妻の作品を画面内に使わせて貰いました。作品世界に現実とリンクした情報としてジブリ作品の画像などと共に引用する事で、世界観に広がりを持たせたいという意図でしたが、逆にその事で違和感を感じさせてしまった一部の観客の方もいた事を知り、反省しています。
Q：制作時に一番こだわったこと
A：如何にもっと作品を面白くしていくか、です。
Q：庵野総監督は、企画、脚本、映像、監督と色々やってますが、どれが一番好き？
A：どれが好きというのはありません。作品にとってベストな、ベターな方法として自分が可能な範囲で作業に関わっているだけです。
Q：映画のストーリーを作るにあたって1番大切なことはなんですか？
A：観客の理解をなるべく得ようとすれば、基本に忠実。
Q：こだわりを持って制作したシーンはどこですか？
A：シーンと言わず、全カットになります。
Q：ゲンドウはお菓子が好きですか？！
A：苦手だと思います。
Q：マリはシンジ・アスカ以外と会話するシーンがありませんが、意図的ですか？
A：プロットや脚本にはいくつかありましたが、物語の流れに馴染まず最終的に本編ではカットしました。
Q：庵野総監督の作品には轟天対大魔艦など過去の映画に出てくる曲が使われていますが何故でしょうか？
A：作品世界と該当シーンにそれらの音楽が使用可能な曲の中で最も合っているからです。
Q：大量のEvangelion Mark.07とヴィレが戦うシーンは、金儲けのためにすり寄ってくる会社や人間の対決を暗喩しているなど、憶測が飛び交っています。実際そういったことまで考えている？
A：作品として必要で純粋に映像として面白いからです。その様な暗喩は考えてもいませんでしたし、世間とはそういうものだと経営者の片割れとして認識しているので、無意識下にも無いと思います。
Q：ヤマト作戦で沢山の敵を突破する際、アスカちゃんとマリさんが2人で手をかざす瞬間。なぜ決まり文句の｢A.T.フィールド全開！｣ではないのでしょうか？
A：すみません。忘れてました。
Q：庵野総監督はモノ作りに関して大事な事は何でしょうか？
A：作品の完成まで現場のスケジュールやリソースに配慮しながら、常時もっと面白くならないかと意識して作り続ける事です。
Q：高校で友達と短編の実写映画を制作しています。しかし、テンポ感があり、かつ、かっこいい映像にする事がなかなかできません。どこか違和感が残ってしまいます。自身の映画を編集する際気持ちのいい映像に仕上げる際に心掛けていることは？
A：自分の場合、感覚で編集しています。アングルでのメリハリ（視線の移動等）の心地良さや情報に必要十分な時間による気持ち良さ、カット尺による心地良さ、等に違和感を感じないように編集作業をしていきます。 自分が感じた違和感の原因を理解すれば、それを除去する方法も見つかるのではないかと思います。頑張って下さい。
Q：以前、エヴァはガンダムのように様々な形で後世に継承していきたいと仰っていましたが、その考えは今も変わっていないのでしょうか？
A：変わっていません。作品はすべからくアニメ業界のお役に立てればと考えています。
Q：「綾波が消えた帰り道、加持さんに教えてもらった土の匂いがした」と言うセリフは時系列がおかしいと思いますが、実はカットしたシーンがあったのでは？
A：プロットメモの段階で判断し、その間の描写はカットしています。
Q：シンエヴァの興行収入を超えるロボットアニメが現れるとしたら、どんなアニメだと思われますか？
A：少年ジャンプの人気連載ロボット漫画をアニメ化した様なアニメ、でしょうか？
Q：シンエヴァでなぜ8+2号機を登場させなかったんですか？
A：デザインが上手くまとまらなかったのとヴィレのエヴァを１機にすると物語が面白くまとまらなかったからです。
Q：ケンスケの車が赤いのはアスカを意識してですか？
A：車体の赤色は故金田伊功氏の愛車を意識しています。
Q：お好きなエヴァンゲリオン及びキャラクターは誰でしょうか？
A：エヴァは初号機です。キャラはミサトとアスカ、りっちゃんです。
Q：今、シンジは幸せですか？
A：キャラクターの受け取り方は、皆さんの感性と御想像等にお任せしています。
Q：アディショナルインパクト時のエヴァイマジナリーがリアルな顔で衝撃を受けた、関係者の誰かがモデル？
A：特定のモデルはいません。鶴巻監督のイメージした造形になっています。目の動きは自分の眼の芝居をキャプチャーしたデータが使われています。
Q：なぜミサトさんの車はルノーなんですか？
A：キャラクターデザインの貞本義行氏の趣味です。
Q：『ヱヴァンゲリヲン新劇場版：Q』予告に出たカットが本編に出てこなかったのは何故？
A：当時のプロットや設定で予告映像を作っていましたが、時間が経ち、改めて制作を始めた際に、より魅力的にする過程で、消えたり変わったりした要素もあります。
Q：ぶっちゃけシンエヴァの興行収入が100億円超えると思っていましたか？
A：ニッチなアニメ映画で越えることが出来たらアニメ業界のためにも良いなと願っていました。
Q：今回のエヴァンゲリオンを作っていくにあたって 過去のエヴァ作品とあえて同じにした もしくはあえて変えた様なものはありますか？
A：現場でのアドリブ、書き送り方式は面白い作品を作る方法として『新世紀エヴァ』を踏襲したところです。あえて変えたのは自分達の経験等を反映させた物語構造をやめて、フィクションとしての強度を持った物語構造にしたところです。
Q：公開延期中に映画の内容変更とかありましたか？
A：コロナ禍により制作現場の生産効率がかなり落ちた状況だったので、その様な余裕はありませんでした。
Q：実のところ公開延期って何回されたんですか？
A：２回です。２回目は作品完成後で公開直前でした。
Q：今日までに何回シン・エヴァンゲリオンを鑑賞しましたか。
A：ダビング（音響作業）後は０回です。
Q：副題で使われるSF小説題名はほかにも候補はあったのでしょうか？
A：ありませんでした。
Q：この作品に点数をつけるなら何点？理由も教えて！
A：点数にすればゼロから無限大です。映像作品の評価を数値に置き換えられるのは難しいからです。
Q：劇中で使用された「もろびとこぞりて」について、英語ではなく日本語で歌われたものにされたのは意図的？私はそこがすごく好きです
A：はい。意図したものです。
Q：新劇場版と前の劇場版、それぞれ描き終えて感じることの違いは？
A：違いはありません。両作品共に終わった後、大量の悪意に晒された現象は同じでした。あえて違いを言えば、新しい方は作品に関係のない家族が巻き込まれた事です。
Q：アイデアが一番浮かんでくるのはいつですか？
A：寝る前と寝起きです。
Q：今後エヴァンゲリオンを他の誰かに作って欲しいと思いますか？
A：思います。『日本アニメ（ーター）見本市』という短編企画で既に作って貰っています。
こちらの質問に出てきた“他の誰か”の手によるエヴァンゲリオンの映像作品は、現在「EVA-EXTRA」アプリ内の『日本アニメ(ーター)見本市』コーナーにてご覧いただけます。 https://t.co/bmRd17EYHA
Q：日本語字幕版（上映時）で、仮称アヤナミレイが「別レイ」になっていたのは何故ですか？
A：おそらく、制作現場ではそう呼ばれていたからなのかと思います。
Q：シン・エヴァの公開前、当初ポスターに書いてあった『さらば』が、公開後に公開された夕景版では『さようなら』に変わっていましたが、これはあの『さようなら』という意味？
A：公開後なので、劇中のシンジの台詞と同じにしています。
Q：「そのひとが言うと、それが正解になってしまう非関係者なひと」のことをどう思っていますか？
A：迷惑、と思います。
Q：マリとシンジが何処に向かって行ったんでしょうか？
A：先日残念ながら閉店した「喫茶らいぶ」です。
Q：僕と父の地元でもある宇部市で観ました！ラストシーン、宇部新川から宇部興産が映ったと思います。父が、昔おそらくあの位置に、展望台があって、そこからの景色なのではないか？と。意識して撮影されたのでしょうか？
A：お父さんが話されている展望台とはおそらく大和タワーの事だと思います。駅前大和と中央大和の屋上、六角堂等からの市内の風景は子供の頃から好きでした。 改めてこの街の風景が絵になると感じたのはテレビ番組「ようこそ先輩」のロケ時です。その時に映像としての街の魅力に気づき拙作「式日」の舞台にしています。
Q：ラストシーンの庵野監督が自分の好きなものを入れたと舞台挨拶で仰っておりましたが、何を入れたんでしょうか。何度も見直して宇部新川駅から出発していた電車かな？
A：映画「式日」の舞台にもなっていた、現存していない建物です。
Q：庵野さんのエヴァンゲリオンは本当に終わりなんですか？
A：３度も終わらしたので、今はもういいかなと。
Q：公式薄い本はエクスキューズか、サービスか、行間埋めなのか？ 本当のところはどうですか
A：ファンサービスです。
A friend has translated the Q&As already:
SPOILER: Show
Q: Who picked the songs that Mari sang in the movie? (All those songs are reminiscent of the Shōwa period)
A: I picked the songs myself. The choices are based on whether the lyrics and the scenes can somewhat fit together
Q: Is the red color of Kensuke’s car a deliberate tribute to Asuka?
A: The red color of the car is a deliberate tribute to Kanada Yoshinori’s favorite car
Q: Is it true that Mari is based on your wife Anno Mayoco?
