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www.8455com:做积极的消极主义者,跨世纪难点

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www.8455com:做积极的消极主义者,跨世纪难点

戳这里看Daily Texan原文:采访原文

2009年7月3日还身处法国巴黎的Japan Expo,四天后他出现在了菅野洋子的77Live演唱会。演唱会的开场动画便是由他执导的。而此时的菅野小姐已是单身状态。我们不知道会发生什么。

2017年G中区春季比赛演讲稿
(吸引注意力)
Dr. Ivy is coming. I bet this moment, many of you got a picture in your mind. “Doctor, they are devil. Horrible guy” “Mom, I wanna go home! I don’t wanna take injection”
Take it easy. I am here for speech contest. By the way, I am not a monster.

渡边信一郎是个浪漫又神奇的男人,他和今敏、板野一郎、汤浅政明等人出生于50年代末,少年时期正巧赶上日本经济高速发展,伴随发展而来的诸多社会问题,开始引起人们对社会的反思和反省。

你有没有过这样的经历,在接下一件重要任务时,在尝试一件风险十足的新事物时,对未来发展的希望和成功感到无限渺茫,一切都做最坏的打算。

【按:今天看到一篇很有趣的采访文章,是2006年渡边监督在美国演讲后做的,截取一部分翻译。因为谈到好几部作品,就放在《星际牛仔》这里好了。】

《渡边信一郎:监督的旋律》

** (看医务剧的疯狂和英雄梦的起源)**
Dear contest chair, fellow members and guests, I guess many of you have watched some movies or TV series about doctors. Like Fucking you, Mr. Carcinoma, 滚蛋吧,肿瘤君 or American TV series, Grey’s anatomy.
I was a fan of another, Night Shift, stories of doctors at Emergency Department. Those days I imagined myself, Ivy you would make a great doctor, to save people all over the world from suffering. I was so crazy that I didn't want to do the real intern work at hospital, just for watching Night Shift episode by episode. Unfortunately, it only has two seasons, for now. So I gotta back to reality to find the honor or sense of achievement as a doctor. (1:10)

正是深处这样的大环境,《星际牛仔》(《Cowboy Bebop》)出现了,这部作品奠定了渡边信一郎鲜明的个人风格。

可你又不甘心,不甘心哪怕是多微缈的光亮,只要还有一丝可能,就要尝试,不顾一切去努力。

渡边监督表示,音乐是自己许多作品背后的源泉。

创造力与概念(Creation and Conception),双C是监督的旋律。

(医院实习的无聊,简单,重复)
7:00 to 7:30 in the morning., we intern doctor would arrive at the in-patient department and start our work, almost half an hour or even 1hour earlier than most doctors. Draw blood for test, do some physical check. Not like in the TV show, Simple, repeated and tedious.

在西方世界,这部融合了科幻元素的动画,混着菅野洋子迷人的曲调,大受欢迎。甚至现在豆瓣上关于这部作品的评分都高达9.6分,稳坐神作地位。

而最后,其实往往,你会成功。真正拼尽全力而失败的,也不遗憾,因为那其实已经比最坏的打算,优秀了无数个档次。

他说:“他们【粉丝】称赞我作品里的配乐,真的让我很开心。有的时候是先有音乐再做动画的。”

do~

** (质疑,却无奈)**
I was confused. Is this the reason why I am trying to be a doctor?
I did not understand. Is this the value of intern work?
I was like. Are you sure? Here is a diamond,
I am coming for being a brilliant doctor, for saving people from pains and mystery.
I said no. That’s not gonna happen. But I have no idea where to go.

www.8455com:做积极的消极主义者,跨世纪难点。在漫改动画占主流的时候,渡边信一郎,这个不会画画的监督,创造了“四人一狗”的太空故事,这种纯原创作品,无论是当时还是现在,都非常少见。


比如,《混沌武士》的第十四话中有一首冲绳乐曲,其前半部分在动画中完整保留。

动画监督中对音乐最有天赋的人选,非渡边信一郎莫属。

** (去年八月在火车上的故事)**
Then one day of last August, I rushed to catch the train. Sat down, I heard “Doctor” From the broadcast,seemingly they were trying to find a doctor? Oh, Doctor? I am a doctor! So let’s go!
Picked up my luggage and then walked straightly to the nearest steward. Hey, I am a doctor, what could I help?
I saw the light of Hope in her eyes, and then she showed me how to get there and contacted their boss about my arrival.
Then I got aboard again . "A Doctor is on her way, and she is in red. " Sound from an inter-phone of another steward.
What a coincidence, that moment I saw her, she just turned around and looked at me. You are that doctor, right. Ask but like 99% positive. I was like, yeah, I am. Actually, I am an Intern doctor, whose intern at hospitaljust started two month ago, and know very few things. What if I couldn’t handle? But I could reach those doctors. I could do operation according to experts’ guide.
She said that alright, follow me!
Then I was walking through Mountain people mountain sea, meanwhile, I was thinking what emergency it might be? Shall I give the patients first aid, like compression, artificial respiration? As a twenty-two single dogs, my first kiss, how much I hope it’s a handsome young man, my Prince Charming! Or my prince was bleeding? 欧巴, let me help you.
I imagine myself as a superwoman to my 欧巴. Here we are. 失落 Where are my prince?
What? That's my prince needing my artificial respiration, come on, god you must be kidding me. It is a fifty-year old aunt with diarrhea? Return my prince. God also make mistakes, you know. Once again! Still same!
Well, I was hurt! I wanted to disappear right now. You bad guys ruined my dream of being Hero. I was screaming and crying in my mind. I just want to be a hero. Why it’s so hard? (难过)

渡边始终是个另类,无论是音乐还是故事,他都有着很鲜明的个人烙印,无法模仿,没法复制,观众一看就知道,哦,这是渡边的作品。

在看到韩雪的TED演讲之前,我并不知道,真的有积极的悲观主义者这个解释。但我很荣幸在中学时,就感悟到了这个心理特性。并且,在大大小小的自我介绍中,我都会告诉别人,我是个乐观的,悲观主义者。我为自己发现并精辟地总结出这个词,而欣喜不已。但我确实,与韩雪介绍的,不谋而合。

他说:“我做《混沌武士》就是为了这个场景。”

渡边信一郎于1965年5月24日出生于京都,血型A,著名动画监督,代表作包括「Macross Plus」、「Cowboy Bebop」、「Samurai Champloo」等等。

(恢复医生的理智)
However, dream over. I still have the rationality as doctor.

