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NotaPublicado: Jue Ene 27, 2011 10:24 pm 
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Karellen escribió:
No hizo falta esperar a ver El Retorno del Jedi para que nos diesemos cuenta de que El Imperio Contraataca era una película extraordinariamente buena...


La diferencia esta en que en "El Imperio Contraataca" no existía un referente previó llamado "Neon Star Wars", con el que esperar un desarrollo previsible de la historia. Nos parece fácil saber cuál es el papel de Kaji, Ritsuko, e incluso el de un tipo desnudo en la luna –Kaworu–, porque ya lo conocemos del anime; aún no sabemos cuál será el papel de Mari.

Creo que Mari puede evolucionar de dos formas:

a) Seguirá un papel secundario, similar a Kaji por ejemplo. Y si, al ser una chica se venderán cientos de figurinas de PVC, igual que Asuka y Rei desde la serie televisiva.
b) Puede que tenga un papel incluso más relevante: Mari es la diferencia más notoria entre Neon Genesis Evangelion y el Rebuild, mientras por otra parte hay constantes guiños a que ambos universos están conectados de algún modo –mucho de los cuales los ha apuntado Karellen–, puede que Mari de hecho sea la clave para resolver la relación entre ambos Evauniversos.

Karellen escribió:
Citar:
Se puede ser Puchi: el perro rockero y servir a un proposito dramatico.


No, no se puede.


Exacto, porque Misato no fue el personaje que invento la frase "Fanservice, Fanservice!" (sàbisu, sâbisu!).


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NotaPublicado: Vie Ene 28, 2011 4:52 pm 
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Joaquin escribió:
Pero bueno, para no desvirtuar tanto, el otro dia vi 2.0 de nuevo, y nos dimos cuenta de a quien se parece Mari: Poochie, el perro rockero. No tiene personalidad, lo meten para vender, es re cool (en este caso, es re fanservice), etc. Igual la pelicula me gusta, eh. Es solo que esas cosas, como hemos comentado mil veces, huelen a "quiero dinero, quiero dinero".


Apuesto a que Mari, la perra roquera y piloto de evangelions no tiene trauma mentales, es mas inteligente que Asuka, puede sincronizar con cualquier evangelion, conoce todos los secretos de Evangelion que ni siquiera Hideki Anno conoce y puede encestar en el basquet mientras hace piruetas con una patineta con cualquier evangelion (y ni hablar de las peripecias que tiene en los 7 millones de doujinshis XXX que hicieron de ella)

Con esto, Shinji queda como un emo y retrasado mental viendose mucho peor de lo q se veia en la serie, Rei queda como una muñeca estupida y sin sentimientos en lo absoluto y Asuka es una n00b, que apenas puede sincronizar con su propio eva mientras se lamenta por sus traumas mentales. Ah, y Kaji ahora no es el "mas copado" sino un titere mas de los jueguitos misteriosos de Mari

En fin, al final termina en que todos odian a Mari, la perra roquera, y se va en la 4.0 (sino antes) y la carrera de la seiyu termina deprimida (como le paso a Homero), como filman esa parte sin la seiyu, le ponen la vos de Gendo Ikari diciendo: "Adios, tengo que volver a mi planeta" y asi termina...

_________________
Quiero ir junto con Rei a tener un happy picnic lleno de POKAPOKA
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NotaPublicado: Vie Ene 28, 2011 9:12 pm 
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Marfil, me parece que ni Hideaki Anno sabe el desarrollo que vá a tener Mari en la próxima película. A mí particularmente me ha resultado muy extraño que al éxito económico de Rebuild 2.0 le haya seguido, al parecer, un parón en la producción (he oído que no se espera la próxima película hasta 2012, por lo menos). Creo que alguien tiene que aclarar ideas (el preview de 3.0 es tan ambiguo que parece difícil que haya una película verdadera tras él), y sobre todo averiguar qué demonios se vá a hacer con esa piedra en el zapato en que se ha convertido Poochie Meganeko.

