Entrevista a Enokido en el Zen Kiroku Zenshuu por Rebuild2.0

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Entrevista a Enokido en el Zen Kiroku Zenshuu por Rebuild2.0

Notapor Nightquest » Mar Mar 15, 2011 12:36 pm


* La idea del personaje de Mari, es crear una chica híbrida - entre Asuka y Rei - que forme parte del harén de Shinji

* Mari originalmente iba a ser la hija de una destacada familia inglesa que cuidaba perros y gatos. Iba a tener tatuajes en su cuerpo con el nombre de las mascotas que ya se le habían muerto, para no olvidarse.

* Que Mari aparezca desnuda en 3.0 parece advertirnos de estos tatuajes

* Que Asuka tenga un aspecto más "yanqui" es para dar la idea de una típica mujer extranjera atractiva (raramente es cierto)

* Cuando Asuka dice "No solo el color es diferente (...) es el primer y verdadero evangelion evangelion diseñado para la batalla" eran líneas que había propuesto Enoduki para el episodio 8 de NGE.

* Enoduki hizo muchos cortes de escena (mmmmmm) como por ejemplo una que mostraba la relación profunda entre Kaji, Ritsuko y Miasto.



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?

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.



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).

-- 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.



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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Re: Entrevista a Enokido en el Zen Kiroku Zenshuu por Rebuil

Notapor Nightquest » Mar Mar 15, 2011 2:16 pm

"Renewal of Revival of Rebuild of Evangelion" - Platinum Edition

Incluye la serie + eoe + rebuild + director's cut del rebuild + Deyno hablando 90 minutos sobre los misterios de NGE (con referencias fálicas incluídas) (?)
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