Last Exile Aerial Log

Translations, scans and any other in-progress Last Exile related projects.

Last Exile Aerial Log

Postby Tara » Wed Dec 17, 2014 12:40 pm

Image

Gallery link.

Because I'm going to eventually do things here, too. o7 But as always like with the other threads, it's open season so if there are any other TLs done, I'd love to get as much on the site proper as possible!
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Postby Tara » Thu Dec 18, 2014 4:20 pm

Here I am with the two pages on Dio and Lucciola - Page 1 and Page 2!

(also I added a link to one of the phrases' various-but-similar meanings because it was interesting and I am That Person who yelled a lot when looking it up (SO CUTE MY DIOLUCCIOLA BABIES))

BEST FRIENDS ... Dio and Lucciola
Left: Dio Eraclea
Right: Lucciola


The meeting of these two was promised. But Delphine had nothing to do with this fate. Dio and Lucciola are like two wings of a bird. One existence between two people.

Dio called Lucciola a friend. Staying alongside one another is a natural existence, and they're a single irreplaceable existence to one another that they mustn't lose. Therefore Dio feared it. The ritual to become an adult means devoting everything to the Maestro, there's no friend or freedom in Delphine's sky.

Lucciola called Dio his friend in front of Delphine. The Maestro of the Guild and everything. Other than loyalty to the Maestro, there is nothing. But Lucciola vowed to dedicate his life to Dio, from that day Dio called him his friend.

Lucciola, in order to give Dio his freedom, fought against the Guild and died. But Dio, who had his heart crushed by Delphine, disappeared into the Grand Stream.

Two people were torn apart, but their hearts joined together as one again in the Grand Stream. Like two wings of a bird. And, the flapping of their wings was powerful. To the land of the blue star to carve out a new history...


Text under screencaps:
Dio and Lucciola met when they were children. For the first time, there was a presence that eased Dio's heart.

Dio worried and cared about Lucciola. Lucciola was deeply moved by it. This was the beginning of a relationship that went beyond that of a master-servant.

The unbridled Dio got a taste of a life of true freedom on board the Silvana. But it was also a prelude to tragedy.


Bottom text:
Dio & Lucciola Episode Index

Episode 7 - "Interesting Claus" (DVD Volume 7)
The breathtaking dogfight between Dio and Claus. Claus being called Immelmann happened in this episode.

Episode 9 - "Calculate Alex" (DVD Volume 5)
"I've wanted to meet you, Immelmann." Dio's shocking words accompanied by him hugging Claus!


Left: 5 year old Dio & 6 year old Lucciola
Middle: Pilot suits
Right: Dio's Ceremony robes


Text under screencaps:
Delphine's appearance caused turmoil within Dio. He was just one step away from the ritual of adulthood... If it passed Dio by, there was a possibility to maybe get true freedom...

The quality time spent with Lucciola gave Dio a sense of peace. And Lucciola responded to Dio's feelings. Then, having a birthday party with his friends was one of the best times in his life.

Upon completing the mission, awaiting a Dio who was in high spirits ... was Delphine. Dio couldn't help hitting Lucciola in his feelings of frustration and despair.

The ritual of adulthood killed Dio's free mind, leaving no trace of his former, bright self. However, Lucciola still faced off against his brother in order to save Dio.

Though Dio had his heart and his memory taken away, Lucciola did not forget those happy memories even at the end. Lucciola's feelings reached Dio's heart.


Bottom text:
Episode 17 - "Making Material" (DVD Volume 9)
The scene where he strikes out at Al expresses the depths of Dio's anguish about his birthday.

Episode 20 - "Grand Stream" (DVD Volume 10)
The scene of the warm birthday party was the last moments of peace. Ethan's original birthday song is also a highlight.

Episode 23 - "Castling Lucciola" (DVD Volume 12)
Despite the exchange of his life, Lucciola fighting Cicada in a flowing-like elegant duel is an outstandingly excellent scene.
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Postby tabletalk » Fri Oct 28, 2016 3:04 am

Tara wrote:Those might be good enough, thanks so much! Unless someone else faster actually gets to it, I'll PM you if I need any potential like, close ups of sections or whatnot!

They'll be HERE whenever they're TLed, hopefully soon!


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Postby -TK- » Sat Oct 29, 2016 12:02 pm

Those scans are tempting, I might translate some bits as well... :mrgreen:

-- UPDATE -- I'm slowly translating those scans --
-- UPDATE 2 -- Second half of page 54 and page 55 coming soon. It would be nice if somebody could fix my English.
-- UPDATE 3 -- Translation completed.


STAFF TABLE TALK

Spoiler: show
千明孝一 x 村田蓮爾 x 鈴木貴昭 - 聞き手:小牧雅伸
(監督・シリーズ構成)(キャラクターデザイン原案)(軍事顧問文芸)(スタジオ小牧)

膨大な情報量が込めれていた「ラストエグザイル」では、消化不良を起こした視聴者も多かったと思う。ここでは、緻密な設定が創作された背景と、ストーリーの核心部分を、3人にお聞きし、物語の全容を明らかにしたい。

Chigira Kouichi (Director, Series Composition)
Murata Range (Original Character Design)
Suzuki Takaaki (Military History Advisor)
Interviewer: Komaki Masanobu (Studio Komaki)

Such a huge amount of information was put into the making of “Last Exile” that, I believe, It is possible to say lots of viewers suffered from indigestion. Here, we are going to discuss with our three guests the work behind the scenes that led to the creation of the main story, its incredibly detailed chara design, as well as to clarify some general aspects of the plot.

Spoiler: show
IN: まず企画意図についてお聞かせください。

千明:最初に村濱さん(注1)から、話があったんですよ。悪い男の純愛を描いて、それが戦艦に乗って戦う物語をやりたいって。この辺りは他のインタビューなどでも答えているのですが、アレックスを主人公とした話で進めていて、それがある程度固まった時点で、プロデューサーの尾留川さんに聞かれたんですよ。「本当にやりたいことはなんですか」と。
そう言われて、やりたい部分が少しありまして、視聴者年齢を考えると「男の世界」だけでなく、キャラクターの日常の細かい描写もしてみたくなりました。

IN: 独特の科学文明を持った海を空に置き換えた世界観の中に日常を見せるというのが、クラウスとラヴィの生活だったと思うのですが、自由にはばたく子供がそれだったかと。

鈴木:もともと舞台が宇宙空間で、戦艦同士が戦うというのが最初のコンセプトだったんです。その前にヴァンドレッドで宇宙ものをやったので、素材が使いまわしができるだろうし、と。でも村田さんが、宇宙空間でマスケット銃で撃ち合う銃兵戦闘は、どう考えても無理だ、空があった方がいいのではと言いました。

千明:それによって、全体のイメージが変わって子供達の活躍の場が出たのはよかったかもしれないです。青い空と白い雲の中で、銀色の小さなヴァンシップが風を切って飛ぶさまは好みでした。

無機質な宇宙から風のある空への変更

IN: 最初は空気のある宇宙とか、色々考えていたそうですが。

千明:先ほど言ったように、村田さんが「そんな中途半端なことをするなら、空の方が絵的にいい」、とのことで。

IN: 宇宙であれば描く方が楽なシーンも、空気があると大変ですよね。風を受けて髪や服の裾がたなびかなければいけないし、ワイヤーがビュービュー唸る描写が多くなりますから。