A: Although I sometimes see articles and videos that claim the character of Mari is inspired by my wife, that’s just some people’s theory & speculation. The character profile of Mari (of Asuka and others as well) are largely created by the hands of Director Tsurumaki. [speculation about Moyoco] is different from what actually happened at the time of the production. The audience should free to interpret the characters and the story as they like. This work should also accommodate the fans as a free intellectual playground. However, I am very sad that biased speculations have caused the staff and my family to go down. Therefore, I explicitly deny this issue.
Q: There are no scenes of Mari talking to anyone other than Shinji/Asuka. Is that intentional?
A: Although there were some of those scenes in the script, they didn’t fit in the flow of the story and were therefore cut
Q: Why Unit 2+8 didn’t appear in the movie?
A: The design didn’t go very well. Also the story won’t be interesting if Wille only had one EVA.
Q:“On my way back after Ayanami disappeared, I noticed the smell of earth. I learned that from Kaji-san.” This line sounds out of place. Has anything been cut?
A: Based on memos written in the script, something was cut there.
Q: Where did Mari and Shinji go?
A: The coffee shop “Kissa live,” [[https://www.tripadvisor.com/Restaurant_Review-g298141-d4903096-Reviews-Kissa_Live-Ube_Yamaguchi_Prefecture_Chugoku.html actual karaoke restaurant] in Ube] which was unfortunately closed the day before
Q: Who are your favorite EVA units and character?
A: Favorite EVA is Unit-01. Favorite characters are Misato and Asuka, Ric-chan (Ritsuko), Fuyutsuki.
Q: When you picked the subtitle, were there any other candidates other than the name of this science fiction?
A: No.
Q: Are there any trivial stories hidden in the movie that haven’t been discovered by the audience?
A: It seems the name of the public bath in the 3rd village hasn’t been noticed. [machine translation: The names of the two public bathhouses are the names of public bathhouses in Ube City that I used to go to as a child.]
Q: I heard that in the scene where Asuka forced Shinji to eat the ration, the initial design was to have her wear the hoodie. Why did her outfit change to the plugsuit?
A: Because it was too difficult to draw her in the hoodie in that scene.
Q: Asuka was always playing video games. Why was the game console WonderSwan?
A: I heard Director Tsurumaki has a thing for it.
Q: What are your regrets after the completion of the movie?
A: There is only one thing I felt embarrassed about. Among the frames that made up the movie, it is necessary to include element that are interesting, elements that the audience wanted to see, elements the staff and the cast have to portray and elements they like, and elements I myself have to portray and elements I like. Among them, the elements I like I used elements from my wife’s works. I included some pictures from Ghibli’s works, which linked the world in my creation and the real world, with the intention to expand the world view of my work. However, I heard that some audience found it out of place. I am reflecting on it.
Q: What is most important to you when you write the story for the movie?
A: To be basically faithful, if I would like to get the understanding of the audience to the greatest extent..
Q: There are speculations that the fight scene of the huge swarms of Mark.07 vs Willie symbolizes the close conflict over wealth between the corporations and the people. Is that what you actually thought?
A: That scene was made for the pure fun of it. I didn’t have such metaphor in mind. Since I am aware that in realty it’s part of the job of the managers, that scene was not an unconscious production, either.
Q: During Operation Yamato, when Asuka and Mari joined hands to crash waves of enemies, why didn’t they say the usual line of “A.T.Field, full power!”?
A: I am sorry. I forgot about it.
Q: The realistic portrayal EVA Imaginary’s face during the Additional Impact was shocking. Who was it based on?
A: It wasn’t based on anyone in particular. Director Tsurumaki created it according to his imagination. Eye movements were based on data captured from his/my(?) own eyes. [Wether 自分 here refers to Anno or Tsurumaki is unclear to me, but I guess it doesn’t really matter]
Q: You once said that you hope future generations can continue the EVA franchise like the Gundam franchise. Have you changed your mind?
A: I haven’t changed my mind. It will be great if my work should can be of full help to the anime industry.