Verás, es imposible que quede relegada ahora, tras su épica batalla contra Zeruel, a un papel secundario. En este momento ya es tan protagonista como Asuka, ¡por lo menos! Ya se sabe, tienes que vender muchas, muchas muñequitas rosa, y no vas a conseguirlo con personajes secundarios.

Así que sólo nos queda lo del papel "más relevante".

Madre mía.

Por cierto fumoshi, la cita que has puesto es en realidad de Piti. Es a él a quien debemos el magnífico hallazgo de desenmascarar a Poochie Makinami Sir Integra Wingates Helbrooke, o como se llame.

.


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NotaPublicado: Vie Ene 28, 2011 11:04 pm 
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¿Finalmente Asuka habla con Gendo?, que yo recuerde en NGE ella nunca hablo con el, tampoco lo vio, y eso que fue personaje principal.

¿Y Mari?, ¿ya hablo o por lo menos vio al comandante?

En 3.0 supuestamente Kaji apuntando con un arma de fuego, ya solo falta que Fuyutsuki apunte y trate de matar a alguien para que el circulo se cierre, espero que asi sea.

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Asuka: Shinji, sabes porque estoy aqui, por favor detente,¡no quiero lastimarte!
Shinji: Intentalo...

Shinji ataca con una descarga de municiones y Asuka se defiende desplegando su Micro Campo AT, la pelea final ha comenzado.

Shinji Ikari(59) vs Asuka Langley Soryu(29)

La pelea que finaliza toda una era ...


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NotaPublicado: Sab Ene 29, 2011 2:48 pm 
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Citar:
¿Finalmente Asuka habla con Gendo?

¿"Finalmente"?
Citar:
¿Y Mari?, ¿ya hablo o por lo menos vio al comandante?


¿Por qué crees que tendrían que hablar con él?

.


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NotaPublicado: Dom Ene 30, 2011 2:05 am 
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Creo que la única ocasión en que Asuka tiene una especie de 'contacto' indirecto con Gendo es tras derrotar a Sahaquiel en NGE, cuando éste último (en Audio Only) felicita a Shinji, mientras los tres childrens están presentes en fila y esperando.

Y en rebuild, si ni Asuka conoce a Kaji...


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NotaPublicado: Jue Feb 03, 2011 11:55 am 
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Citar:
¿"Finalmente"?


Siempre me parecio curioso que ella fuera la unica que no hablara ni viera a Gendo, paso a enumerar: Yui, Naoko, Ritsuko, Fuyutski, Kaji, Shjnji, Rei (todas), Kaworu, Maya, Aoba, Hyuga. Todos excepto Asuka, ¿que paso?, ¿se les olvido a Hideaki y todos los de Gainax incluir una escena o un cuadro con ellos dos?

Citar:
¿Por qué crees que tendrían que hablar con él?


Por ningun motivo, pero si lo hace, entonces Asuka todavia sera la unica que no habla con el ... eso aumentaria mas mi curiosidad.

Citar:
Y en rebuild, si ni Asuka conoce a Kaji...


Falta la 3.0, pero a este paso ...

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Asuka: Shinji, sabes porque estoy aqui, por favor detente,¡no quiero lastimarte!
Shinji: Intentalo...

Shinji ataca con una descarga de municiones y Asuka se defiende desplegando su Micro Campo AT, la pelea final ha comenzado.

Shinji Ikari(59) vs Asuka Langley Soryu(29)

La pelea que finaliza toda una era ...


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NotaPublicado: Lun Mar 14, 2011 7:13 pm 
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Karellen escribió:
Marfil, me parece que ni Hideaki Anno sabe el desarrollo que vá a tener Mari en la próxima película.