千明:だからこそ村田さんのリアルな設定が生きる世界になったんですよ。こういった設定の変更と煮詰めがラストエグザイルの世界観を作っていたんだと思います。結局、描く側としてはハードルが高くなりますが、それだけのクオリティが維持できたので肌で感じられる世界になったのではと自負しています。

IN: クラウス達の年齢が下がったことで視聴者としてはとっつきやすい世界になり、なおかつ本来の目的である大人の世界が描けましたよね。予備知識なしに見ていて、第一次大戦前後の科学文明でそれこそ飛行船から観測篭を出すような描写で「世界の中心に風が渦巻く世界なんだな」と見せておいで、一転してクラウスとラヴィの貧乏レースにかける意気込みで地に足の着いた世界観を見せるという構成はよかったと思います。

千明:最初にアレックス達シルヴァーナで世界観を見せて、クラウスとラヴィの日常描写を描くという形で、きちんと人間が生きている世界であることを明示したかったというのはあります。クラウス達の生活がやりたかった世界だったんですよ。本当に1話、2話は気持ちよくまとまったと思います。未知の世界だけれども、あっても不思議ではない世界が見えたらなと…。

IN: First of all, please tell us about the original plan for this story.

Chigira: At first Mr. Murahama outlined a rough draft for the story (note 1). It was about the pure love of a bad guy who was fighting on a battleship. As already stated in other interviews, from there I began to develop the story with Alex as the hero and I had progressed to a good extent when our producer, Mr. Birukawa [Hiroyuki], questioned me on “what I really wanted to accomplish with this work”. To tell the truth, considering the age of the viewers I wanted to reach, I had already some ideas on my mind: I wanted to not only show the “world of men” but also to give an overview of the characters’ everyday life.

IN: Well, besides being the amazing flying kids, I think that Claus and Lavie have also the purpose to show us the everyday life of this unique civilization that replaced the sea with the sky.

Suzuki: The original story concept placed the setting for the fights among battleships in the outer space. In fact, before this project I had developed the setting for Vandread, so I thought I could reuse some of that material. However Murata pointed out that it was impossible to have musketeers exchanging fire in outer space, so he suggested the sky was a better place for the setting.

Chigira: Therefore the whole picture changed and it was a good thing as this also provided the right setting for those kids and their lives. Indeed we liked the image of a small silver vanship flying in the blue sky and through the white clouds.

Going from “cold outer space” to a “sky with blowing winds”

IN: So at first you thought, among other possibilities, to have outer space filled with air

Chigira: But as I told you, Mr. Murata said that “to develop that story concept, the sky is definitely better as a setting”

IN: However, scenes that are easy to draw in outer space are more difficult to draw if there is air. For instance the hair and the hem of the clothes have to move according to the winds, the wires hum with whistling sounds and animating all that is more complicated.

Chigira: For that reason the realistic chara design created by Mr. Murata highly contributed to make that universe alive. To say, that choice in the chara design and its distinctive feature eventually contributed to the visuals of the world of LastExile.
Indeed, for an illustrator that was a hard task, but looking at the high quality of his work to the point that you can really “feel” that world, it makes him really proud of what he has created.

IN: The choice to make Claus and Lavie young kids made this world more enjoyable for the intended audience, yet at the same time it was possible to show a more adult world, which was the original purpose. Even watching this show without any deep knowledge, it is easy to see that it is based on the society and the science before and after the First World War, as you put right from the beginning airships floating like balloons as to declare “this is a world dominated by swirling winds”, then with a sudden change we are taken back to the ground to see the enthusiasm of Claus and Lavie for a minor race, so all in all it was a nice way to introduce the viewers to this world.

Chigira: I wanted to properly show how the people lived in this world, be it the world shown from Alex’ an the Silvana’s point of view, or the everyday’s life of Claus and Lavie. As well as the kind of world in which Claus and Lavie desire to live in. I think that the first and the second episode as a whole did a good job at showing this. Showing from the very start a mysterious world, yet not the best world to live in...

Spoiler: show
This part is tough, I am not sure it is 100% correct. So I put here the original text, maybe someone can improve my translation attempt

IN: 逆に導入部が非常に入りやすい世界観だったので、見終わった後で疑問が山のように出てしまいました。設定を見返してみると、「入りきらない設定」が多いですね。物語と融和しているので気にならないのですが、個々の説明が尺不足で割愛されたような感じです。ラストなどは、あの2話を5話にしないと完全に理解できないような気もするので、この本を読んだ人には判るようにしたいと思っています。

千明:すみません。見た後で判らないと言われることがあるんですが、基本的に、クラウスが見た世界という形で描いていますので、他の部分は極力語らないようにしています。それとキャラクターをどうやって見せるか、そしてどうやって動かすかを基本にしていましたから、設定についての細かい説明は割愛してしまったところがあります。結局、クラウスと同じで現場も悩み通しでした。特にオリジナルですから、指針となるものがないわけですね。果たしてこれでいいのか、でも動くしかないって…ただクラウスが実にまっとうな15歳の少年として最後まで動いてくれたのが一番嬉しいですね。

IN: 純粋でしたよね。大人達が、守るべきものや自分の正義を見失う中で、自分がやらなければならないことを貫いたという気持ちのよさがありました。

千明:そのクラウスの行動が、結局は世界の中心になっていくのを描いて見たかったという部分があります。

鈴木:それが監督の良心が画面に出ている部分だと思うんですよ。ラヴィは最後まできっちりと生活感が出ていたのが、個人的に好みでした。

千明:ヴァンシップが複座というのが物語の芯にあります。クラウスとラヴィの2人がいなければ飛べない機械ですからね。パイロットとナビという関係だけでなく、作品的にうまくいったのはヴァンシップが1人では飛ばせないという気持ちが一番描きたかったことです。だから、クラウスだけ、ラヴィだけのどちらかだけでは成立しないお話でもあります。

★ここで村田蓮爾さん登場。お忙しい中、なんとか出席していただけました

IN: アメリカのイベントで続編のお話が(GONZOのスタッフから)あった、という噂が流れているのですが。

千明:その時は、村田さんと小林さんには是非お願いします(笑)。

村田:その時は、前ほど大変にならない程度に(笑)。

千明:じゃあ、今からプロットは書き溜めておきましょう(笑)。

IN: 今は、企画意図をうかがっているところです。村田さんのキャラクターが風を感じるものなので、世界観が決まったという話でした。

村田:いや宇宙では無理なので、空が欲しいといい出しただけなんですけど。

千明:前田さんが最初に描いてくれたヴァンシップは、宇宙が舞台だったので密閉型のコクピットだったんですよね。

村田:でも宇宙じゃなくなって空になったので、自分の好きなメッサーシュミット(注2)とかのイメージをヴァンシップに入れ込んで。さらに宇宙服だと、服飾とかもこだわれないですが、飛行服ならばマスプロ生産の工業化されるちょっと前くらいの雰囲気を取りは入れられますし。空の絵が欲しかったから、クラウスが必要だったんじゃないでしょうか。舞台が宇宙だったら、アレックスだけの話でもなんとかなったような気がします。

IN: On the contrary, since the preview gave a quick overview of the whole world, as soon as it ended lots of questions rose as big as mountains. Looking back at the model sheets, there is so much material that “could not fit in”. I don’t mind it since I eventually came to understand the story, but I feel like some specific details were omitted because of lack of space. For instance, it is not possible to understand the “LAST” thing [of the title] either after two episodes or after five, so I’d like to provide some additional explanation to those people who read this book.