在渡边的作品里,随处透露着他对音乐狂热的迷恋。

在我中考填报志愿的那年,我有两个选择,一是去县里的一中,二是去市里的中学。市中学比县里的教学水平高出N多,可县里的中学可以进奥赛班,市里的中学不一定能进,但是如果志愿报了市里的中学被落选,我就不能回县里上,只有复读一年。

《混沌武士》中的许多配乐是嘻哈风格,采用了例如Shing02的嘻哈音乐人。渡边监督觉得采样以前的音乐素材并加以变化很有意思。他说:“选取以前的音乐素材做出新的混音,很像我做动画的过程。”

在「Cowboy Bebop」中,渡边信一郎将经典西部片与二十世纪四、五十年代的纽约黑色电影(film noir),爵士乐以及香港动作片等元素相结合,同时这样的故事多数又发生在星空之中;在之后的作品「Samurai Champloo」中,他又将冲绳文化和hip-hop、现代日本价值观以及江户时代的武士等元素相杂糅,创造出了另一种令人耳目一新、极富活力的新型时代剧。渡边信一郎的动画就像是陀思妥耶夫斯基《卡拉马佐夫兄弟》那样的“综合小说”类型但是另一种形式上的“综合动画”,好比一个大熔炉,在既定的世界观背景下,将纷纭杂陈甚至相反的元素赶到一起,并在混沌状态中找出一种新价值,渡边也因此以和谐协调各种类型风格并将之整合统一创造出另一种崭新风格(new genre)而为人所知,而他对动画节奏以及配乐选择的把握更是让人津津乐道。

Diarrhea is not complicated to deal. I collected the information and then called a senior to confirm that I was right. I suggested her to drink some water with salt in order to avoid of hydration. After she got off, she may go to the clinic and get some antibiotics.
Case closed with a bit upset. My hero dream…
(遇到另一个乘务员)
Walk back to my seats. On the way, oh, you are that doctor! Thank you! You are so great. No big deal. Just like my daily work.
Just like my daily work...
(如梦初醒)
That moment I was so proud that I stepped out, I was so proud to be one of the doctors, even my hero dream was gone.

菅野洋子一度为《星际牛仔》组建了一支乐队“Seatbelts”,由日、法、美三国的乐手组成,从 TV 版到剧场版,再到电子游戏,所有的配乐都被这只乐队承包了。

但我还是选择了市里的高中,因为我权衡的是,如果我落选了,复读一年,我不过是比同年级人多读一遍书,年龄也未必比他们大,大不了就是没面子,丢一年的面子,这是最坏的结果。可如果我成功了呢?我就可以接受更好的教育和学习环境。事实上,当年的选择,让我收益颇多。

就像嘻哈音乐人用麦克风就能表达自己一样,渡边监督说:“我希望用铅笔在一张白纸上自我表达。”

re~

(升华)
Dear toastmasters, I bet almost everyone has dreamed for something. Don’t you?

剧场版尚未开始之际,菅野洋子就已经制作了配乐,而渡边则直接把剧情融入音乐开始构思故事。

我习惯把最坏的结果都拿出来摆在桌面上,问问自己,你可不可以接受。然后我会发现,最坏的结果也不过如此,就大可以放手一搏,勇敢尝试。

(中间介绍《Genius Party》和新作的段落略过——分别指的是短片《Baby Blue》和2012年的动画《坂道上的阿波罗》)

1972年,KISS乐队由Paul Stanley和Gene Simmons组建,三年后在渡边十岁那年他们发行了一张名为《Alive!》的专辑;那个时候的渡边就已经开始拿音乐做“实验”了。

Do you have a dream that you would be an expert in your fields? After talk to some senior doctors, I found they deal with easy cases, day by day.
Is it repeated? Yes, it is. They are improving by this.

就连主人公一行人搭乘的飞船,它的名字也是一种革命性爵士乐的名字“Bebop”波谱。


Daily Texan(以下简称DT):你为什么要做巡回演讲呢?

《Alive!》中的「Rock n' Roll All Nite」成了KISS乐队的第1首热门歌曲,一年后他们新专辑《Destroyer》中有一首歌叫「Detroit Rock City」,在「Detroit Rock City」的最初版本中,歌曲开头是一段收音机——可以想象应该是那种车载收音机,播放的就是这首「Rock n' Roll All Nite」。

Do you a dream that you would be a super speaker? I watched Matt's speech in Xi'an Conference. It's wonderful! After that, he still practice in Table Topics Groupchat, once and once again.
Is it repeated? Yes, it is. And he enjoy.

在渡边看来,音乐不是可有可无的背景,它和剧情一样,共同筑成了故事的筋骨血肉。

到了高中,每一次大考小考,对我来说都是一次作战。看着自己的排名起起落落,落了又落,常常怀疑自己,到底有没有能力参加高考!可我在真正面临高考的时候,又自动恢复了我大脑的调节能力。我问自己,如果真的高考考砸了,会怎么样?