Q: Before the release of Shin EVA, what’s written on the poster was “Saraba” (farewell), but the after the release, it was changed to “Sayonara” (farewell) on the poster with the evening scene background was changed . What’s the meaning of “Sayonara” here?
A: Since it is after the release, the meaning is the same as Shinji’s line in the movie.
Q: What do you think of this person, who is not a staff but claims “this should be the correct interpretation”?
A: Annoying, I think. [alt. I find him a nuisance. The wording used here is quite rude. This is likely refering to Toshio Okada]
Q: The Japanese version instead of the English version of the song “Joy to the World! the Lord is come” was used in the movie. Is it intentional? I really like it.
A: Yes. It was intentional.
Q: Why frames from the trailer at the end of 3.0 was not used in the final version?
A: The trailer was made based on the plot at that time. But as time passed, when the remaking started, some parts were deleted or modified to make the movie more appealing.
Q: when the new movie ended, does it feel different from when the old movie ended?
A: There is no difference. After the completion of both movies, the phenomenon of me being subjected to tremendous maliciousness has been unchanged. If any, what’s new was my family members, who are unrelated to the movie, were involved this time.
Q: Has Mr. Anno’s Evangelion really ended?
A: Since I have already ended it 3 times, I am good for now, I hope.
Q: During the stage meet and greet, Mr. Anno said be put something he likes in the final scene. What did you put in? After watching it many times, I wonder if it is the train leaving the Ubeshinkawa Station?
A: It is a building that no longer exists now. It also appeared in the setting of my movie “Shiki-Jitsu”.
Q: Is the official “thin booklet” (this is EVA-Extra-EX) an excuse, a service, or something hidden between the lines? What is the actual point of it?
A: It’s a fan service.
Q: In the Japanese caption, why was Ayanami Rei (tentative name) changed to “the other Rei”?
A: Perhaps that’s how she was called in the studio during the production.
Q: Do you think you’d like others to work on Evangelion?
A: I think so. A short project for Japan Animator Expo is already under way.
Q: In your opinion, what kind of robot anime will exceed EVA in terms of box office revenue?
A: Probably the animation of some popular robot manga series in Shōnen Jump.
Q: Mr. Anno, if you are really asked to pilot Unit-1, will you do it?
A: I will not.
Q: AAA Wunder made a high-pitched roaring sound during takeoff. How was that sound recorded?
A: We recorded and edited Ms. Hayashibara Megumi’s voice.
Q: Many EVA characters’ names have deep meanings. What’s the origin of the name Tsubame of the Suzuhara family?
A: It’s the name of a limited express train.
Q: What’s important to Chief Director Anno when you make things?
A: To keep on working with constant attention to make the work more interesting, and meanwhile be mindful of the project’s schedule and resources till the work is done.
Q: When do you come up with most ideas?
A: When I go to bed and when I wake up.
Q: How many points would you give to this work? Please also tell us the reasons.
A: If I have to assign a numerical value, the score would be from 0 to ♾. Because it is hard to use numbers to evaluate a movie.
Q: How many times have actually postponed the release?
A: Twice. The second time was after the completion and right before the premiere.
Q: Why is Misato’s car a Renault?
A: That’s the character designer Sadamoto Yoshiyuki’s preference.
Q: Is Shinji happy now?
A: How to interpret a character is up to how you sense it and your imagination.
Q: Director Anno’s work has used music from past movies, such as Goten vs Daimakan. Why?
A: Because it is the most suitable music for that scene in the movie’s world.
Q: Does Gendō like sweats?
A: I think it is not his thing.
Q: Chief Director Anno has taken on various roles such as planning, scripting, filming, and directing. Which is your favorite?
A: There is no such thing as my favorite role. I am taking on as much as my ability allows, if that’s the better way, or the best way to make the movie.
Q: Which scene did you pay particular attention to when working on it?
A: I paid particular attention to all cuts, not just one scene.
Q: Please tell us how Tenryū Futamata Staion was chosen as the basis of the Third Village? Who was the one that knew its existence?
A: A staff member Hiramatsu Tadashi recommended the place.
Q: How were the sounds of Tōji’s daughter Tsubame dubbed?
A: We waited patiently to record the sounds of our staff members’ daughters.
Q: I saw the city of Ube, the hometown of me and my father! I think Ube Industries appeared in the last scene of the view from Ube Shinkawa. My father recalls the view seems to be from an an observatory that used to be there. Is that what you had in mind when you filmed that scene?
A: I think the observatory you father mentioned is probably the Yamato Tower. Since I was a child, I have enjoyed viewing the cityscape of Rokkakudo and others from the top of Ekimae Yamato and Central Yamato. It was when then TV crew said “Welcome, Senpai” on location that I felt like filming the cityscape. At that time, I realized the charm of the city and made it the setting of my movie “Shiki Jitsu”.
Q: From the documentary we learned that the script of Part A was rewritten from scratch. What was the previous script like?
A: The old script didn’t adequately present the theme and the characters.Based on staff’s opinions, we changed the content as much as the production schedule allowed us. Previously completed films of Previz CG made it possible.
Q: What’s the most important thing to keep in mind when you made the rice planting scenes?
A: These scenes utilized symbols in animation to make the audience feel like they were planting rice.
Q: Although it seems you had a hard time making Part A since there was no storyboard, do you think experimenting with this method yielded some good work?
A: I think it was good. If I didn’t try this method when shooting Shin EVA, I think Part A would have been much more boring than the finished work.
Q: In Shin EVA’s Avant part, there are texts on the magnet at the bottom of the plugsuits that Ritsuko & the crew wore when they arrived. Are these special marks of the seal pillar operation?
A: Yes. We drew these with that in mind.
Q: The three containers Shinji saw represent the red Ultraman, the green Kaimen Rider, and the third one that’s empty. Is it because the third work is not yet decided?
A: I have never heard of such an interpretation. I don’t know why red and green were chosen as I didn’t make such instructions. This interpretation is most likely wrong.
[machine translated this one] Q: I am making a short live action film with my friends in high school. However, it is difficult to make a film that is both fast-paced and cool. It leaves me feeling somewhat uncomfortable. What do you keep in mind when editing your own films to make them look good?
A: In my case, I edit by feel. I edit so that I do not feel any sense of discomfort in terms of the sense of sharpness in angles (such as eye movement), the sense of comfort in the amount of time necessary for information, the sense of comfort in the length of cuts, and so on. If you understand the cause of the discomfort you feel, you can find a way to remove it. Good luck.
Q: Did you expect Shin EVA’s box office revenue to exceed 10 billion yen? (*That’s roughly 100 million dollars)
A: I hope it would a good thing for the anime industry if a niche movie managed to gross more than that amount
Q: When making Evangelion this time, is there anything you dared to change from previous EVA works?