Chigira: I am sorry. Although it may be true that it is not possible to get a clear understanding of everything after watching the show, basically that’s because I tried not to tell everything at once, as I wanted to show the world through Claus’ eyes. What to show of a character, how to show it, how to make him act was based on that assumption, so there are details from the model sheets that were omitted. But the same can be said about Claus, and that made the storytelling more complicated. This is an original story after all, so there is no predefined guideline. We made this choice, although we were not sure it worked… I mean, starting with Claus as an absolutely honest 15-years-old boy who moves through the story till the end.

IN: A pure soul indeed. Most of the adult people have lost sight of justice and of what they should protect, it seems like they do what they do just because they have to.

Chigira: And there comes the part where I wanted to show that the actions of “that” Claus play a key role in this world.

Suzuki: Whereas Lavie had a deep desire for a simple happy life, which I personally liked the most. I think that’s where the Director’s inner conscience appears in the show.

Chigira: The fact that a vanship is a two-seat aircraft is at the core of this story. It is a machine that cannot fly without the two, Claus and Lavie. I wanted not only to show the deep bond between the pilot and the navi, but also the fact that flying in a vanship is not something you can do by yourself but it needs cooperation to achieve what you aim for. To say, the story cannot move forward either with Claus alone, or with Lavie alone.

★ At this point Range Murata shows up. Although he was very busy, he was able to attend [this interview].

IN: In an event in America there were rumors (from GONZO’s staff) about a sequel.

Chigira: Then you should ask Mr. Murata and Mr. Kobayashi for the details, please (laugh).

Murata: But at the moment it is not as developed as you’d expect it to be (laugh).

Chigira: If so, then let’s decide and write down the plot right now (laugh).

IN: Now, let’s go back to the original project. The characters Mr. Murata drew needed to “feel” the wind, so the setting for the story came from that.

Murata: Well, they would not work well in outer space, so I simply said they needed the sky.

Chigira: Mr. Maeda’s initial vanship design had a sealed cockpit because the setting was outer space.

Murata: But when the idea of outer space as the setting was abandoned and the sky replaced it, I could draw inspiration from my favourite Messerschmitt car (Note 2) and put some details from there into the vanship design. Also, with space suits I could elaborate the outfits less, but with flying suits I could bring into their design the ambience of the pre-industrial era. With the sky as the setting, then a character like Claus was needed. If it had been outer space, I believe that Alex would have been sufficient to develop the story.

Spoiler: show
Another tiny bit... I'm not sure on the translation of a couple of things though...

IN:工業品が工芸品でよかったですね。高度計の針の精密な動きを見て「あー、これなら電気なくても飛べる」と納得でした。

Murata:8耐なんかはリアルにやっているので、機械に詳しくない人でも判って貰えたんじゃないかな。アルが抽選にいくのは、さりげない千明さんのサービスですよ。

IN:最終話はかなり本で説明したいと思います。季節の逆転なども編集の途中で気が付いたんですよ。(この辺りは、本書内大事典を参照)

IN:話を戻しまして、最初からキャラクターデザインは村田さんで決まっていた、と聞きましたが。

Murata:あ、そうなんですか。最初はストーリーの細かい部分が決まってなくて、説明を受けたのはアレックスの戦闘に生きるさまだったかな。それで、こういうキャラクターにしましたと提出して、そこでシナリオが上がって来たら、ぜんぜん違う事になっていて、慌てて修正を入れて。シルヴァーナの面々は、アナトレーやデュシスの人間よりも、もうちょっと進んだ服飾、マスプロで作るようになったくらいの軍服のイメージを取り入れて。より進んだ装備を持っている特殊部隊というか、実験部隊のようなイメージが出せれば、と。宇宙空間よりは空の方が似合うデザインにしていったら、3Dのスタッフが今までできなかった技術を導入して空や雲を作ってきたんですよ。そこで、それに負けないようなキャラクターとメカに仕上げて、という繰り返しで。そこで、千明さんには、相談によく乗って頂いて。

Chigira: 作りたいイメージを話すと、色々絵になって上がってくるんですが、それがまた凄い出来がいいんですよ。現場は大変でしたが、空にして良かったな、と。

Murata:画面によく写る戦闘シーンの中で、なによりもスピード感が重要だろうと思って、飛翔感を大切にしたかったんです。そう考えたときに、ヴァンシップのように小さい飛行体がスピード感を出すには宇宙では無理で、大気の中を飛ばして欲しいと強く主張したのがありますね。表現的に、すぐ近くを動いているものを見せるには雲と空の動きですから。その部分は3Dのスタッフが頑張ってくれました。きっかけとしていい出したのは僕かもしれないですが、結局ああいう映像になっていたのは、千明さんをはじめとするスタッフの努力だと思うんですよね。

Chigira:ちょっと前だと難しかった、3Dで雲の流れが今回作れるようになったのが、非常に効果的だったと思うんですよ。

オープニング映像が全ての世界観を統一した

IN: The industrial equipment is more like industrial-art equipment. When I looked at the precise movement of the needle of the altimeter, I realized “Ah, even without electronics it is still possible to fly”.

Murata: The 8 [hours] endurance [race] was as realistic as possible, so I wonder if even those who are not familiar with mechanics could understand it. Al drawing lots was a gratuitous scene by Chigira, though.

IN: I would like to explain more about the final episode in a dedicated book. For instance I noticed the change of seasons in the middle of the editing (For further details, see the glossary within this book)

IN: Back on topic, I heard that Mr. Murata had decided the character design from the beginning.

Murata: Oh, not really. At first all the details of the story were not fixed yet, so I was told it revolved around Alex and his life devoted to battles. As soon as I created his character design I submitted it, however the scenario for the story had already changed so they hurried me to introduce some corrections.
All the crew members of the Silvana needed more “modern” outfits than those of the people from Anatoray or Disith, so their military uniforms were inspired by the industrial revolution era. They resembled those of the special forces who receive the most advanced equipment, like experimental units. Although I adapted the design - originally intended for the outer space - so that it looked good for the sky, the 3D staff introduced techniques to draw the sky and the clouds that I was not familiar with. Therefore some already finished characters and mecha did not integrate well and had to be redrawn. That’s when I turned to Mr. Chigira for a consultation.

Chigira: We talked about what we wanted it to look like and came up with various sketches to make it looking awesome again.
Indeed the setting was difficult to work with, but I am glad we chose the sky.

Murata: To make the fight scenes look great on screen I thought that the sensation of speed is the most important one to give the true feeling of flight. If you think about it, it is impossible to do it in space, that’s why I strongly insisted to move the setting to the sky, where a small fast aircraft like a vanship can give the actual sensation of speed. In fact, it is the movement of things in the background that produces the sensation of the clouds and the sky moving. The 3D staff worked hard on this. I only identified this opportunity from the start, but it was the effort of Mr. Chigira and the staff that eventually transformed this idea into reality.

Chigira: That would have been something extremely hard to accomplish in the past, but at that point with the 3D we were able to properly include the moving clouds background.