渡边监督:日本国际交流基金会要求我来美国演讲。他们让我从一些美国城市中挑选,我选了一个。选择休斯顿的原因是,这里是牛仔的故乡。

「Detroit Rock City」这首歌的尾声伴有一阵急促的刹车声、以及撞毁的声音,与之前的车载收音机相呼应,讲述了一个关于KISS歌迷的故事。这位歌迷为了看他们的Live而不幸丧命于一场车祸……听上去有点像熊天平为因摩托车事故而丧生的弟弟作了《火柴天堂》的情况。而且确实是个真实故事。

**Do you have a dream that one day you would have a better figure? **I saw my friends went to gym day by day. Then he lost 30kilo grams.
Is it repeated? Yes, it is. But it works.

所以配乐先行,再围绕音乐进行故事情节的创作与设计成为了渡边的一个习惯和标志。

不过是会上不了一本,再不然上不了本科,上不了本科还有专升本的机会,再不然就是去技校,总之我肯吃苦不怕累够勤奋,不会饿死;我脸皮不够厚,但抵御闲话的能力还是有一些,也不怕别人喷我骂我不好好学习。总之,我觉得最差的结果,也就这些了。

DT:你认为你的作品让更多美国的中老年人群接触动画了吗?

渡边信一郎对「Detroit Rock City」非常着迷,在日本国际交流基金会(Japan Foundation)的资助下,2006年他有了一趟美国巡讲之旅,其中一站他便来到了这座歌中的城市——底特律(Detroit)。

(总结)
All these made me realize that life is like a marathon, pursuing to be someone is not always with background music like we will we will rock you, but simple and easy work. We learn by practice and practice again.
The passion of being a doctor is not always to save my people from dying or fetal disease, but serve those who are in need. Most time, easy and simple case.

不过人无完人,故事编构不算是渡边的强项,他讲故事,向来没什么明确的主题,从《星际牛仔》的动画电影,剧场版《星际牛仔:天国之扉》中便可以窥得一二。

然后我就放心去考试了,啥也没想,反正无论如何我将来都能混口饭吃,何必忧虑。

渡边监督:我其实完全不了解美国动画。你觉得呢?如果有和《星际牛仔》相似的作品,请告诉我,我很想观赏。

在底特律电影节上他把这首歌跟电影「Dirty Harry」归结为自己当初走上电影之路的根源。也许是那座熊熊燃烧仿若地狱城市的诡异让他没由来的生出被吸引但又兼怀恐惧的矛盾心情。也许仅仅是因为潜意识里关于「Detroit Rock City」这首歌的缘起触动他的少年心让他突然觉得有些伤感了。

Call for action
Dear toastmasters, how about yours?
My hero dream was still there, up in the air. I still believe that one day I will make a great doctor, however, Doctor Ivy back to the ground, walk the walk, talk the talk.
Doctor Ivy is here! At your service, anywhere, anytime.

公元2022年,人类进行的一项空间门开发试验出了点意外,直接把月球给炸了,爆炸产生的碎片把地球射成了马蜂窝。

但其实,高考是我三年发挥最好的一次,从班前二十一跃成为班里第四。

DT:做《超时空要塞》的时候,是你决定与菅野洋子合作的吗?

(题外,若杉公德的「DETROIT METAL CITY」显然也是由此而来。)

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爆炸意外得到的资料促进了相位差空间门的完成,人类终于实现了超光速航行,可以在太阳系内自由穿梭。


渡边监督:《超时空要塞》刚起步的时候,菅野洋子并没有名气。她没有作品,主要做的是商业合作。所以我当时不了解她。Victor Entertainment(胜利娱乐)公司的人强烈向我推荐了她。我看了她所有的广告作品,看的时候我觉得很棒,决定请她写配乐。

mi~

青岛地铁上的XDF小队 2017年G中区比赛.jpg

爆炸后幸存的人类逃离地球,在其它行星重建家园。

所以你看,悲观也是分层次的。有人悲观,却让自己变得更好;有人悲观,却让自己一蹶不振。凡事都有两面性,只看你怎么选择。

DT:她没有参与《混沌武士》有没有原因?

“我厌恶‘背景’音乐这样的念头,只关注画面而让音乐退而求其次作为可有可无的‘背景’,这么做我绝对是办不到的。在我观念里,它们是同等重要的,只有画面与音乐间的相互碰撞才能提升一个动画作品到达它新的高度。”

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因为地球毁灭,原有的社会体系崩坏,犯罪分子猖狂,治安问题泛滥成灾。

在此,分享一下韩雪在TEDxsuzhou上的英文演讲稿。大家如果有兴趣,可以去网上搜一下这个演讲视频,现场效果很棒。

渡边监督:我想在《混沌武士》里用嘻哈音乐,但是她并不是嘻哈音乐人,所以我决定请别的音乐人。有人建议我让菅野洋子做一些嘻哈音乐出来,但我觉得,这样好像在模仿嘻哈音乐,而不会呈现真正的嘻哈。

这样的口吻……并非出自渡边信一郎之口,而来自真下耕一。平心而论,以「Noir」为鉴,真下确实是对配乐趋之若鹜,甚至让大多数监督有过之而不及。但有点虚张声势的暴发户感觉。懂音乐的人大多内敛,即便爆发出来,由着音乐去,也应该是一种崩射的激情。一种天赋,像写诗一样。

2017年G中区春季比赛 青岛.jpg

虽然太阳系成立了警察机构 ISSP,但是罪犯太多抓不过来,于是向民间寻求帮助,发放悬赏通缉令,活捉罪犯后可获得相应的高额赏金。

Being a Positive Pessimist

DT:接下来还打算与菅野洋子合作吗?