Es curioso como crees que Hideaki Anno dirigió Neon Genésis Evangelion prácticamente a la perfección, pero en cambio ahora es un director aparentemente incapaz de dirigir una nueva película sin saber como desarrollar sus personajes. Entiendo que no aceptes los materiales complementarios de Evangelion (Red cross, artbooks y demás), después de todo esos materiales no fueron creados o tan solo contaron con mínimos comentarios por parte de Hideaki Anno, y comparto tu disgusto por ellos; pero no tener siquiera un mínimo de confianza en una obra paralela dirigida por el mismo director, me parece simplemente un poco soberbio, si alguien tiene la autoridad y el nivel artístico para decir algo sobre Evangelion es Hideaki Anno, su creador.

Sobre la aparente incoherencia de Evangelion 2.0 con la "seriedad" de Neon Génesis Evangelion, encontré un buen artículo:

Citar:
And Shinji Ikari didn't conjure this change of mood out of nothing—even in the Evangelion anime, after all, things could become different in a hurry when it's a co-ed occasion. Think about the difference in mood between Shinji's pilot training in Episode 3, where he emotionlessly practices firing at the enemy again and again in a simulator, and Shinji and Asuka's pilot training together in Episode 9, where they wear dance leotards and play Twister in Misato's apartment. And this split personality hasn't really changed in the new Evangelion films; watching Evangelion 2.0: You Can (Not) Advance, I was struck by the things that wouldn't have seemed out of place in the Shinji Ikari manga—Rei and Asuka trying to learn how to cook, Mari's first encounter with Shinji, and Asuka's new plug suit...


http://www.darkhorse.com/Blog/298/vast- ... -genesis-e


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NotaPublicado: Lun Mar 14, 2011 7:25 pm 
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Es que Anno no lo sabía. Por eso llamó a Enokido y tuvieron esa reunión en aquellas onsen. En Evageeks hay un tipo traduciendo entrevistas de Tsurumaki y Enokido en el Zen Kiroku Zenshuu para "Ha" y ahí se explica bastante todo eso. Yo las tengo guardadas en algún lado, voy a ver si cuando llego a casa las posteo.


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NotaPublicado: Lun Mar 14, 2011 7:42 pm 
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Yo no digo que Anno supiera de antemano, previo a la producción, el desarrollo que tendrían todos los personajes. Me refiero es a que Anno no tenga la capacidad para desarrollar satisfactoriamente un personaje una vez lo ha introducido en la producción. Eso me parece que es subestimar a Anno hasta el absurdo como si éste hubiera demostrado la misma fiabilidad que Sadamoto para desarrollar una historia con las premisas de Evangelion.

Dudo que Anno conociera el desarrollo de todos los personajes de Neon Génesis Evangelion desde un principio. No aseguraría ni siquiera que tuviera en su mente a cabalidad el desarrollo que tendría Shinji, en especial en End of Evangelion. Pero Anno pudo perfectamente desarrollar a todos los personajes principales, e incluso los secundarios, a un altísimo grado durante la producción.

Por más insatisfactorio que haya podido ser el final televisivo de Neon Génesis Evangelion para la conclusión de la trama, el desarrollo psicológico de los personajes fue impecable y aún sin igual tras más de una década; así que le doy mi confianza a Anno si en situaciones tan convulsas como parecer haber sido la producción de los capítulos 25 y 26 de Evangelion, demostró lograr un desarrollo de los personajes tan profundo.

Para aclarar el papel de Mari en el final del Rebuild, Anno ha tenido y por lo visto aún le queda algo de tiempo, para desarrollar el personaje satisfactoriamente, bien sea que opte por hacer de ella un personaje principal o tan sólo uno secundario.


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NotaPublicado: Lun Mar 14, 2011 8:07 pm 
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Que haya podido antes no significa que vaya a poder siempre. De hecho, muchas "variables" cambiaron lo suficiente desde Eva original hasta ahora como para dudar que Anno realmente "vaya a poder", por lo menos como "pudo" antes.