Spoiler: show
オープニング映像が全ての世界観を統一した

村田:オープニングで平田さん(注3)がこだわってくださって「こんなのを作った」んだけどと毎日のように顔出してましたから、細かいアイデアが出たんです。

IN: 甲板着艦のシーン1つとっても、宙に浮いている機械ではあるけれどデリケートな操作が必要なんだなと思わせる動きでしたよね。

村田:揚力だけで飛んでいるとあれはできない動きですからね。宇宙空間だとあの微妙な表現は難しいです。浮揚感を表現してみたかったというのもありますね。

千明:オープニングが1つの作品の指針になりましたね。「いきなりこれかい!」という密度だったですから、いい意味でスタッフにプレッシャーになっていました。

村田:それまでは、どんな世界観なんだかよく判らないというスタッフもいたので、オープニングの映像はスタッフの意思統一には非常に功績があったと思いますよ。あれが全てですからね。僕と平田さんの席が近かったのはよかったです。作っているのを見ながら、雲の動きなんかは僕もずいぶん色々言いました。水蒸気なんですからこういう動きにしましょうとか。そうしたら、「いやいや、これでいいだろ。今日は勘弁してくれよ」とか平田さんは口では言ってるのに、夜中に一生懸命に僕が言った動きに直していて、「これでどうだ」と真剣でした。あれは本当に互いに刺激になってよかったんじゃないですか。

千明:「ちょっと直した」と言いながら大きく変わっているんですよ。

村田:あのオープニングで雲の動きであるとか風の流れを見せられると、こっちも負けてられないという気がして、デザインとかを直しますし、他にも3D班が何かやると、よーしこっちもという感じでみんなで競い合って作ってましたよね。自分も最低限、これらに見合っただけのものにしないとと考えましたから。

千明:そうそう、ラストエグザイルって、関わった人、みんながそういう感じで仕事していたよね。

IN: なぜご自分で手がけず、平田さんにお任せしたのですか?

千明:放映までにやらなければならない作業を、色々やっている訳ですよ。それで1人で抱えちゃいけない。どんどん周囲を巻き込んでいくのが大切なんです。どうしても1人で抱えると煮詰まってしまいますから。ただ進行から見ると、監督がOPやEDにこだわると他の作業が遅れるから、他の人に任せて別ラインで進めたいという意見もあったんですよ。結局、1話はなかなかイメージがまとまらなくて、それで平田さんにお願いしたというのもあります。

村田:覚えていますよ。1話のAパートのコンテが上がったのが1月6日なんですよ。

千明:よく覚えていますね、去年の話なのに(笑)。

村田:ええ、忘れもしません(笑)。

鈴木:実際作業は1~2話の方が、その後の話よりも遅かったそうですね。

村田:4話が登場キャラが少ないので、一番早くコンテができたというのもありますけど、1話2話のキャラはまだそのときに上がってなかったですからね。だから1話のコンテが上がったときに、シルヴァーナのキャラクターが全員出ていてすっごくびっくりしたんですよ。聞いてないキャラまでいて死ぬかと思ったです。最初は、シルヴァーナクルーは優先度低いので、もっと後で聞いていたんですけど、制作から「すぐに作打ちに入りたいんで全員上げてください」と言われて。「え、聞いてないよ」と本当に驚いたですね。

IN: 結局、打ち合わせの予定で上京してそのまま実家に帰られなかったそうですが?

村田:それどころかずるずると1年帰れなくなって、やっと帰ったら観葉植物がみんな枯れてました。家に帰ったら緑がないんですよ。尊い犠牲です。(注4)

IN: 4話くらいまで並行で制作されていて、ラッシュを見ながらコンセプトを煮詰めて作ったオープニングだと思っていたのですが、今のお話だとオープニングをお手本に各話が製作されたということなんですね。珍しいですね。

千明:3話は正味2週間の作画でしたが、途中で村田さんが修正入れてますよね。そういう意味では村田さんの作監修正が至るところにありますよ。

村田:途中でレイアウト切ったり原画描いたシーンがけっこうありますよね。でも、直し始めるときりがないし、枚数必要で思ったより時間がかかったよね。もう1日24時間じゃ足りなくてスタジオに居着いて切れまくっていたデザイナーでした。あんな酷い目にあったのは初めてです(笑)。

IN: 設定を知らなくても理解できる描写が色々ありましたよね。モランの銃兵は伝統とか歴史のある職業で、ヴァンシップ乗りは新しいけれど自由な職業というのが、見ただけで理解できるのは凄いアニメだと思いました。

村田:せいぜい10数年ですから、ヴァンシップ乗りは。そのあたりはもう少し描きたいところがありましたね。

The opening video, a comprehensive worldview

Murata: Small ideas were continuously coming out because Mr Hirata (Note 3) almost every single day showed up and insisted in telling me “I made this” about the opening.

IN: Even looking just at the scene on the landing deck, it makes you realize it is a critical operation because you have aircraft floating in mid-air.

Murata: That maneuvre is impossible if you fly only by dynamic lift. In outer space such a critical operation is quite complicated. Here I wanted to reproduce that sensation of floating.

Chigira: The opening became the touchstone for our work. Since it was so packed as to say “let’s show everything at once!” it put the staff under pressure, although in a good way.

Murata: Until then, most of the staff did not know what kind of setting we were working on, so I think that the opening footage was able to provide a common view to the whole staff on what we wanted to actually achieve. That’s it. It was a good thing that Mr. Hirata sat next to me. Seeing his work in the making, I could really talk about many things, for example the movement of the clouds. Since it is water vapour, I wanted it to move in a certain way. In that case Mr. Hirata exclaimed “No no, it’s better this way. Forgive me for today”, so I fixed the movement the way I was told, working very hard till midnight and then I came back to him earnestly asking “what about this”. It was a really good thing that we could help each other like that.

Chigira: He changed it completely despite saying “I fixed it slightly”.

Murata: Seeing the clouds moving and the wind blowing during the opening I felt like I had to keep up with that example so I remade the design, also the 3D group did the same so it seemed like we were competing against each other. I really wanted to make something at least as good as theirs.

Chigira: Oh yes, all the people involved in LASTEXILE worked with such feelings.

IN: Why did you choose to entrust Mr. Hirata instead of dealing with it by yourself?

Chigira: There is always a lot of work to do before the airing. You can’t do it all by yourself. That’s why it is fundamental to involve other people. On the contrary doing it all by yourself will eventually take you to a standstill. Looking at how things usually end up, if the director spends too much time on the OP and ED the rest of his work is delayed, so we came to the conclusion to leave them to the other people so that I could focus on the rest. Nevertheless, it happened that the first episode was late, so I had to ask Mr. Hirata for help.

Murata: I remember. The script of the part A of the first episode was completed on January 6th.

Chigira: I remember it well, after all it just happened last year (laugh).

Murata: Yes, how can I forget it (laugh).

Suzuki: Looking at the actual work, episodes 1 and 2 took longer than the rest of the episodes.

Murata: For instance episode 4 had few characters appearing and the script was prepared in advance rather quickly, however at that time the characters for episode 1 and 2 were not ready yet. So when the script for episode 1 came out it startled me that all the characters from the Silvana had to appear already. There were even characters nobody asked me for, so I almost wanted to die. At first the crew members of the Silvana had low priority because they were requested at a later time, but then the production told me “please provide all the crew members as we want to show them all from the very start”. That surprised me for sure as I replied “Nobody told me about that before”.