音乐不只是个背景,甚至动画才是音乐的背景。渡边信一郎也并不是没做过这样的事情,但即便如「Cowboy Bebop」第5话「Ballad of Fallen Angels」中那样在选择配乐过程中决定场景的情况存在,动画场景建立在配乐之上的情况,也没有令人觉得多少突兀感。

而这些为赏金奔波的 cowboy,我们称之为“赏金猎人”。

Good afternoon everyone.

渡边监督:我的确想与她合作,已经计划合作下一部作品,但还没有决定做什么。

我不清楚真下耕一是如何与音乐相遇的,但对于渡边信一郎这是一个耳濡目染的过程,不管是最初与KISS的相遇,还是后来与菅野洋子的相遇。

剧场版《星际牛仔:天国之扉》的故事发生在 TV 版22和23集之间,以一个爆炸案展开。

First let me share a piece of music with you.I know it's terrible, because I played.And i'm sorry it's not the worst one.I still got something to show you.Don't laught, it's an entire story.If you really want to understand what it is talking about?You can check my weibo later.This picture I painted last year.I have another one to show you, this is much better.This picture I painted, twenty years ago.

DT:斯派克的头发是黑色还是绿色的?

在制作「Macross Plus」之前,渡边信一郎其实并不认识菅野洋子。那时候菅野洋子的委托几乎都是纯商业性质的,在Victor Entertainment方面的强烈推荐下,渡边听了她之前所有的作品,留下的深刻印象让他毫无悬念地征用了她。「Macross Plus」Newage倾向的配乐——这种介于轻音乐和古典音乐之间的新样式音乐所带来的无比空灵、神秘、飘渺的色彩以强烈的视听感受征服了观众,渡边信一郎就在这样的旋律中以监督之名出道,而被誉为动画界的莫尔扎特的菅野洋子也从此开始了她的动画配乐之路。

名叫斯派克的男人是名赏金猎人,在太阳系范围内抓捕罪犯,以获取警方赏金为生。

So I know you might have a question.How it is getting worse?And I also understand that most of your conclusion must be:out of imagination.

渡边监督:墨绿色。

配乐从此、从来在渡边的作品中占有极为重要的地位,这与他认为“音乐是宇宙中一种共通的语言”的念头是无不相关的,而菅洋的音乐无疑就是这样一种语言——她在今年的77Live上自揭Gabriela Robin的火星人身份可见一斑。他们各有天赋,他感知,她创造。他们天生一对,珠联壁合。2006年,著名ACG网站IGN便把“史上最佳动画配乐”的荣誉给了他们的代表作「Cowboy Bebop」。

他和一个名叫杰特的机械臂男人,一个名叫菲的精明女人,一个叫做艾德的天才黑客小女孩以及一只高智商的柯基犬共同生活在一艘宇宙飞船里。

But how it happened.I think it is because I become an adult.Since we became adults.We started being afraid of making mistakes.We choose to be the best or nothing. So, we do not dare to try any mistakes.It seems that we trapped ourselves in the overprotective world.I sense them we started to lose a lot of, ability, like imagination, and creativity.

DT:你在演讲里说,你创造的角色永远饿肚子,永远缺钱。在《星际牛仔》里,为什么斯派克和菲这样的角色没钱吃饭,有钱买烟?

fa~

2071年万圣节前夕,火星都市中发生一起油罐车大爆炸,导致有四百余人感染上了一种未知病毒陆续死亡,警方发布了3亿天价的悬赏金追捕嫌疑人。

What is the strategy? For me I have a special one.It's been a positive, pessimistic.Let me explain the concept first.To be a pessimist means, you get low, expectation to yourself.And you prepared to lose.And what about being positive.It is easy to understand the means you make best effort on, a reason.But if you combine this concept together.It seems that a paradox.Yes I think so, but I hope so think it is the way the world is it born to be.

渡边监督:其实在我的牛仔宇宙里,烟特别特别便宜。而且我多说一句,你怎么知道那真的是烟?我们就此打住吧。【笑】

知人善任,这绝对是一个好监督的首要标准。

菲偶然得到了罪犯的情报,名叫文森特的男人有非常大的嫌疑。

And it really works in the reality.We can always find something around us.They have totally opposite sizes two sides.And they combined together, and, work well together.

DT:做《星际牛仔》第十七话《Mushroom Samba》的时候,你有没有研究人(包括狗狗艾因)吃了致幻蘑菇以后的行动和状态?

知人善任,却并不是偏爱。因为打算在「Samurai Champloo」中使用hip-hop元素的音乐,而菅野洋子并不通晓这方面,所以渡边决定另用他人。当然,最初也有人建议渡边让他试着令菅野洋子做一些hip-hop小样,但渡边却认为:还是让内行人来做这事,这样音乐才会更富想象力。

为了那天价的赏金,四人一狗开始行动。

So how to be a positive, pessimist.Let me share some experience with you.I know i'm not old enough to tell stories.By these stories really meant to me.