A: We continued Neon Genesis Evangelion’s way of ad-lib and writing in production. What I dared to change was to give up constructing a story to reflect our own experiences, but instead make a story with fictional strength.
Q: Was there any change of contents when the movie release was postponed?
A: Due to the COVID crisis the efficiency of production dropped significantly. We couldn’t afford to make changes.
Q: How many times have you watched Shin EVA so far?
A: 0 times after dubbing (audiographic work).
A: I picked the songs myself. The choices are based on whether the lyrics and the scenes can somewhat fit together
Q: Is the red color of Kensuke’s car a deliberate tribute to Asuka?
A: The red color of the car is a deliberate tribute to Kanada Yoshinori’s favorite car
Q: Is it true that Mari is based on your wife Anno Mayoco?
A: Although I sometimes see articles and videos that claim the character of Mari is inspired by my wife, that’s just some people’s theory & speculation. The character profile of Mari (of Asuka and others as well) are largely created by the hands of Director Tsurumaki. [speculation about Moyoco] is different from what actually happened at the time of the production. The audience should free to interpret the characters and the story as they like. This work should also accommodate the fans as a free intellectual playground. However, I am very sad that biased speculations have caused the staff and my family to go down. Therefore, I explicitly deny this issue.
Q: There are no scenes of Mari talking to anyone other than Shinji/Asuka. Is that intentional?
A: Although there were some of those scenes in the script, they didn’t fit in the flow of the story and were therefore cut
Q: Why Unit 2+8 didn’t appear in the movie?
A: The design didn’t go very well. Also the story won’t be interesting if Wille only had one EVA.
Q:“On my way back after Ayanami disappeared, I noticed the smell of earth. I learned that from Kaji-san.” This line sounds out of place. Has anything been cut?
A: Based on memos written in the script, something was cut there.
Q: Where did Mari and Shinji go?
A: The coffee shop “Kissa live,” [[https://www.tripadvisor.com/Restaurant_Review-g298141-d4903096-Reviews-Kissa_Live-Ube_Yamaguchi_Prefecture_Chugoku.html actual karaoke restaurant] in Ube] which was unfortunately closed the day before
Q: Who are your favorite EVA units and character?
A: Favorite EVA is Unit-01. Favorite characters are Misato and Asuka, Ric-chan (Ritsuko), Fuyutsuki.
Q: When you picked the subtitle, were there any other candidates other than the name of this science fiction?
A: No.
Q: Are there any trivial stories hidden in the movie that haven’t been discovered by the audience?
A: It seems the name of the public bath in the 3rd village hasn’t been noticed. [machine translation: The names of the two public bathhouses are the names of public bathhouses in Ube City that I used to go to as a child.]
Q: I heard that in the scene where Asuka forced Shinji to eat the ration, the initial design was to have her wear the hoodie. Why did her outfit change to the plugsuit?
A: Because it was too difficult to draw her in the hoodie in that scene.
Q: Asuka was always playing video games. Why was the game console WonderSwan?
A: I heard Director Tsurumaki has a thing for it.
Q: What are your regrets after the completion of the movie?
A: There is only one thing I felt embarrassed about. Among the frames that made up the movie, it is necessary to include element that are interesting, elements that the audience wanted to see, elements the staff and the cast have to portray and elements they like, and elements I myself have to portray and elements I like. Among them, the elements I like I used elements from my wife’s works. I included some pictures from Ghibli’s works, which linked the world in my creation and the real world, with the intention to expand the world view of my work. However, I heard that some audience found it out of place. I am reflecting on it.
Q: What is most important to you when you write the story for the movie?
A: To be basically faithful, if I would like to get the understanding of the audience to the greatest extent..
Q: There are speculations that the fight scene of the huge swarms of Mark.07 vs Willie symbolizes the close conflict over wealth between the corporations and the people. Is that what you actually thought?
A: That scene was made for the pure fun of it. I didn’t have such metaphor in mind. Since I am aware that in realty it’s part of the job of the managers, that scene was not an unconscious production, either.
Q: During Operation Yamato, when Asuka and Mari joined hands to crash waves of enemies, why didn’t they say the usual line of “A.T.Field, full power!”?
A: I am sorry. I forgot about it.
Q: The realistic portrayal EVA Imaginary’s face during the Additional Impact was shocking. Who was it based on?
A: It wasn’t based on anyone in particular. Director Tsurumaki created it according to his imagination. Eye movements were based on data captured from his/my(?) own eyes. [Wether 自分 here refers to Anno or Tsurumaki is unclear to me, but I guess it doesn’t really matter]
Q: You once said that you hope future generations can continue the EVA franchise like the Gundam franchise. Have you changed your mind?
A: I haven’t changed my mind. It will be great if my work should can be of full help to the anime industry.
Q: Before the release of Shin EVA, what’s written on the poster was “Saraba” (farewell), but the after the release, it was changed to “Sayonara” (farewell) on the poster with the evening scene background was changed . What’s the meaning of “Sayonara” here?
A: Since it is after the release, the meaning is the same as Shinji’s line in the movie.
Q: What do you think of this person, who is not a staff but claims “this should be the correct interpretation”?
A: Annoying, I think. [alt. I find him a nuisance. The wording used here is quite rude. This is likely refering to Toshio Okada]
Q: The Japanese version instead of the English version of the song “Joy to the World! the Lord is come” was used in the movie. Is it intentional? I really like it.
A: Yes. It was intentional.
Q: Why frames from the trailer at the end of 3.0 was not used in the final version?
A: The trailer was made based on the plot at that time. But as time passed, when the remaking started, some parts were deleted or modified to make the movie more appealing.
Q: when the new movie ended, does it feel different from when the old movie ended?
A: There is no difference. After the completion of both movies, the phenomenon of me being subjected to tremendous maliciousness has been unchanged. If any, what’s new was my family members, who are unrelated to the movie, were involved this time.
Q: Has Mr. Anno’s Evangelion really ended?
A: Since I have already ended it 3 times, I am good for now, I hope.
Q: During the stage meet and greet, Mr. Anno said be put something he likes in the final scene. What did you put in? After watching it many times, I wonder if it is the train leaving the Ubeshinkawa Station?
A: It is a building that no longer exists now. It also appeared in the setting of my movie “Shiki-Jitsu”.
Q: Is the official “thin booklet” (this is EVA-Extra-EX) an excuse, a service, or something hidden between the lines? What is the actual point of it?
A: It’s a fan service.
Q: In the Japanese caption, why was Ayanami Rei (tentative name) changed to “the other Rei”?
A: Perhaps that’s how she was called in the studio during the production.
Q: Do you think you’d like others to work on Evangelion?
A: I think so. A short project for Japan Animator Expo is already under way.
Q: In your opinion, what kind of robot anime will exceed EVA in terms of box office revenue?