IN: After all, you had planned just a business meeting in Tokyo but you intended to go back home, didn’t you?

Murata: On the contrary that restrained me from going back home for a whole year so when I eventually returned back home all the houseplants had withered already. There was no green when I arrived. A heavy sacrifice indeed (Note 4).

IN: The fact that the production was working almost in a rush to animate things in parallel up to episode 4 would make me think that the opening was some sort of conceptual summary, but now you are telling me that the episodes were produced with the opening as a model. It’s quite unusual, isn’t it?

Chigira: Episode 3 requested a total of 2 weeks drawing, but with Mr. Murata introducing some corrections along the way. In a sense Mr. Murata’s product supervision is everywhere.

Murata: There were many scenes in which I had to draw key frames in the middle of the editing of the layout. It seemed like there was no way to fix them as they requested more time and effort than expected. 24 hours had not been enough, so I had to stay at the studio another day to take care of the editing, being the designer. It was the first time I personally experienced a hard time like that (laugh).

IN: There were many things everybody could understand even without knowing the model-sheets. Being a gunman like Mullin was a traditional and historical job, however I thought that a free Vanship courier was a completely new type of job that could be understood only watching that incredible animation.

Murata: The Vanship courier job was intended as being about ten years old. I wanted to provide some more details about it.

Spoiler: show
This part took longer than expected. I am not completely satisfied with the translation, yet it is the best I could come up with.

細部まで作り込まれた設定画面が物語を支えた

IN:メカデザインも細かいところまで凝っていますね。

村田:メカデザインの小林さんは、エグザイルに入る前にかなり悩まれたそうですよ。ヴァンシップのデザインを非常に気に入ってもらえたんですけど、作業しなければならない内容を考えると、ものすごい作業量だというのが長年の勘で判ったそうですから。実際細かい設定を描いていくと簡単には作れなくて、最後の最後まで考え続けたそうです。

鈴木:例えばヴァンシップのメーター等の細かさがその1つです。全部の設定に整合性と理屈がついているんですね。ここまで設定を作って頂けたのなら、それに合わせたところまで他の設定を作りこむ必要があるな、と。

村田:機械はごまかしがきかないんですよ。どういう原理であれ、その世界の道具に適応したものは、見る人が見ると、これはこう動くべきだとか、これはこう動作すると判りますから。昔の車は見ただけで動作が判りますね。そういうことはアニメでもやらなければいけないのに、なかなかできないんです。小林さんの凄いところは、ちゃんと見ただけで動作原理の判る設定を作ってくださることだと思います。そういうものをできるところが一流なんです。例えば、僕が銃の設定が欲しいとお願いしたら、本当に銃としての機能のある、しかもあの世界ならではの銃が出来上がって来るんです。世界観から考えて、この機能ならできるできないの判断がしっかりされていて、ここまではできるけど、これ以上の機能は無理です、と上がってくるのはさすがでした。面白いのは前田さんも、それを感じてらっしゃるんで、マニアックな設定をかなり煮詰めてもらえましたね。「蓮爾さん、これブガッティ(注5)のメーターですよね」と元ネタをすぐに感づかれてしまう。

鈴木:そうですね、前田さんは非常に引き出しの多い方で「シルヴァーナの甲板ってどうなの」とか聞かれて「小型機を係留する鉄甲板です」と説明すると、それだけで、ワイヤー繋留用の穴の空いたものを描いてくれたんですね。十分世界観が判ってるな、と。

村田:そうそう。例えば小林さんの描いたヴァンシップの整備中の絵とか、前田さんの描いたシルヴァーナとか、メカニック部分についてはみんなで打ち合わせしているときにだらだら話しながら「こうだよね」とか言ってさっさと描くんですよ。それが面白くて僕は、キャラ担当なんですが、一緒になって描いてました。でも2人とも手が早いんですよ。1時間ほどで凄い精密な絵が上がって来て、こっちはキャラ描きながら「どういうこと?」とえらく驚かされました。

千明:そうなんですよ。目の前で次々に上がって来るのを見て毎度スゲェスゲェとしか思えなかったです。下描きしていないで、あの精密さ。かっこいいんだ。

村田:お2人ともそうですね。そのまま、完成図になっていました。僕の描いた、横しかないヴァンシップが3面図になって、さらにCG用の立体構成図になっていくのは、ちょっと僕にはできないですね。

IN:人間キャドですね、そこまでいくと。

鈴木:なんでも世の中には、写真が1枚あると頭の中で立体に再構成して、それを自由にまわして好きなパースで描ける人がいるそうです。

村田:できないよ、普通(笑)。

千明:前田さんなどは、シルヴァーナの後ろの発着甲板から、さらさらとパースの付いた絵をいきなり描いたんですよ。見ているこっちはどこ描いてるんだろ、なんて思っていたら、暫くたって「ああ、あそこか」なんて判るんですよ。あれは確かに、頭の中で立体をまわしてますね(笑)。

村田:こっちもキャラクターを一生懸命描いているんですけど、自分のキャラだからどの方向からでも描けます。でも、メカでそれも一方向からの図だけで起こせるのか、ほんとにかなわないなぁと感心して見ていました。

IN:世界観があれだけ伝わったのは、ビジュアルの威力という感じですね。

千明:そうですね、あの緻密さがあったから、逆にお話を作るのに集中できたと思います。

IN:やり残したと思うこととかはありますか?

千明:残念だったのは、アレックスが薔薇で磔になった後に、クラウスと会うシーンが入らなかった事ですね。「お前のオヤジは偉大なヴァンシップ乗りだった」とアレックスがクラウスに語るシーンのコンテがあったんですが、尺が足りなくて割愛でした。

村田:あれは残念だったなぁ。アレックスがクラウスに、どんなに親父さんを尊敬していたか、どんなに無念だったかを語るシーンが無くなったのは惜しかったなぁ。

IN:それがあれば、全部のミュステリオンをクラウスに託すというアレックスの心情が、より理解できたかもしれないですね。その後の伝書鳩が飛んだり、連絡筒がクラウスに届くのが、実はアレックスの意志だったというのが言葉足らずな感じがします。

千明:たしかに同じ船の中ですが、巨大な船の中で、さらにまったく違う場所ですから、2人が会うというのはどうしても不自然になってしまうので、涙をのんで割愛しました。

鈴木:アレックスは無口なキャラですからねぇ。

IN:無口にもほどがあろうか、と…。

村田:しゃべれよ(笑)。

IN:まだまだファンは根強いですよね。オンリーのイベントとかも開いているようですし。

村田:行きたいなぁ、面割れてないよね。

IN:村田さんバレバレですから、行ったら捕まってどこもまわれないですよ。

千明:じゃあ、ばれてないから僕が行くかなぁ(笑)。

(一同笑)

Incredibly detailed model-sheets to support the story

IN: The mecha design is quite accurate, down to the smallest detail.

Murata: Mr. Kobayashi, who worked on the mecha design, seemed particularly worried before entering the Exile [project]. Although he liked the design of the Vanship very much, considering all the content he had to work on, he almost had the clear perception that it was a tremendous workload. To draw so detailed model-sheets was no easy task at all, so he took his time thinking about it till the very last moment.