渡边监督:全都是我自己想象出来的。不这么说的话我会被抓的吧。但是艾因不是普通的狗,你应该知道吧,艾因是数据狗。数据狗和普通狗不一样,会有异常的反应。不过其实我也不太了解数据狗。

知人善任,当然前提是渡边自己认为足够了解对方。就像之前提到的,认识菅野洋子之前,先是完全听完对方过往的作品这样的前提。这样的例子为数众多,比如「Samurai Champloo」问世前夜,渡边和中泽一登就曾彻夜长谈,经历了一宿的热烈言欢。中泽和渡边在之前的「Animatrix」中也有合作,不过那时候只是作画和作画监督,这一次则是人设和作画监督这样的大梁,而正是「Samurai Champloo」才让中泽一登这位杂家真正走进了多数人的视野——之前的情况是,也许人们对「Kill Bill」中的那段动画印象深刻,但却不知道出于谁之手。

调查过程中,他们得知文森特三年前已死,菲兴致缺缺,重新追查另外一个案件,却意外落入“已死亡”的文森特手中。

The first one back to 2012,It's the first time I become a tv series producer.But as you know.I am, on the actress and singer.Work as a producer was totally unfamiliar for me.So you remember first I have to be, to pessimist.So I had to imagine, what will be the worst, consequence.I think that was the result must be no one, would buy it.And I will lose both, time and money.And the whole investment equal to the, revenue, I earned by, acting for the past few years.

DT:你有没有参与《星际牛仔》和《混沌武士》相关的游戏开发?

知人善任,了解对方,也就放心把自己做不了的但有趣味的工作托付给对方了。在制作「Cowboy Bebop」的剧场版「Knockin' on Heaven's Door」时渡边启用了三个客座监督,他们分别是曾早在「機甲猟兵メロウリンク」(机甲猎兵迈罗林克)中就共事过的OP分镜监督沖浦啓之,曾在「Cowboy Bebop」TVA中共事过的西部片场景分镜监督冈村天斋,以及在「天空のエスカフローネ」(圣天空战记)和「Cowboy Bebop」TVA中共事过的动作场景监督中村豊。这些场景都是因为渡边的日程安排不济而转交给他们完成的部分,另外的原因当然是,这些部分的格调跟影片主体大相径庭,但又相当的有趣。他不至于将无趣的东西交于别人,逃避责任,这应该算是制造了几个以供妖孽发挥才干的就业机会吧。或者,单纯地只是种互动,玩儿。而这样的互动在动画业界是相当普遍的,又比如说河森正治设定的「Cowboy Bebop」中的“位相差空间”,这大概了是这个设定狂最杰出的贡献之一,这算是「MACROSS PLUS」之后的一次正儿八经的友情客串。现在提起「Cowboy Bebop」,除了渡边信一郎,有几个人会想到河森正治这个名字?

而斯派克则在进入一家制药公司调查时得知文森特曾经是病毒实验体。

And what about the whole market.You know in China, only 20% of the tv series, can finally, saddam, brown broadcast on tv.What about the rest 80%?In the past, they just change into, a pipe or of tapes.And now even worse, we just only datas left.

渡边监督:没有。我看到过一些。但我一般情况下忙于制作动画,所以没时间去做电子游戏。如果游戏不好玩,可不是我的错。

知人善任,当然也懂得拒绝。制作方原本打算制作的「Cowboy Bebop」的剧场版是以Ein为主角的,因为他们不想电影跟TVA那么的凝重。这其实主要还是人设师川元利浩的歹愿,过程中他一直都在欲图增加Ein的戏份,事实上,为了让Ein更生动,他特地买了条威尔士柯基犬回来观察,也因此常常带着它到工作组转悠赤果果地炫耀。对此,渡边只是笑言,我这拍的可不是什么动物物语。

在和文森特的第一次正面交锋惨败后,斯派克与他在铁塔上进行对决,并利用降雨散播疫苗,挽救了整个城市。

So I asked myself several times ,Can you really accept the worst, consequences?I think yes, at least, I could try, so I started shooting.Remember, next step, I have to be positive.Because I am a huge digital fan,I decided to use some high technique to my tv series.So I focused on 4k resolution.What 4k is?

DT:你在演讲中提到,你觉得最像自己的角色是无幻和斯派克。可以解释一下吗?

知人善任,同时又严格要求着自己,只发挥自己独有的光热。有人把他称为动画界的Stanley Kubrick,事事亲历而为,但他只做自己认为能掌握的部分。他举了这样的例子,Clint Eastwood和John Carpenter有时会为自己的电影作曲,他们认为应该要那样的效果,但配乐本身的效果最终可能还是不尽人意。所以他不会去做这样的事情,他会把这部分的工作交于更有天赋的人,这样对于他本人来说也是一件满怀期待的事情。

架打完了,人也救了,看起来是一个平民英雄拯救世界,正义战胜了邪恶的故事,但渡边想说的,并没有这么简单。

Let me explain.Usually, you see a film on the screen in the movie theater the size is 2k.What 4k means is four times larger than 2k.And also means 50mb per frame.You might still be a little bit confused.It's okay don't worry, you just have to remember, it was a Huge obstacle.

渡边监督:首先,我经常开枪打人,拿刀砍人……开玩笑啦【笑】。斯派克和无幻不会直白地表达自己的感受。比如,哪怕喜欢的女孩就站在自己面前,他们并不会直接追她——实际上他们会做相反的事情,差不多会无视她。我觉得这一点挺像我的。总结一下,差不多是比较对立,或者比较反叛。

他无意亲自涉足的旋律并不代表他对应该是怎样的旋律一无所知,这也便是他的天赋。如今,渡边信一郎对音乐的悟性自然早已被同行所熟知,于是除了监督以外,音乐监督的副业也发展了起来,「Mind Game」,「Genius Party」,「ミチコとハッチン」(道子与哈金),正是这样一步步走来——事实上,除了「Animatrix」中的两个短篇完全没有过问过配乐以外,他自己所有的监督作品的音乐都是在他的授意下完成的。

《星际牛仔》其实是一部典型的公路片,在漫无目的的太空旅途里,故事里的每个人寻找着自己生活的意义与归宿,各自完成自己的生命体验。

In front of all the tv series a group in china.Because before us, only a few groups try to 4k Resolution.They input 4k, but no one really tried to output 4k productions.Because it was really hard.