A: Probably the animation of some popular robot manga series in Shōnen Jump.
Q: Mr. Anno, if you are really asked to pilot Unit-1, will you do it?
A: I will not.
Q: AAA Wunder made a high-pitched roaring sound during takeoff. How was that sound recorded?
A: We recorded and edited Ms. Hayashibara Megumi’s voice.
Q: Many EVA characters’ names have deep meanings. What’s the origin of the name Tsubame of the Suzuhara family?
A: It’s the name of a limited express train.
Q: What’s important to Chief Director Anno when you make things?
A: To keep on working with constant attention to make the work more interesting, and meanwhile be mindful of the project’s schedule and resources till the work is done.
Q: When do you come up with most ideas?
A: When I go to bed and when I wake up.
Q: How many points would you give to this work? Please also tell us the reasons.
A: If I have to assign a numerical value, the score would be from 0 to ♾. Because it is hard to use numbers to evaluate a movie.
Q: How many times have actually postponed the release?
A: Twice. The second time was after the completion and right before the premiere.
Q: Why is Misato’s car a Renault?
A: That’s the character designer Sadamoto Yoshiyuki’s preference.
Q: Is Shinji happy now?
A: How to interpret a character is up to how you sense it and your imagination.
Q: Director Anno’s work has used music from past movies, such as Goten vs Daimakan. Why?
A: Because it is the most suitable music for that scene in the movie’s world.
Q: Does Gendō like sweats?
A: I think it is not his thing.
Q: Chief Director Anno has taken on various roles such as planning, scripting, filming, and directing. Which is your favorite?
A: There is no such thing as my favorite role. I am taking on as much as my ability allows, if that’s the better way, or the best way to make the movie.
Q: Which scene did you pay particular attention to when working on it?
A: I paid particular attention to all cuts, not just one scene.
Q: Please tell us how Tenryū Futamata Staion was chosen as the basis of the Third Village? Who was the one that knew its existence?
A: A staff member Hiramatsu Tadashi recommended the place.
Q: How were the sounds of Tōji’s daughter Tsubame dubbed?
A: We waited patiently to record the sounds of our staff members’ daughters.
Q: I saw the city of Ube, the hometown of me and my father! I think Ube Industries appeared in the last scene of the view from Ube Shinkawa. My father recalls the view seems to be from an an observatory that used to be there. Is that what you had in mind when you filmed that scene?
A: I think the observatory you father mentioned is probably the Yamato Tower. Since I was a child, I have enjoyed viewing the cityscape of Rokkakudo and others from the top of Ekimae Yamato and Central Yamato. It was when then TV crew said “Welcome, Senpai” on location that I felt like filming the cityscape. At that time, I realized the charm of the city and made it the setting of my movie “Shiki Jitsu”.
Q: From the documentary we learned that the script of Part A was rewritten from scratch. What was the previous script like?
A: The old script didn’t adequately present the theme and the characters.Based on staff’s opinions, we changed the content as much as the production schedule allowed us. Previously completed films of Previz CG made it possible.
Q: What’s the most important thing to keep in mind when you made the rice planting scenes?
A: These scenes utilized symbols in animation to make the audience feel like they were planting rice.
Q: Although it seems you had a hard time making Part A since there was no storyboard, do you think experimenting with this method yielded some good work?
A: I think it was good. If I didn’t try this method when shooting Shin EVA, I think Part A would have been much more boring than the finished work.
Q: In Shin EVA’s Avant part, there are texts on the magnet at the bottom of the plugsuits that Ritsuko & the crew wore when they arrived. Are these special marks of the seal pillar operation?
A: Yes. We drew these with that in mind.
Q: The three containers Shinji saw represent the red Ultraman, the green Kaimen Rider, and the third one that’s empty. Is it because the third work is not yet decided?
A: I have never heard of such an interpretation. I don’t know why red and green were chosen as I didn’t make such instructions. This interpretation is most likely wrong.
[machine translated this one] Q: I am making a short live action film with my friends in high school. However, it is difficult to make a film that is both fast-paced and cool. It leaves me feeling somewhat uncomfortable. What do you keep in mind when editing your own films to make them look good?
A: In my case, I edit by feel. I edit so that I do not feel any sense of discomfort in terms of the sense of sharpness in angles (such as eye movement), the sense of comfort in the amount of time necessary for information, the sense of comfort in the length of cuts, and so on. If you understand the cause of the discomfort you feel, you can find a way to remove it. Good luck.
Q: Did you expect Shin EVA’s box office revenue to exceed 10 billion yen? (*That’s roughly 100 million dollars)
A: I hope it would a good thing for the anime industry if a niche movie managed to gross more than that amount
Q: When making Evangelion this time, is there anything you dared to change from previous EVA works?
A: We continued Neon Genesis Evangelion’s way of ad-lib and writing in production. What I dared to change was to give up constructing a story to reflect our own experiences, but instead make a story with fictional strength.
Q: Was there any change of contents when the movie release was postponed?
A: Due to the COVID crisis the efficiency of production dropped significantly. We couldn’t afford to make changes.
Q: How many times have you watched Shin EVA so far?
A: 0 times after dubbing (audiographic work).