Suzuki: The detail put into the Vanship instrumentation is one example. The need for consistency and logic are apparent on all the model-sheets. It’s just that if you start drawing model-sheets in this way, you have to keep up to such quality standards for the rest of them.

Murata: There is no cheating when it comes to machines. Just seeing things adapted into devices of this world, whatever principle they are based on, the viewer knows that it should move in this way or work in that other way. You look at an old car and you immediately know how it works. So, even if it’s just animation, it’s not that simple. I think that Mr. Kobayashi has the amazing ability to create model-sheets where the mechanics can be understood just looking carefully at them. He’s the best at that. For example, if I ask him to draw a gun he comes up with a model that really functions as a gun and at the same time is unique to that world. From a simple description of the settings he ponders over it and determines if a functionality is possible or impossible, how far he can go and where he must stop. It’s quite interesting that also Mr. Maeda had the same ability, so he produced a set of incredible model-sheets as well. “Mr. Renji, this indicator is from a Bugatti (note 5), isn’t it?” he said as he immediately recognised some vintage stuff.

Suzuki: That’s right. Mr. Maeda asked me, being an expert [on military stuff], “What about the Silvana’s deck?” to which I answered explaining that “It’s an armoured iron deck mooring small aircraft”. With that simple piece of information he realized he needed to draw the housing for the mooring wires. He had a perfect understanding of how this world should look like.

Murata: Yes, yes. For example, with Mr Kobayashi’s sketches of the vanship during maintenance, Mr. Maeda’s description of the Silvana, we took our time to discuss the mechanics so that we could agree “let’s do it this way” and draw things quicker. Being in charge of the characters, it was interesting that we could figure out things together. Both of them were quick workers. An amazingly precise picture came up in about 1 hour and I was surprised to be asked “what about this?” while still drawing some characters.

Chigira: That’s right. Every time I saw them coming back to me I could only think of their work as SO COOL, SO COOL. What an attention to detail, they were not just sketches. They were so good.

Murata: Both of them, that’s right. Their works were already completed the way they were. The side views of the vanship that I had drawn were combined into three-dimensional drawings that eventually got converted into CG solid models, which is something I myself could not really do.

IN: They are like a human CAD, the way you describe them.

Suzuki: Take whatever you can think of in the world, there are people who, starting from a single photograph of it, can quite easily recreate its three-dimensional model in their head and draw it from any perspective.

Murata: I cannot do that, usually (laugh).

Chigira: Mr. Maeda at one point drafted a scene depicting the taking off and landing from the rear deck of the Silvana from a certain perspective. He started to figure out in which way to draw it, thinking hard about it, then after a while he exclaimed “Ah, is it that?” since he had understood it. That sounds like coming up with the solid model inside your head (laugh).

Murata: Although this makes it harder to draw the characters, I can draw them from any perspective since they are my creation. But being able to do the same with a mecha from a single view is something I consider fascinating although beyond my ability.

IN: The emotions brought by the power of the visuals contributed a lot to the appearance of this world.

Chigira: Well, when I saw that kind of dedication, I decided I could concentrate on the story.

IN: Do you think there is something missing?

Chigira: Well, it’s a shame that after Alex was crucified with the roses we could not place a scene where he could meet Claus. We envisaged a scene where Alex could tell Claus “Your father was a great vanship pilot” but there was not enough space to fit it in so we omitted it.

Murata: Really disappointing. Alex respected Claus’ father so much that it was a pity we had to leave out a scene with Alex showing how regretful he was.

IN: With that, maybe Alex’s decision to entrust Claus with all the Mysteria might have been better understood. After all it’s Alex’s will that a carrier pigeon is sent at a later moment or that Claus is given the message tube, although no word from him is attached.

Chigira: Sure, they were on the same ship, however it was a huge ship, an unknown place where it appeared so unnatural for the two of them to meet, so I left it out although I was holding back my tears.

Suzuki: Alex is a taciturn character after all.

IN: An extremely taciturn one indeed…

Murata: But he can talk (laugh).

IN: The fans are still firmly rooted. It seems like the opening of an invitation-only event.

Murata: I’d better go, before they spot my face.

IN: Since Mr. Murata is so popular, he is recognised wherever he goes so he cannot move freely.

Chigira: Yeah, so what if I go before they find out (laugh).

(Everybody laughs)

Spoiler: show
パート2が製作されれば全ての謎が解かれるかも…

IN:ディーオにカルタシスがなかったかなぁというのが残念だったんですが、あの死に方はもったいないというか無念かと思いますが…。

千明:ラスト前に地上に降りてきたディーオが、ルシオラがいないことに気が付くというの話もシナリオであったんですけど、ちょっと尺が足りなくて…。

鈴木:DVDのライーナーでフォローしてますが、コキネラ達が、ディーオを拾いにいったと?

千明:そうです。打ち上げの時に役者さんたちには、続編があるとすれば、それはディーオの逆襲になります、と宣言しましたから(笑)。あとは、アルも3年後とか4年後だと、大きく変わりますよね。あれくらいの歳の女の子が一番変わりますから。

IN:そういう話になるのですか?

千明:秘密です(笑)。

IN:そういえば、年齢変更によってかなりごちゃごちゃしているんですが、アルは何歳です。

千明:9歳。

村田:11歳じゃないのですか?(注6)

IN:マドセインの娘はそれより下でしょう?

千明:彼女はしっかり9歳です。

IN:9歳なのに立派に従軍看護婦やってましたね。

村田:え、14歳じゃなかったっけ?(注7)

鈴木:その辺りは、プロデューサーサイドの都合とか色々ありまして…。ソフィアも村濱さんが「20歳過ぎたら、視聴者に嫌われる」と言いました(笑)。

村田:あれで19歳は無いよ(笑)。

鈴木:で、ライナーでは自称19歳となっています。士官学校の特別幼年科から考えると、最低でも25歳くらいではないか、と。

村田:キャラを作った人間としては、27~8歳に考えてたんだけど。ラヴィは、僕が14歳くらいにしたいと下げたので、文句無しなんですけど。

IN:クラウスとラヴィが大人になりきっていない年齢が、凄く物語の底辺を支えていたと思います。あの年齢であれば、どんな新しいことや変化にも対応できるので、理想的だと思います。

千明:ラヴィは大変動かしやすくて、私の気持ちの代弁をしてくれるようなキャラクターでしたね。クラウスはちょっと難しいですが、ラヴィは日常生活を描くのに本当によく動いてくれました。

IN:こうして生の声を聞くにつけ、もう5話~6話欲しかったなぁと思います。

鈴木:本当は1年やりたい、とは皆でいっていましたが、今のご時世で深夜に1年やるのは難しいですので。それでできるだけ削って2クールにしたんですが、結局収まりきらなかったですね。

千明:大変楽しい仕事でした。ディレクションをするのは手応えがありました。プロデューサーとか、企画とかと色々調整がありますからね。ただ現場では監督って案外弱い立場なんですよ。誰かのいいところを取り入れると誰かの意見を捨てなければいけないという苦しさもありますけど。説得力のある会話をするのが監督の役目かなぁ。そこで負けると全てが終わってしまうという緊張感が継続した作品でした。自分自身としても、強くなれた作品でもありました。