DT:你说的是斯派克和菲之间的关系吗?

so~

重要的不是发生了什么事情,而是成为了什么样的人。

Only director zhang yimou was trying in his film, Coming Home, for the first time.And when we finished the shooting work when we entered The post production work,the real nightmare came.I still remember we want to output a five-minute trail for beijing tv festival.But after a whole day's working until the computer crashed, we just got 50 seconds trails.

渡边监督:当然。会有人问我:“斯派克是怎么看待菲的?”我觉得他其实相当喜欢她。但他不是一个直白的人,所以他会确保自己不表现出来。

从「Macross Plus」的新世纪音乐(Newage)、电子音乐(Techo),再到以爵士(Jazz)、布鲁斯(Blues)为主并糅合大量民谣(Folk)、番石榴曲(Ballad)、古典乐(Classic)、歌剧(Opera)、摇滚乐(Rock)、重金属音乐(Heavy Metal)、森巴(Samba)、说唱(Rap)、嘻哈(Hip-hop)、巴萨诺瓦(Bossa Nova)、电子音乐(Techo)甚至是欧美流行音乐等诸多元素的「Cowboy Bebop」——甚至每集的标题都是对经典的致敬,再到以嘻哈(Hip-hop)和说唱(Rap)为重点的「Samurai Champloo」,然后是近期为山本沙代作监的富有拉丁风情的「ミチコとハッチン」(道子与哈金)。再比如「Baby Blue」中运用古典乐的点睛之笔。

1998年开播的《星际牛仔》,在现在看来是个偏小众的作品,这部混合了香港黑帮片、美国西部片、希区柯克悬疑片、昆汀黑色幽默等等元素的作品,给人的感觉更像是一部正儿八经的电影。

I was crazy, what can I do ?This is a 30 episodes tv series.I just got 50 seconds, so I asked Our counselor, because at that time,our technical support was RED,Which is the biggest Digital camera Company, in america.Their feedback was, they use Hp base station in america.But we didn't have any hp base station in china.it was too expensive, we can not even afford that.

DT:《星际牛仔》第五话《Ballad of Fallen Angels》好像预示了最终话的内容。两者之间有关系吗?

不去说「Samurai Champloo」14话中冲绳的民乐持续了影片的大半时间,也不去说他的Ipod里那大约8000首歌、以及另外的很遗憾地未放进去的1600首(现在应该不存在这样的难题了),渡边仿佛追逐着越来越多的旋律幻影,但同时我们也发现了这样的规律走向,在「Cowboy Bebop」的大爆发之后,他像是正在做着为自己熟知的音乐以动画的形式逐步分门归类的行动,就像在拍一部部类型音乐的纪录片。比如在2001年「Cowboy Bebop」的剧场版「Knockin' on Heaven's Door」,他就着重描述了一番所谓的阿拉伯式氛围("Arabesque" atmosphere),这在之前的TVA中是很少涉及到的。

可能在小时候,你早就在无意间看过这部动画了。

So we decided to assemble out black apple and we tried the outcome mode from dozens of combinations.After six months work we succeed.My tv series the ladies, Became the first tv series Which output real 4k a resolution production.And I succeeded in selling it And with a very good performance, on tv.

渡边监督:《星际牛仔》中所有比夏斯出场的集数都和结局有直接关系。我在做第一话之前就已经想好了结局。尽管我想好了结局,我的工作人员表示强烈反对。他们很不开心,因为这样就没法做续集了。所以我跟他们说我会再考虑考虑,但是最后还是采取了我一开始的方案。

渡边信一郎,他是这样一个男子,内心的风味和直觉远超过看的见的部分,你所了解到的他的情调只是冰山一角。他认为这部电影的格调应该是阿拉伯式的,私底下也定下了初步的基调,他也会去设身处地地感受一番,但如果设身处地的感觉与自己预想的相去甚远,他便不会采用——但通常自然都如预想的那样,这部「Cowboy Bebop」的电影,他确实是去了摩洛哥感觉了一番,并因此得到灵感。设身处地,这应该是很多导演监督会做的事情,就像宫崎骏早年的瑞士之行,押井守因为「Avalon」、「The Sky Crawlers」等作的多次波兰之旅。不同文化间的撞击会产生非常美妙的东西,这大概也是为什么好莱坞许多才华横溢的当红导演诸如Christopher Nolan、Alex Proyas、Guillermo del Toro等人都是外籍军团的原因。

2006年11月12日下午13点53分32秒,那个时候打开电视机,调到CCTV6频道的朋友,会看到一个令人大跌眼镜,以至于久久难以忘怀的画面:

So after this experience,I learned, don't be afraid to take a huge challenges.You can prepared to lose, but conquer it with grit.

DT:斯派克去世,你收到负面评价了吗?

当然,监督们外巡的同时可能也是为了私心的满足。我喜欢这样的地方,所以就来了,不管怎样,我都会创造条件到达这样的地方,大概都是这样的念头。渡边信一郎在制作「Knockin' on Heaven's Door」时就借故到纽约取材,这个发生在TVA第22话至23话之间的故事让他得以与大苹果亲密接触——当然目的并不在此,他看准的其实是纽约城的黑胶唱片。

一个男人,在割一个女人的 bra。

The next story happened last year,I took an invitation from BEAR GRYLLS is there anyone know that? If you know that you might thought I was crazy.