The cast has also given some statements again:
SPOILER: Show
EDIT: Khara screwed up (or was it intentional?) and didn't include a bunch of questions from the stream on their twitter account. Eva-fan has thankfully done a transcript of the rest. Here they are:
SPOILER: Show
Q:シンジである緒方恵美のサインが特典に無いのはなぜ？男キャラだから売れないから？そんな時代じゃもう無いよ？
A:単純に緒方恵美の所属事務所の意向でサインの大量複製は許諾されなかったから
Q:庵野監督はエヴァどれだけ理解している？
A:スタッフやキャストの意見も聞いてるので半分ちょいくらい？
Q:1番力を入れた作画は？
A:松原秀典氏「全てに力を入れています。」
Q:『シン・エヴァ』計12回鑑賞したのですがどうしても1.0と1.01の違いがはっきり分からなかったので何か一つだけ教えてほしいです。
A：1.0のダビング(音響作業)時に疲労困憊からうっかり入れ忘れていた効果音(一つだけ)が1.01には 入っています。
✅補足のお返事をひとつ
の、上映バージョンが
1.0 から1.01に進化した際、
画面に関してリテイクしたカット数は
【169カット】
でした
Q:『シン・エヴァ』のラストというのはいつ頃から考えていたものですか？
A:『シン・エヴァ』のラストのプロットメモは2009年9月20日に書いています。
Q:なんで登場人物の名前の殆どにカタカナが使われているのですか？
A:漢字だと表意文字としてイメージがある程度固定されてしまうのと現実世界との差別化の一つとして、名前部分に表音文字であるカタカナを使っています。
Q:山下いくとさんに質問。今までデザインされたエヴァの中で一番思い入れあるエヴァは何号機？
A:山下いくとさんに聞きました。「やはり初号機でしょうか最初は腕などにもロボっぽく表面に装甲があり、継ぎ目等もあったのですが、アニメの作業工程を考慮し、線を調整していった結果、柔軟な腕や首周りになった。」とのことです。
Q:好きな音楽を教えていただきたいです。
A:マイティジャックテーマ5AT2 M-T-1。帰ってきたウルトラマンM-13等です。
Q:今シリーズの宇多田ヒカルさんの楽曲は碇ゲンドウ目線の歌詞ともとれる内容ですが、制作陣から歌詞の内容をオーダーされていたのでしょうか？
A:宇多田さんの楽曲に関しては事前に何も注文していません。MIX時にピアノリフを立てて欲しい、とお願いしただけです。
Q:エンディングでONE LAST KissとBeautiful Worldを一緒にしたのは庵野監督の意向ですか？最後にBeautiful Worldを聞くことが出来て幸せでした、、、、
A:One Last Kissだけではエンディングに必要な尺の長さに足りなかったので、最後にBeautiful Worldを足して貰いました。
A:単純に緒方恵美の所属事務所の意向でサインの大量複製は許諾されなかったから
Q:庵野監督はエヴァどれだけ理解している？
A:スタッフやキャストの意見も聞いてるので半分ちょいくらい？
Q:1番力を入れた作画は？
A:松原秀典氏「全てに力を入れています。」
Q:『シン・エヴァ』計12回鑑賞したのですがどうしても1.0と1.01の違いがはっきり分からなかったので何か一つだけ教えてほしいです。
A：1.0のダビング(音響作業)時に疲労困憊からうっかり入れ忘れていた効果音(一つだけ)が1.01には 入っています。
✅補足のお返事をひとつ
の、上映バージョンが
1.0 から1.01に進化した際、
画面に関してリテイクしたカット数は
【169カット】
でした
Q:『シン・エヴァ』のラストというのはいつ頃から考えていたものですか？
A:『シン・エヴァ』のラストのプロットメモは2009年9月20日に書いています。
Q:なんで登場人物の名前の殆どにカタカナが使われているのですか？
A:漢字だと表意文字としてイメージがある程度固定されてしまうのと現実世界との差別化の一つとして、名前部分に表音文字であるカタカナを使っています。
Q:山下いくとさんに質問。今までデザインされたエヴァの中で一番思い入れあるエヴァは何号機？
A:山下いくとさんに聞きました。「やはり初号機でしょうか最初は腕などにもロボっぽく表面に装甲があり、継ぎ目等もあったのですが、アニメの作業工程を考慮し、線を調整していった結果、柔軟な腕や首周りになった。」とのことです。
Q:好きな音楽を教えていただきたいです。
A:マイティジャックテーマ5AT2 M-T-1。帰ってきたウルトラマンM-13等です。
Q:今シリーズの宇多田ヒカルさんの楽曲は碇ゲンドウ目線の歌詞ともとれる内容ですが、制作陣から歌詞の内容をオーダーされていたのでしょうか？
A:宇多田さんの楽曲に関しては事前に何も注文していません。MIX時にピアノリフを立てて欲しい、とお願いしただけです。
Q:エンディングでONE LAST KissとBeautiful Worldを一緒にしたのは庵野監督の意向ですか？最後にBeautiful Worldを聞くことが出来て幸せでした、、、、
A:One Last Kissだけではエンディングに必要な尺の長さに足りなかったので、最後にBeautiful Worldを足して貰いました。
Here they are translated (not complete yet):
SPOILER: Show
Q: When did you start thinking about Shin EVA’s last scene?
A: The plot memo of Shin EVA’s last scene was written on September 20, 2009.
Q: Why are characters’ names mostly written in Katakana?
A: Kanji, as ideographic scripts, are associated with fixed images to certain extent. The use of phonetic Katakana in names is one of the differences [between EVA and] the real world.
Q: I have watched Shin Eva 12 times in total, but can’t really tell the differences between 1.0 and 1.01. Please tell me one of the differences.
A: 1.01 has a sound effect (only one) that I accidentally forgot to include in 1.0 due to exhaustion during dubbing (acoustic work).
supplemental answer: ''When the new theatrics version of Shin Evangelion evolved from 1.0 to 1.01, the number of cuts of the movie scenes retaken was 169 cuts.''
Q: Please tell me your favorite music.
A: Mighty Jack Theme 5AT2 M-T-1, the Return of Ultraman M-13, and so on.
Q: This question is for Mr. Yamashita Ikuto. What is your favorite EVA among all the EVA units you have designed so far?
A: I asked Mr. Yamashita Ikuto. “Is it Unit-1, after all? In the beginning, the arms and other and other parts were covered with robot-like armors as well as seams. But as I was thinking about the animation process, I adjusted the lines and made the arms and neck flexible.”
Q: The lyrics of Ms. Utada Hikaru’s songs in the series can be understood as from Ikari Gendō’s perspective. Did the production team request such content in the lyrics?
A: Regarding Ms. Utada’s music, I didn’t request anything in advance. I only requested her to set up a piano riff at the time of the mix.
Q: Was it Director Anno’s idea to put One Last Kiss together with Beautiful World in the closing credits? I was happy to hear Beautiful World at the end …
A: One Last Kiss alone was not long enough for the closing credits. Therefore, I asked her to add Beautiful World at the end.
A: The plot memo of Shin EVA’s last scene was written on September 20, 2009.
Q: Why are characters’ names mostly written in Katakana?
A: Kanji, as ideographic scripts, are associated with fixed images to certain extent. The use of phonetic Katakana in names is one of the differences [between EVA and] the real world.
Q: I have watched Shin Eva 12 times in total, but can’t really tell the differences between 1.0 and 1.01. Please tell me one of the differences.
A: 1.01 has a sound effect (only one) that I accidentally forgot to include in 1.0 due to exhaustion during dubbing (acoustic work).
supplemental answer: ''When the new theatrics version of Shin Evangelion evolved from 1.0 to 1.01, the number of cuts of the movie scenes retaken was 169 cuts.''
Q: Please tell me your favorite music.
A: Mighty Jack Theme 5AT2 M-T-1, the Return of Ultraman M-13, and so on.
Q: This question is for Mr. Yamashita Ikuto. What is your favorite EVA among all the EVA units you have designed so far?
A: I asked Mr. Yamashita Ikuto. “Is it Unit-1, after all? In the beginning, the arms and other and other parts were covered with robot-like armors as well as seams. But as I was thinking about the animation process, I adjusted the lines and made the arms and neck flexible.”