村田:凄いプレッシャーでしたよ。千明さんのところには近寄り難いオーラがばりばり出ていました。千明さんの机にいこうとするんですが、制作の娘に「この頃どうよ」とか話しながら呼吸を整えて、エイヤッ!と向かわないといけなかったです。

千明:それはテンパッてるときですよ。普段はそんなに怖くないはず(笑)。

村田:いやいや、今コンテを吟味されてるところだから、これが終わったら声かけよう、みたいな習慣ができてました。後は、堀内さん(注8)のところも近寄り難かったかな。

丹野(注9):部屋も違いますから、喫煙ルームと禁煙ルームの差でしょうかね。堀内さんは真面目な方で、あの忙しい中でもアニメ雑誌の版権絵を全部やってくださいましたから。

千明:自分に厳しいけど、他人にも厳しい人ですよ。

村田:2週間後に締め切りで厳しいけれど、俺ができるんだから君らもできるだろうという雰囲気がありますね。

IN:理解不能とか設定の齟齬がある部分はないのですが、どうも尺に会わせるのに割愛したシーンが多くてもったいないなぁと思う部分がありましたね。

千明:シナリオがペラ100枚(注10)もあるんで、やはり削っていく部分が多いという作りになってしまいました。それを練り上げ、コンテからも削るという非常に贅沢な作りだったことはご理解下さい。3クール相当の内容を、2クールに濃縮したということで…。

IN:視聴者的にいうと、他はともかく最終話は前中後編に分けないと理解できないくらい詰まって時間が飛んでいると思います(一同笑)。

千明:はい。それでも、最後は一応1枚つづ絵は出したんですよ。数秒ですけど。

村田:プレステールと地球の場面転換はめまぐるしかったですね。

千明:四季の変化の絵を入れて、海を入れて地球の時間の移り変わりは出したんですけどね。まぁ、足りなかった部分は、何とか続編で。

IN:先ほどもおっしゃってましたが、続編の予定は?

千明:よく聞かれるのですが、これだけ規模が大きい作品ですし、普通の続編のように簡単にはやれません。やはり、GONZOの節目のときとか、何か大きな形にならないとなかなか動き難いのも確かです。でも、個人的にはぜひともやりたいですし、いろいろと考えてはいます。

IN:期待しています。

一同:期待して下さい(笑)。

IN:本日はお忙しい所、ありがとうございました。

(2004年9月10日 新宿にて)

If a second season is produced, will it solve all the mysteries…

IN: I was annoyed by the fact that there was no catharsis for Dio, do you think his death was a waste or do you have any regrets on that…

Chigira: The screenplay required that, after Dio had noticed that Lucciola was not there, the scene ended with him falling to the ground, but maybe it was inadequate…

Suzuki: Doesn’t the DVD liner add to that, which implies that Coccinella and the others rescued Dio?

Chigira: That’s right. At the cast party I declared to the voice actors that in case of a sequel it would most likely be about Dio’s counterattack (laugh). Moreover Al would be three or four years older, which means she would change a lot. That’s because as girls grow older, they change the most.

IN: Is there any chance it will be serialised?

Chigira: It’s a secret (laugh).

IN: By the way I’m pretty confused by some age inconsistencies, so how old is Al?

Chigira: She is 9 years old.

Murata: Isn’t she 11 years old? (note 6)

IN: Isn’t the daughter of Mad-Thane younger than her?

Chigira: She is absolutely 9 years old.

IN: Indeed, an incredibly good military nurse for a 9 years old girl.

Murata: Eh? Wasn’t she 14 years old? (note 7)

Suzuki: Well, a different take on this came into play from the producers’ side… Mr. Murahama also said about Sophia that “the viewers won’t like her if she is older than 20” (laugh).

Murata: Well, no way she is 19 years old (laugh).

Suzuki: Actually, in the liner notes she is a self-proclaimed 19 years old. However, even taking into account the special youth section of the military academy, she should be at least 25 years old.

Murata: As for the other characters I created, I assumed they were about 27-8 years old. For Lavie however, I deliberately lowered her age to 14, so this is undisputed.

IN: I think that making Claus and Lavie still underage was the perfect choice to support the development of the story. That age is ideal in that you can easily cope with new things and changes.

Chigira: Lavie was a straightforward character, who spoke for my feelings. Claus was a more serious character, But Lavie was perfect to show the everyday life.

IN: After listening to a frank discussion like this, I wish there were 5 or 6 more episodes.

Suzuki: I actually wanted to run the show for one year altogether, although everybody kept telling me that nowadays it is impossible to have a late night [anime show] running for a whole year. That’s why I stretched it as much as possible and made it into two seasons, but it appears I could not fit everything in it, after all.

Chigira: In the end it was a pleasant job. I had to be very responsive while taking care of the direction. I had to manage many changes with both the Planning [team] and the Producers. That of supervisor is an unexpectedly delicate role in the process. There is the hardship to reject somebody’s view because of someone else’s good points. So his role is to guide the discussion with his persuasive powers. In fact it was a job that provided a continuous sense of tension as if everything would be lost if you messed up things. However, it was a job I myself was strongly used to.

Murata: We were under a terrible pressure. There was a sort of strong aura surrounding Mr. Chigira that made him hard to approach. Whenever I had to go to the desk of Mr. Chigira first I asked the lady from the production “Hey, how is it going these days” to calm down a bit, then UGH! I had to go and face him.

Chigira: That sounds like I have a bad temper. There is no reason to be that scared (laugh).

Murata:Not at all, since the storyboard was carefully examined I used this approach until it was over, it was a habit of mine. After all, wasn’t it hard to approach the desk of Mr. Horiuchi (note 8) as well?

Tanno (note 9): Because the rooms are also different, like the difference between a smoking room and a no-smoking room? Mr. Horiuchi was a serious person who, although very busy, took care also of all the copyrighted pictures to be included into the anime magazines.

Chigira: He was strict both with himself and with the others.

Murata: Although being strict on deadlines coming in 2 weeks, he has the ability to instill the feeling that if I can do it, then you can do it too.

IN: There are no parts that are actually obscure or that have any inconsistency if compared to the model sheets, nevertheless it looks like many scenes were omitted because of time constraints, which I believe was a waste.

Chigira: The screenplay had about 100 half-papers (note 10), so we made a selection where many of them were scrapped. That was a refinement, but please keep in mind that removing some parts from the storyboard was an unusual luxury. I truly condensed the material for three seasons into two seasons…

IN: Anyway speaking on the audience’s behalf I think that, contrary to the others, the last episode is so packed with stuff and the time is flying to the extent that it would be difficult to understand it if it weren’t divided into a first part and an epilogue (everybody laughs).

Chigira: Yes. However I wanted to give more or less a final picture of what was going on. It’s quite long though.

Murata: Actually the transition from Prester to Earth was the turning point.

Chigira: We showed the alternating of the four seasons, the ocean, and the passing of time on Earth. Well, that’s a sequel in its own way, albeit insufficient.

IN: I already asked but, any plans for a sequel?

Chigira: I am often asked this, but this was a large work so I cannot come up with an ordinary sequel. Indeed, that was a turning point in GONZO’s history, so it is certainly difficult to improve if we don’t create something great. However by all means it’s something I personally would like to do, so I think a lot about it.

IN: We’ll be looking forward to it.