Igual, dejo acá lo que tengo de la entrevista de Enokido, creo que acá nombraba estas cosas:

Citar:
Entrevista a Enokido en el Zen Kiroku Zenshuu para 2.0

http://forum.evageeks.org/viewtopic.php?p=399646#399646

Thanks to Reichu, I have access to some more of the CRC 2.0 interviews, so I will be posting translations in sections over the next little while. The following disclaimer applies: the translations are certain to contain at the very least some mistakes or misinterpretations, so please keep that in mind. In this case, I have reproduced the Japanese text relating to Tsurumaki's comment early on; lacking the context of Tsurumaki's interview, I am not 100% sure what he meant by this comment and thus how to render it, but perhaps someone will have a better insight. If anyone is interested in looking at the original Japanese and correcting or modifying the translation please let me know. Please look forward to further translations ^__^

This is part one of Youji ENOKIDO's interview.

------

"A Request to Perfect the Screenplay"

--- We recieved a strong demand from Anno-san that an interview with Enokido-san be included in the "Complete Works Collection."

Enokido: I see! If that's the case, I'll answer enthusiastically (laughs).

--- When we were gathering information from (Kazuya) Tsurumaki-san before the premiere, he told us that, in "destroying" Eva, your ideas are being incorporated everywhere [1]. So we're interested [to talk to you]. Do you remember the first occasion when [Anno] reached out to consult you?

[1] 公開前に鶴巻(和哉)さんに取材したとき,「エヴァ」を破壊するにあたって榎戸さんのアイデアが随所に盛り込まれているとうかがったので,興味があります。

Enokido: The document [produced as a result] still exists, so I brought it.

--- Thank you. The story of the exact moment contains a strange "pattern," right?

Enokido: It was two years ago, so I think there are parts I've started to forget. The first talk was in 2007, I think in late September or in October.

--- So just following the premiere of "Prelude" ["You Are (Not) Alone"]?

Enokido: Yeah. I went to see the movie, as a fan, soon after it opened. As I watched the preview trailer after the ending, I thought, "So, from the next film forward we get new developments? This seems interesting."

--- You saw it as "a complete outsider," right? (smiles)

Enokido: That night I receieved a call from "Khara-san" [Anno]. "What do you want to do for the second film?" "Huh? Me?" I remember a conversation along those lines.

--- The fact that you had seen the first film just before that ... it seems predestined , right? How did you view it?

Enokido: It was very interesting. I think it was a kind of conformation. To this day I still haven't asked [Anno], but I wondered, "why choose me for 'Break'"? I thought it was either because of my collaborations with Tsurumaki-san on FLCL and Gunbuster 2, or else I had been called because of my contributions to the scripts of the original "Eva" series as a rotating staff member.

--- When we were conducting other interviews, we got the feeling that the project reached a "limit," followed by some kind of major change. It seems like Enokido-san's ideas were relied on more than what had been developed previously.

Enokido: When I was called, there were already scheduling pressures. At that time I also heard that two different versions of the last scene had been storyboarded and scrapped.

--- That being the case, did you have the impression of seeing things from completely outside of the "Rebuild" project?

Enokido: Yes. Because I worked as a scriptwriter on four episodes of the original TV series, I am credited in the "Rebuild" films as a "screenplay consultant." However, I did no work at all on "Prelude," and at the time I was called to work on "Break," a complete draft of the film's script already existed. As Anno said he wanted further changes, I was sent a copy of the script before a meeting between us was even arranged. So first of all I read the script, and found it very interesting.

--- What sort of things seemed interesting?

Enokido: To begin with, considering that "Prelude" has to recreate episodes one through six in less than two hours, I think they did an excellent job organizing the film and maintaining balance. The story development is the same; it's okay if they crowd out the details. That being the case, when I thought about "Break," I expected that they would do a good job if they managed to cover episodes eight to thirteen or so. But when I realized they were attempting to treat everything up to episode twenty-three in one go, I couldn't understand how they would do it. However, when I read the script, I saw how amazingly skillfully things had been organized. "Just as I expected!" I thought. "Indeed, if they do it like this, the entire series becomes a single episode."

--- And yet, despite doing so well, they had lost their bearings, and asked you to fix things?