Q: The lyrics of Ms. Utada Hikaru’s songs in the series can be understood as from Ikari Gendō’s perspective. Did the production team request such content in the lyrics?
A: Regarding Ms. Utada’s music, I didn’t request anything in advance. I only requested her to set up a piano riff at the time of the mix.
Q: Was it Director Anno’s idea to put One Last Kiss together with Beautiful World in the closing credits? I was happy to hear Beautiful World at the end …
A: One Last Kiss alone was not long enough for the closing credits. Therefore, I asked her to add Beautiful World at the end.
Last edited by FelipeFritschF on Wed May 04, 2022 5:33 pm, edited 16 times in total.
Re: Khara Q&A on 1st anniversary
Missed it unfortunately, did they really live stream the whole movie?
Did someone record the VOD?
Did someone record the VOD?
- ElMariachi
- Le Posteur Verbeux
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Re: Khara Q&A on 1st anniversary
FelipeFritschF wrote:Q: Where did Mari and Shinji go?
A: The coffee shop “Kissa live,” which was unfortunately closed the day before
Fun fact: Kissa Live is an actual restaurant in Ube (the city where the last scene in the train station takes place), so if it was Anno who said this, then the answer basically means "I'm not going to explain, take your own conclusions".
In the end, we didn't learn anything new that we didn't already know from other sources (that Mari was not inspired by Moyocco was said by several staff members, and the reason why 8+2 didn't appeared was already explained by Yamashita in his behind-the-scene tweets), the only new thing I can see is that there were a few scenes that were cut off to "better go with the flow of the story", since some of those scenes are of Mari interacting with people other than Shinji or Asuka, my guess is that it was both to keep the movie around the 2:30 mark and that those were the ones that could be axed because the story is laser-focused on Shinji. (especially after the timeskip)
Avatar: THE HIGHEST OF ALL HIGHS WE AAAAAAAAAARE!!!
Kensuke is a military otaku who, at one point, is shown creepily taking pictures of girls to sell. He would clearly fit right in as an animator at Studio Gainax. -- Compiling_Autumn
EoTV is a therapist, EoE is a drill instructor. -- Chuckman
Seriously, that is the most fananked theory I've ever heard, more than Mari being Marty McFly travelling through time to keep her parents (Asushin) together. -- Jäeger
Kensuke is a military otaku who, at one point, is shown creepily taking pictures of girls to sell. He would clearly fit right in as an animator at Studio Gainax. -- Compiling_Autumn
EoTV is a therapist, EoE is a drill instructor. -- Chuckman
Seriously, that is the most fananked theory I've ever heard, more than Mari being Marty McFly travelling through time to keep her parents (Asushin) together. -- Jäeger
Re: Khara Q&A on 1st anniversary
This Q & A seems to have focused on the technical side of creating 3.0+1.0.
I assume there were questions about the story and the characters, but I don't think Anno was interested in answering that.
Re: Khara Q&A on 1st anniversary
very interesting read, thanks for the post!
In particular, I'm looking forward to seeing what the team will be cooking up for the animator's expo.
In particular, I'm looking forward to seeing what the team will be cooking up for the animator's expo.
tweet-body
— twitter-user (@username) date
Oh, the clock is ticking out
- kuribo-04
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Re: Khara Q&A on 1st anniversary
In particular, I'm looking forward to seeing what the team will be cooking up for the animator's expo.
Anno was talking about 2014's Animator Expo there actually.
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!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
Ryuko: "I'm gonna knock ya on your asses!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
- kuribo-04
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- Contact:
Re: Khara Q&A on 1st anniversary
tweet-body
— twitter-user (@username) date
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!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
Ryuko: "I'm gonna knock ya on your asses!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
- hui43210
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Re: Khara Q&A on 1st anniversary
^ Sawashrio's 2 sentence answer is gold. 
I mean, predictability is the central attraction and the narrative hook that we've all come to expect from the Evangelion franchise. How come Anno can't realize this? Twice? - FreakyFilmFan4ever
- kuribo-04
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Re: Khara Q&A on 1st anniversary
Yeah lol. That was a creative one.
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!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
Ryuko: "I'm gonna knock ya on your asses!"
-Asuka: THINK IN GERMAN!!! -Shinji: Öh... Baumkuchen...
Hayashida: "As game developers, our work is special. All of us here can put smiles on very many people's faces with our work."
~('.'~) (~'.')~ Dancin Kirby
- BernardoCairo
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Re: Khara Q&A on 1st anniversary
I laughed so hard at that part he pretty much said that nothing has changed between EOE and Shin, in terms of audience reception. I absolutely love Anno's sincerity. Makes sense. A work like Evangelion is divisive by nature.
Also, pretty interesting how he basically said that "the audience can interprete the movie the way they want". It makes me think that there are no definitive answer for any given thing and stuff like "could Shinji and Mari leave the minus space?" weren't even thought out. Seems like it's all abstract, in a way.
The WonderSwan bit caught my attention as well. Such an intriguing console, indeed. One of Mr. Yokoi's most unique creations (and that's saying a lot, if you think about it).
Overall, great questions.
Also, pretty interesting how he basically said that "the audience can interprete the movie the way they want". It makes me think that there are no definitive answer for any given thing and stuff like "could Shinji and Mari leave the minus space?" weren't even thought out. Seems like it's all abstract, in a way.
The WonderSwan bit caught my attention as well. Such an intriguing console, indeed. One of Mr. Yokoi's most unique creations (and that's saying a lot, if you think about it).
Overall, great questions.
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- ElMariachi
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Re: Khara Q&A on 1st anniversary
I assume there were questions about the story and the characters, but I don't think Anno was interested in answering that.
Yeah, that's the feeling I got too, even from the NHK documentary from last summer I got the feeling that Anno did Thrice mainly to "get over it" (per Moyocco's words) and as an opportunity to try as many new techniques and technologies as he could to use them in his future projects.
Still, with the more complete resume, there are a couple more of interesting tidbits:
- We got the inspiration for Village-3: the Tenryū-Futamata Station. It's a station at the North of the city of Hamamatsu, on the border of the Tenryū river. Now I don't know if the translation was correct on if it was the "basis" of the village or the actual location: Village-3 seems to be by the sea, while the Tenryū-Futamata Station is on the border of a river. But it's the actual in-universe location of the Village, then it's a 114 km as the crow flies to Tokyo-3... NERV and SEELE really didn't give a single fuck about WILLE and the remains of mankind!
- Apparently in the first draft of the force-feeding scene, Asuka was supposed to wear her hoodie, but it was changed to her plugsuit because "it was too difficult to draw her in the hoodie in that scene", my guess is that since she's topless under that hoodie, it would had been near impossible to have her move as she did without her breasts popping out of the hoodie, unless the camera stayed behind and above her. But had they done that, it would had really made that scene- where a topless and in panties Asuka assault a comatose Shinji- into a twisted reverse of the infamous hospital scene from EoE, I wonder if that was what they were going for when they made that scene?