渡边监督:我从来没有正式表示过斯派克死了。现在,我能告诉你的是我不确定他的生死。我觉得,相对于把斯派克写死而受到诟病,大家应该更讨厌我做一部续集吧。

同样的,2006年的美国巡讲之旅,挑中其中一座城市——休斯敦的主要原因竟然是,他认为这里就是牛仔的发源地。

很多年过去了,你可能不知道这个动画的名字,你也不知道那个女人是谁,你甚至不记得自己有没有继续看下去。

Yes, this man who stands on the top of the food chain.He almost eat everything.You might think I was crazy, yeah before that I did not, physical activities, I have very bad body condition.I was afraid of a lot of things, I was afraid of height and insects.I didn't even dare to take a roller coaster.

DT:下面这个问题你肯定听到很多遍了,很抱歉我要再问一次。

不管是底特律、纽约、休斯敦,还是「MUSHROOM HUNTING」中的"Africa, Mexico, Sicily, Tijuana,
India, Osaka, Indonesia",都是他的梦想实现之地。

你只知道,那天下午,无意间的惊鸿一瞥,我!肯定!绝对!看到了什么不得了的东西!

But I almost took this invitation immediately.Because I truly understand if I lost this chance.I would never earn it back in the rest of my life.So I decided to take the adventure.During the twenty days adventure, I caught rats,i caught mice, I ate insects.But I didn't drink the urine.

渡边监督:那过吧【笑】。开玩笑的。

那一年情人节的《德克萨斯日报》上的专访中渡边信一郎公布了三个近期计划,三个梦想:

剧场版《星际牛仔》其实在电视台上放过不少次,但因为尺度暴露和血腥打斗被当时的家长投诉,尽管收视率很高,后面我们却无缘再见。

And I almost cried every day in the first half journey.And the most impressive moment, was the day before the last day.I still remember that day, our mission was to across a canyon just through a rope hanging between two cliffs.You can see from the picture, but you can't see the width it's very long.And, the, standard posture is leaning your whole body on to the rope.And use one of your legs backside to hookup the rope with the ankle.I'm pull yourself from side to the other.

DT:我们还会看到更多牛仔动画吗?

其中「Baby Blue」已经呈现给我们了,而他参与的「Cowboy Bebop」好莱坞真人电影企划也于今年年初正式公布了,剩下的一个则是新的动画系列的计划,“颇为神秘感,与之前的作品大不相同”,除此之外他未透露更多的细节,不过大体上还是让人有这样的猜测:幸许「Genius Party」中的「Baby Blue」是一场演兵,就像汤浅政明在「Genius Party」中的「夢みるキカイ」(梦的机器)仿若「カイバ」(海马)的前奏,在拍完未来剧和古装剧之后,这次的目标会是现代剧吗?也许对少时拍文艺片的执念还未完全泯灭吧。

说真的,在现在看来简直不敢相信,当年的电影频道居然"一刀未剪"完整播出了《星际牛仔:天国之扉》。

When it was my turn, BEAR said,Cecilia, are you really sure you want to try that?If you want to quit you can quit now because I know you can't make balance.You can't use your left arm.Because I was not lucky before that mission, about two days ago.

渡边监督:总有一天吧……可能,总有一天。

在某次菅野洋子的访谈中渡边大体这么提及,“下次请做出巴赫的感觉,拜托你了!”,那么「Baby Blue」难道不是一次磨合尝试,「Samurai Champloo」时没有这样做短片的磨合机会,这次应该就借机利用起来了吧。

这在“动画只是给小孩子看”的家长眼里,这简直就是造孽。

I hurt my left arm, my nerves system got injured.And my little finger kept shaking for a whole day, I can't even control that.I barely can not use my left arm.So as a pessimist I have to imagine the worst consequence.Because, it was a reality show.You know, reality show is very dangerous if you can't perform 100% well.Sometimes it means you will face savage criticism on line later.And I might fall down again, or I hurt my right arm as well.

DT:制作电影和制作动画剧集有什么不同吗?

下一次,他究竟会给我们带来怎样新鲜的创作和概念呢?敬请期待。

但却让更多的观众,有幸在电视上欣赏到了一部动画的艺术作品。

So I have been thinking about, should I really have to try that?I think at least I won't die.So what?I decided to take that mission.But I really lean my body onto that rope.It was far more, scary than I thought.You can see from the picture because my posture as My team member said my posture was so ugly.Because she said I was just like dead caterpillar hanging there.

渡边监督:动画的一个特点是你只有20分钟,所以你不可以讲一个很长的故事。我觉得电影讲了一个比较长的故事。比如电影里有一段20分钟的机器人动画,如果我要在动画剧集里做的话,会占用一整集的时间。

la~

毕竟动画一直都是一种艺术的表现形式,而不是谁的专属。

I just kept my half body on one side, I left the rest part on the other side.And it was not the worst one.The worst was because my arm could not hold my upper body and my head.So I could not face up I could not see the end.

DT:经常听动画制作者说自己等了很长时间才等来独立做监督的机会。你是如何这么快就做到的?

成为动画监督的其中一个理由,除了年少时进影院看了押井守和宫崎骏的动画电影外,还有就是因为他的某个朋友(这个人很可能就是河森正治,当初板垣伸也不就是被他拉进《机械篮球》的吗)的建议,做动画比做真人电影要来得容易些——他自己也这么认为;当然,在决定做动画的同时,他也被给予了执导真人电影的机会,但他最终选择了前者。

尽管年轻的一代对此知之甚少,但《星际牛仔》绝对是90年代后期日本动画中影响深远的一部伟大作品,其影响力绝不在《攻壳机动队》《EVA》之下。

So what could I do?I know that I have to think positive, I also know that sometimes been positive doesn't mean you just speak out some propagandas.You have to do something for real.But at that moment, the only thing I could see was a rock just three meters ahead nothing else.