Enokido: Right.... I had recived the impression that Mari's character development was not yet complete. Furthermore, I think that there were parts that still retained the atmosphere of a "summary film." Because an outside observer often sees further than the participants, I thought it would be good to begin by pointing out these sorts of things. I wrote an entire "plan of organization" or "plan of revision"; I believe it was this document here (Dated October 13; reproduced in CRC 2.0 pp. 236-237). To the extent it discusses the plot no changes are made; it's a "compositional memo." I submitted the memo shortly after the script arrived, and after that a meeting was arranged, but the location was not Khara-san's studio. I was ordered, "Come to Atami!" and I was led away as though I were being abducted. It's as one expects from "Eva," right? (laugh)

--- That was the "Atami Retreat," right?

Enokido: When I asked, "Why Atami?" I was answered, "If we are to arrange a proper meeting, we should go where the food is delicious." That's a very Anno-like proposal. As the script had already been written, there were not supposed to be any major changes, and so I had thought that when I sent the memo, that would be it. When we began the "Atami Retreat" on October 31st, I was wondering what on earth was going on.


---------------

http://forum.evageeks.org/viewtopic.php?p=400206#400206

Here's the second part of the Enokido interview. The same disclaimers apply; please regard it as a very rough draft to be corrected. There was one sentence here where I couldn't work out the intended meaning, so I have just taken a guess at it and included the Japanese alongside. Hopefully someone understands it a bit better ^^

------

"The Overpowering Characters of Rei and Asuka"

--- So big changes were being intended at Atami.

Enokido: The truth is, the day before I went to Atami, I recieved a call from (Toshimichi) Ootsuki-san, and I was told that they would leave the content alone, and there was only one matter they wanted to pursue. At that time, based on the current screenplay, the film was projected to run between 130 and 140 minutes, and the aim was to reduce it to less than 120.

--- Besides yourself, who were the members of the retreat?

Enokido: There were the directors, Anno-san, Tsurumaki-san, and Masayuki-san, as well as (Ikki) Todoroki-san, who was performing secretarial duties.

--- So you begin the Atami Retreat with the assumption that you would be deepening Mari's character a little and fine-tuning the screenplay to reduce the length of the film, but what was the reality?

Enokido: Concerning the matter of strengthening Mari's character, Anno-san had already been asking me if I had any ideas, so I started to investigate the problem. However, as I worked through it, the twosome "Rei and Asuka" was such a powerful combination that they seemed to stand in the way. When I tried to investigate what made this pair so strong, I realized that this combination followed the archetype of the so called "harem anime," and that all the desires, lusts, and dreams of young men were bound up in them.

One "type" is the girl who was a childhood friend, who has always been with you since you were born, and with whom there are no new or strange feelings. Rei is established to resemble a "mother" in some respects, and so she produces in young men a feeling of distance [from things?] as though they were still half in the womb. [1] Now, Asuka's particular type is that of the girl who comes from a foreign country. This also produces a very good feeling. Probably it is the male instinct to think, in some respects, that girls from another world are better than girls who are familar and close to hand (laughs).

[1] 綾波レイってどこかお母さんに似ているという設定ですから,男の子からすれば半分子宮の中にいるような距離感です。

--- Certainly, if we assume that there is a male instinct to "spread" DNA, or propagate the species by mixing heterogenous elements.

Enokido: The sadness and happiness of young men is bound up in the fact that they always possess these two contradictory wishes. The so-called "Harem Anime" genre is for the most part intended to satisfy these desires. In "Urusei Yatsura," Shinobu is the Japanese girl who was one's childhood friend and always by one's side, and Lum is the "alien girl". We say "alien," but [such characters] perhaps [have] an "American" image. Rei and Asuka exactly fit the pattern of this "perfect lineup."

Now, coming up with a plan as regards the third girl who must compete with this "ultimate combination" seemed to me a very difficult job. In addition, Director Anno had not, up to this point, developed anything himself, but, expressing the desire for a completely new character, had left Mari's development to others.