- Anno's apparently rude words toward what could be Toshio Okada (the first one to come up with the claim that Mari was a stand-in for Moyocco in Thrice) strongly imply that the Mari=Moyocco theory became a big pet peeve of him.
- Many of Anno's answers seems to show that many fans definitively over-interpreted many aspects of the movies, since a lot of his answers are along the line of "we added that because <Khara staff member> liked that", "we did it because it was fun" or "wtf are you talking about?"
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Kensuke is a military otaku who, at one point, is shown creepily taking pictures of girls to sell. He would clearly fit right in as an animator at Studio Gainax. -- Compiling_Autumn
EoTV is a therapist, EoE is a drill instructor. -- Chuckman
Seriously, that is the most fananked theory I've ever heard, more than Mari being Marty McFly travelling through time to keep her parents (Asushin) together. -- Jäeger
Kensuke is a military otaku who, at one point, is shown creepily taking pictures of girls to sell. He would clearly fit right in as an animator at Studio Gainax. -- Compiling_Autumn
EoTV is a therapist, EoE is a drill instructor. -- Chuckman
Seriously, that is the most fananked theory I've ever heard, more than Mari being Marty McFly travelling through time to keep her parents (Asushin) together. -- Jäeger
Re: Khara Q&A on 1st anniversary
That's something that has consistently caught my eye in these post-Thrice interviews/panels/events. Fan discourse on the ending seems to take it as granted as a premise that the ending is understandable in a non-interpretive, overt, expository way, with divisiveness rooted merely in if you liked or disliked said ending message. I think with EoTV and EoE, the background and foreground were ambiguous, and so there was in some ways more of a universal agreement and consensus even if that rendered down to "it's interpretive." Not so with Thrice; it's always way down in a comment chain that the "was the flirting romantic?" or "wait, what's going on with reality?" topic splits off, and the takes always seem hardline. Thrice is such a bizarre mix of the bizarre and non-bizarre; while you have Mari signalling the tone, "you smell adult," "you've grown up," etc. the particulars and circumstance are what remain inscrutable.
I'd wager it's more what it says on the tin. Keep in mind the scene is rotoscoped--something skintight like a plugsuit means you're dealing with just the initial movement of limbs that rotoscope replicates as a base. Perhaps it was difficult on a technological level to draw an additional layer of fabric in a way that matched that realism, especially something loose like a hoodie. EoE staff opined on water being the most difficult thing to animate, and thus the prevalence of water in the film being an unheralded ambition on a technical level. I can't imagine clothing is much further down the list.
Last edited by Axx°N N. on Sun Mar 20, 2022 5:28 am, edited 1 time in total.
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- ElMariachi
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Re: Khara Q&A on 1st anniversary
Personally, I think that this difference of treatment comes from the fact that while the "what will come after" in EoE is ambiguous, the situation at the time of the ending is not: the world was damaged and humanity was tanged, but everyone can come back if they want (Shinji and Asuka already did it), Misato will probably come back too (she was picked up by Quantum Rei) and Rei and Kaworu ascended to their quantic higher plane of existence. In short, you know where you stand at the end of the movie, with what will happen next left to imagination. (and boy did that stimulate a lot of writers and artists over the years)
Meanwhile, Thrice has such a contradictory setting during its ending that it opens up almost any kind of interpretations, leading to all the debates about what's their take on the ending, which everyone having a different take of what the ending even is.
Like okay, we see the worlds being restored and the FoIs being turned back to the people and animals they were, but what about the people who died between Third Impact and the ending? Also it doesn't seem that Misato can come back this time because she kamikazed herself, but Kaji is here? And he's telling Kaworu that he can go tend the fields with him and Misato? But it is a flashback or is he actually here in Instrumentality? And Rei and Kaworu died in the real world but they are leaving during Instrumentality through a side door to... where? And then Shinji and Mari are adult and are in... Ube City's train station? And adult Asuka, Rei and Kaworu are here... Wut? It's like three different endings tackled one after the other to make one.
And also mid-way Shinji and Gendo stopped being Shinji and Gendo to become meta-Shinji and meta-Gendo who have all the memories of their previous incarnations, including EoE.
So with all that, it's kinda hard to have about the ending when there's not even a consensus about what the ending is. (there's still not a consensus on if Mari and Shinji in the end are still in Minus Space, back in the real world but after several years or if they isekai-ed to our world!)
Do we know why that scene in particular was rotoscoped?
Last edited by ElMariachi on Sun Mar 20, 2022 7:04 am, edited 1 time in total.
Avatar: THE HIGHEST OF ALL HIGHS WE AAAAAAAAAARE!!!
Kensuke is a military otaku who, at one point, is shown creepily taking pictures of girls to sell. He would clearly fit right in as an animator at Studio Gainax. -- Compiling_Autumn
EoTV is a therapist, EoE is a drill instructor. -- Chuckman
Seriously, that is the most fananked theory I've ever heard, more than Mari being Marty McFly travelling through time to keep her parents (Asushin) together. -- Jäeger
Kensuke is a military otaku who, at one point, is shown creepily taking pictures of girls to sell. He would clearly fit right in as an animator at Studio Gainax. -- Compiling_Autumn
EoTV is a therapist, EoE is a drill instructor. -- Chuckman
Seriously, that is the most fananked theory I've ever heard, more than Mari being Marty McFly travelling through time to keep her parents (Asushin) together. -- Jäeger
Re: Khara Q&A on 1st anniversary
Not to my recollection, and I wish it were asked in the Q&A. Maybe it will be touched on in the CRC.
Gathering from Anno's statements, I'd wager it was decided on because of the effect it has when viewing, as something about the realism adds to the shock and discomfort. In fact, to do some speculation: if the first half, as we know, was done improvisationally using previz CG, perhaps when it came to the forcefeeding scene Anno decided the previz version had an interesting unexpected effect and decided to preserve it by going ahead with a full rotoscope effort. I've seen comparisons to the composition of Unit 01 munching Unit 03, and the parallels there (Shinji eating Asuka, Asuka forcefeeding Shinji). The visual parallel creates an interesting effect because we're used to seeing CG and rotoscope for the mechs and not the people; it's a somewhat Brechtian uncanniness. The other use of CG on humans I can think of is during the launch when Asuka and Mari are in zero-g, although the purpose there seems exactly that--to capture the uncanncy nature of zero-g.
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Re: Khara Q&A on 1st anniversary
It would have been rotoscoped because of the camera movements being difficult to regularly animate within. Same reason revolutions around characters/objects use CG. The aesthetic choice was gritty shakeycam, and heavy referencing is the only real way to do it without both characters melting all over the palce.
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