Everybody: Please look forward to it (laugh).

IN: Today this has been a very busy event, thank you very much.

(September 10th, 2004, in Shinjuku)

---

Spoiler: show
注1:GONZOの村濱会長のこと

注2:旧ドイシ軍の名戦闘機Me-109などを製造したメッサーシュミット社が、1950年代に作り上げた3輪の小型車のこと。

注3:OP、EDを手がけた平田智浩氏のこと。

注4:村田氏は大阪在住で、打ち合わせの為に東京に出てきて、そのまま作業に入ってしまい、帰ることができなくなった。また、その家はメタリックな内装なので、観葉植物がないと寒々しくなってしまう。

注5:フランスの名自動車デザイナー、エットーレ・ブガッティの作った車。卓越したパフォーマンスと小粋なスタイルを誇り、「走る宝石」とまで言われる。

注6:設定上の肉体年齢は11歳、ただそれは肉体年齢であって、精神年齢は9歳くらいと考えていたそうである。

注7:1話当時のおどおどした雰囲気は確かに9歳、後半は世間にもまれて、かなりしっかりしておりアルより年上に見えるのは確か。

注8:アニメーションキャラクターデザインの堀内修氏こと。

注9:GONZOの版権担当の丹野氏、村田氏の版権回収の都合で、今回同席していた。堀内氏の版権担当もやっており、最後まで裏方に徹した1人。

注10:ペラ1枚とは200字詰め原稿用紙の事で、通常のアニメ作品では70枚前後と言われる。

Note 1: Mr. Murahama is the president of Studio GONZO.

Note 2: The three-wheels compact car that the Messerschmitt company, who also built the old German fighter Me-109, designed in the 1950s.

Note 3: OP, ED were managed by Tomohiro Hirata

Note 4: Mr. Murata lived in Osaka and came to Tokyo for a business meeting, however he started to work on that very day and so he could not go back home. Also, since his house was had metallic interiors it appeared extremely cold without houseplants.

Note 5: A French auto maker, named after car designer Ettore Bugatti. Bugatti's are characterised by outstanding performance and a unique style, so they are considered “running jewels”.

Note 6: In the model sheet it is stated that her physical age is 11, whereas her mental age is that of a 9 years old.

Note 7: The frightened attitude she showed in the first episode is in line with her being 9 years old, however the hardships she faces in the second half of the story make her mature, so she seems older than Al.

Note 8: Osamu Horiuchi, character design animation.

Note 9: [Hideki] Tanno, GONZO Copyright Manager, arranged Mr. Murata’s appearance in today’s session. He is also in charge of Mr. Horiuchi’s, so in the end he is the one who worked behind the scenes.

Note 10: 1 half-paper is a manuscript of about 200 characters, however in ordinary anime production it is usually of 70 characters.
Last edited by -TK- on Sun Dec 04, 2016 11:25 pm, edited 1 time in total.
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Postby Editthesky » Sat Dec 03, 2016 3:35 am

I took a quick look but edits seem minor. For example in note 5, could change to "A french auto maker, named after car designer Ettore Buggati. Buggati's are characterized by outstanding performance and a unique style..."
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Postby Tara » Sun Dec 04, 2016 2:23 am

Woah, I didn't realize this was all here with the edits! :) Great job so far (and so fast, I've been so ... bad... with TLing things) Once you finish up I'll scooch the stuff to the Aerial Log TL section and add it all to the site when I upload the next backlog of things.
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Postby -TK- » Sun Dec 04, 2016 11:35 pm

Editthesky wrote:I took a quick look but edits seem minor. For example in note 5, could change to "A french auto maker, named after car designer Ettore Buggati. Buggati's are characterized by outstanding performance and a unique style..."

Thanks for your suggestion! Please let me know if other parts need some improvement!

Tara wrote:Woah, I didn't realize this was all here with the edits! :) Great job so far (and so fast, I've been so ... bad... with TLing things) Once you finish up I'll scooch the stuff to the Aerial Log TL section and add it all to the site when I upload the next backlog of things.

Finished!
Yeah, I preferred to edit my post instead of making new ones. But the translation is far from perfect... there are some passages that need a cross-check.
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Postby Editthesky » Thu Dec 08, 2016 4:42 am

A few more suggestions:

---

Chigira: The screenplay had about 100 half-papers (note 10), so we made a selection where many of them were scrapped.

Edit: "we made a selection where many of them were scrapped" -> "we produced a revised screen play in which many pages were scrapped."

IN: Anyway speaking on the audience’s behalf I think that, contrary to the others, the last episode is so packed with stuff and the time is flying to the extent that it would be difficult to understand it if it weren’t divided into a first part and an epilogue (everybody laughs).

Edit: "speaking on the audience's behalf" -> "speaking for the audience"
"packed with stuff and the time is flying to the extent that" -> "packed with stuff and moves so quickly that"




Chigira: We showed the alternating of the four seasons, the ocean, and the passing of time on Earth. Well, that’s a sequel in its own way, albeit insufficient.

IN: I already asked but, any plans for a sequel?

Chigira: I am often asked this, but this was a large work so I cannot come up with an ordinary sequel. Indeed, that was a turning point in GONZO’s history, so it is certainly difficult to improve if we don’t create something great. However by all means it’s something I personally would like to do, so I think a lot about it.

Edits ->

Change "alternating of the four seasons" to "seasons changing", "this was a large work" -> "this was a big project" [Also, is there more context on what Chigira meant by "ocean", is he suggesting that they showed the ocean changing in some way?]
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Postby Tara » Thu Jul 20, 2017 7:00 am

Slithers into this thread.

Drops this here.

Finally the whole thing is properly scanned! ♥ Got bored earlier. I'll go back to add the above TLs to the proper pages now that they are in the album. c:

EDIT: and done!
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Postby Tara » Thu Jul 20, 2017 10:05 pm

And then I got bored and decided to do Cicada/the agents page which is here. (it's probably a bit messy, I had some issues)

Spoiler: show
Blind Loyalty ... Cicada and Agents
The only value Guild agents are permitted to have are complete loyalty to the Maestro. But they do not think to doubt it. Because they do not know "freedom" outside of the Maestro's rule.

They do not know "freedom" which is important to humans, in order to carry out the acts to maintain the Guild's system. And devote their lives to the Maestro.

Cicada stands at the top of the agents, even trying to eliminate his genetical younger brother. All for the Maestro.

The colors change the higher the order an agent is in, ending in black. Does this give a feeling of an innocent heart that gradually turns black and discolored?

Text under screencaps:
Agents who support the Maestro. Cicada is the only one permitted to wear black, the color of Lorcia.

For them, the Maestro's existence if everything. If it comes, they are willing to serve as a shield to the Maestro.

While Cicada's subordinates are waiting, Coccinella hands a weapon to Lucciola. It's a scene where a delicate temperature difference can be seen.

The females who serve Delphine also join the battle. At this point, Delphine has lost most of her servants, and was engaged in capturing the Exile.

Bottom text:
Episode Index for People of the Guild

Episode 1: First move (DVD Volume 1)
The battle style mediated by the Guild are a highlight. You can also see the changing situation in the Guild.

Episode 20: Grand Stream (DVD Volume 10)
The description of the technical officers who control the units are interesting to compare to Dio, who is celebrating his birthday.
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