This being the case, my first proposal for an additional type was a Sapphire (from [Tezuka Osamu's] "Princess Knight") type. If Rei and Asuka are completely different types, I wondered if a "neutral," lighthearted type who battles with an "innocent" image would be good. At this point, though Anno-san agreed that it would be good, he thought a Wato (Chiyoko) type (from [Tezuka's] "The Three-Eyed One") would be more realistic, and he got quite excited about it.

However, Tsurumaki-san, who had been listening nearby, was looking at us with a distant expression. It looked as though he was thinking, "It's a pleasant conversation [for you], but just who is going to be saddled with the difficulty of placing that character in the world of Eva?" (laughs) I think the result of finalizing Mari's appeal was that Tsurumaki-san was made to suffer with storyboards.

--- Since viewers were heavily anticipating a new character from the first film's preview, you want to give Mari more to do; was that the atmosphere [at Atami]?

Enokido: As we had many conversations relating to Mari, I think it was. As for other images, there was the part of a Miko-san [shrine maiden] channeling the gods. She is not "practical" like Asuka, but thinks about "deep" things, like someone who somehow can see mysterious things like those connected with the gods. She is not "unworldly" to Rei's extent and she talks a lot. As nothing had yet solidified, we had these sorts of discussions about ideas.

--- I have a feeling that those ideas influenced the final film. What other discussions did you have about Mari?

Enokido: We didn't just discuss her character traits, but we were also tangled up in discussing to what extent she should appear in the film. I remember that this caused everyone a great deal of distress. If we wanted to increase her appearances we could, but, because we were limited by the running time of the film, the number of scenes depicting the activity of other characters would be reduced. Even watching the completed film, there are selections we made at the last minute. If we added more Mari, we would have to further cut strong scenes involving Rei and Asuka, but if we didn't, then there would have been no point to putting Mari in the second film [to begin with]. In the end I think we were impressed with her character and have high expectations for her in the future.

--- In the original scenario Mari was the daughter of a distinguished English family who kept dogs and cats, and so on; what were the circumstances [relating to that]?

Enokido: Speaking of that, I also remember conversations like, "What if we gave her tattoos of the names of all the pets she's kept up until now?" For example, we would insert a bath scene where we see the area from her chest to her stomach is completely covered in tattoos. If she gets asked, "Why do you have them?" she'd answer something like, "They're the names of all my pets that have died up until now. The tattoos ensure I don't forget them, and that they still 'live' with me."

--- That's a striking character trait.

Enokido: Did this development survive or die off? Because Mari hasn't undressed yet, nobody knows (laughs). With things like this, we tried too hard to develop Mari's character traits; when I think back on it, we were only discussing "forced" or "absurd" things. In asking "how can we beat Rei or Asuka?" we had a tendency to get a little bit too much into an "impact contest".

--- After all, if you want to insert Mari somewhere, you have to leave out Rei or Asuka. We also heard about this difficulty from Tsurumaki-san.

Enokido: There were versions of the unfinished screenplay where Mari appears only at the beginning, and doesn't participate in the battle at the end.


----------------------------


http://forum.evageeks.org/viewtopic.php?p=401642#401642

Part 3 of the Enokido interview.
Same disclaimers regarding the quality of the translation apply as before. ^__^

"Boarding 'Eva' Again After Sixteen Years"

--- This memo you put out, with what kind of feeling was it made use of?
[It seems that this memo is not reproduced in the CRC.]

Enokido: That was mainly a list of scenes to be cut. At that time we were still wondering whether scenes like the pilots going to eat Ramen together should be left in. I not only participated in the original TV series but watched it as a fan, so I knew which scenes were my favorites. However, as far as the film was concerned, I thought it was best to focus on Shinji-kun's scenes. In addition, I would comply with (the producer) Ootsuki's order to bring the film under 120 minutes. Therefore, I rapidly cut sequences which, although famous, did not have a strong relation to the main story. However, as I did this everyone naturally saw favorite scenes being cut, one by one, and because of this I was becoming increasingly shut out by the group (laughs). For example, Anno-san lost his favorite Misato scene...

--- Which Misato scene?

Enokido: There were many scenes at the start of the script showing a deeper friendship between Misato, Ristuko, and Kaji that were discarded. They were "film-like" scenes and, from the dramatic perspective, very good; however, because I thought it was best to organize the film around Shinji, I proposed that they be cut. Because Anno is the chief director, if he hates a cut he can prevent it by saying "I want that scene to stay." However, he doesn't do so. Nevertheless, when he's displeased the atmosphere becomes very oppressive (laughs).

Furthermore, when even Tsurumaki-san, the one person I expected to support me, started saying things like "I'm an Asuka fan, and I won't be happy if this scene gets cut," I had a feeling like, "Huh?" (laughs). At that time, Masayuki-san came to my rescue, saying "Look, we should just do as Enokido-san says, okay?" I had the impression that I had just barely kept my place [at Atami] (laughs). Masayuki probably decided to bring "balance" to the sessions (laughs).

--- It was difficult, wasn't it? (laughs)

Enokido: Only, once we had cut a few scenes, naturally the next problem was the opposite one; owing to the cuts you could begin to see gaps detracting from the organization of the whole. As these gaps arose from cuts I had made, naturally I, as the person responsible, had to fix them. For example, while in the first half of the film Asuka appears as a character who strongly repels others, in the second half she becomes a little kinder, and develops into a character who is concerned with Shinji's feelings. This development is crucial, but I had a feeling that, due to my excessive cuts, the basis for this change became too thin. Trying to make up for that loss, I had the idea for a scene where Asuka, unable to bear her loneliness, enters, uninvited, the room of the sleeping Shinji. The scene used in the film was translated from the concept almost exactly. By inserting this scene, it seemed likely that something of a connection between the "first half" Asuka and the "second half" Asuka could be skillfully established.

Because I had broken off my journey aboard the TV series in the middle of the voyage, this time I had the privilege of boarding the "New Theatrical Edition" in the middle of the voyage, and I have the profound impression that Eva, [for me,] is finally connected by a single line. I had the privilege of a rare personal experience of which few other examples exist (smiles).

--- There's not many stories of people bridging a gap of ten years or more.

Enokido: Near the beginning of "Break," Asuka says: "It's not just the color that's different. (...) This is the world's first 'true' Evangelion, designed for real combat." 16 years ago I wrote those lines of dialogue for episode eight of the television series. When I heard those lines spoken in the movie, I was so overcome with emotion I couldn't speak. There were two sides to the feeling: "At last, the line is connected," and "The journey isn't over" (smiles). I have the impression that the train I departed from has returned as a high-speed express, and, just as before, I am a passenger once more (smiles).


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NotaPublicado: Lun Mar 21, 2011 1:29 am 
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2等陸曹
2等陸曹
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Registrado: Dom Mar 06, 2005 11:48 am
Mensajes: 323
Con todo lo que ocurrio y sigue ocurriendo en Japon, lo que falta del Rebuild se estrenara en el 2015, con justa razon tal vez.

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Imagen

Asuka: Shinji, sabes porque estoy aqui, por favor detente,¡no quiero lastimarte!
Shinji: Intentalo...

Shinji ataca con una descarga de municiones y Asuka se defiende desplegando su Micro Campo AT, la pelea final ha comenzado.

Shinji Ikari(59) vs Asuka Langley Soryu(29)

La pelea que finaliza toda una era ...


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NotaPublicado: Dom Jun 19, 2011 6:24 pm 
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1等陸曹
1等陸曹
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Registrado: Mar Sep 26, 2006 10:49 pm
Mensajes: 468
He leído la entrevista y da una impresión bastante positiva sobre el desarrollo de el Rebuild. Hay dificultades, como en cualquier producción, pero para nada da esa impresión que tienen algunos de que las películas esta siendo escritas pensando en "cómo podemos vender más figuras de PVC de Evangelion?".


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