渡边监督:动画产业不太依靠年龄或者教育经历,更取决于一个人的技术和运气。就我个人而言,我监督的第一部动画《星际牛仔》非常火爆,因为它成功了,我才有机会做电影监督。你有多少技术其实不太重要,如果你没有成名作,或者一部大热的作品,你就很难获得这种机会。考虑到这一点,我觉得自己很幸运。

由电影转投动画的监督不在少数,押井守和真下耕一就是最为人熟知的例子,渡边在年轻时候跟他们一样,也是个电影青年。在某次采访中,渡边承认自己年轻时看很多的欧洲电影,可能多数还以文艺为主,并且深信自己将来也将会投身拍摄那样的影片,直到多年以后,他才发现自己迄今所做出来的东西比自己原先的预期都要商业许多。出于这样那样的执念,他完成了「Genius Party」中的短片「Baby Blue」,也就是说他最初的梦想。

不过事实上,《星际牛仔》的确是一个不常被人提起的老番,而原因也很简单:不知道要从何卖起安利。

So I decided to set small targets, so I focus on that rock.There is something magical happens, when I really concentrated to that rock.I forgot about the height, I forgot about keeping balance.I even forget about the end.I just remembered to focus on that, and pull myself.

原文如下

当有人问及他会不会继续做「Cowboy Bebop」的续篇,或不止一次问及Spike最后是不是死了时,他说,不会,也许,因为只有这样,那些精神才可以长久存在。梦想是只薛定谔猫,我已经为最初的梦想做了什么,我们仿佛可以想象他会这么说,我们每一个人都已经为自己的梦想做了什么。所以,我们应该可以释然了。「Baby Blue」片尾萧邦的《离别曲》(Chopin "Tristesse")的响起,对于他本人,是不是意味着他终于承认,并全然肯定了现在的自己,而让那个文艺魂的分身随风而逝了呢?要么,又一个征程的开始?或许变身新海诚,可能会比现在更出名,也许比新海诚更有名。也许他曾有过这样的念头,也许他压根儿不知道新海诚是谁。但总之,有任何好处?

如果说有什么动画只适合夜深人静的时候一个人观看,《星际牛仔》就是最好的作品。这部充斥着男人浪漫的陈年老番,时隔越久反倒愈发吸引人。

Then I started seeking more tigers in front of me.And any tiny objects, became, glittering image in front of me.After child several times, I realized that I was so close to the end.And finally, I succeed.

Watanabe explained that music is often the driving force behind many of his works.

另一方面,不必说文艺,每个人在他人眼中与自我定义的必然是时有出入。在制作「Cowboy Bebop」之前,渡边身边的人都认为他最可能会拍一些暗色调的影片,但事实上的情况是他所做出来的动画都不乏动感,虽然时有伤感的情绪,但调子整体总是明快、幽默、积极。每件事完成之前你都是看不见自己的,也只有在真正开始制作影片的过程中才能发现自己的才能,在创作的过程中总是能挖掘出自己所不为人知的天赋,可能是自己也不知道的才华。然后你之所以为你。能做自己也许才是这个人生真正的好处,因为有时候你最初所期望的自己其实只是别人的影子。

正如一个 CB 老粉说的,如果十几岁的时候没有看懂,不要着急,放一放,十年后、二十年后、三十年后再来看。

So after that experience, I learned there is no shame to be a loser.You just need to set small targets, and devote yourself. So these stories which happened to me, shaped me either positive pessimist.

"I'm so happy when they [fans] praise my works for the music," he said. "There are times when music comes before the animation."

比起制作真人电影,制作动画需要更多的协调能力。制作真人电影,一些大场面的调度需要导演相当的心力,但动画监督几乎要从每一个场景的建造开始,然后才是安排调度场景中的各种元素。做动画,主题也许达不到做电影的深度,但流程绝对要比电影复杂许多。这种情况在渡边真正入行之前肯定是一无所知的,在1984年,也就是在他十九岁的时候,当他看了当年上映的两部剧场动画——押井守的《福星小子2:Beautiful Dreamer》和宫崎骏的《风之谷》之后,“电影也可以做成这个形式”的冲击力才让他意识到了动画这另一番新天地。在二十岁的时候,他怀着这样的心情进入了Sunrise,并不介意做的是什么样形式的“电影”,这样,在动画公司底层干了八年的制作进行,几次“演出”的演练之后,他终于开始挑战“监督”之职。

当你变成了一个步入社会的中年人,你和更多的人产生联系,身上担负着更多的压力,到时候你可能想偿还当年欠下的眼泪,但发现自己已经是不能嚎啕大哭的年纪了。

And until today I know that I am still a bad piano player,a bad painter.And not a very successful producer.But I love to be a positive pessimist.And I know nothing can stop me being better.

For example, Episode 14 of "Samurai Champloo" features a piece of Okinawan music that plays uninterrupted for the first half.

因此,渡边信一郎进入动画界其实并非偶尔,显然不比百无聊赖的无业游民押井守撞见电线杆上龙之子的招聘启事来的偶然,但比起不能在电影方面有所作为只好妥协进了动画界的真下耕一却要有计划的多。

《星际牛仔》不是能让很多人一起热烈地讨论,一起狂欢的作品,它更适合自己一个人去品尝,就像一口酒灌下去,烧不烧心只有自己知道。

Thank you.

"I made 'Samurai Champloo' the series in order to make this scene," he said.

si~

《星际牛仔》讲过很多故事,这些故事恰好有一个共同点,它们都是属于“孤独”的故事。

其实,如韩雪演讲中所说,

A great deal of Champloo's soundtrack is hip-hop from artists such as Shing02. The art of sampling old music and changing it intrigued Watanabe. "The technique of using old music and remixing it into something new is very similar to what I was doing with the animation," he said.

创作应该足够随性,这样会有更多机会的意外和惊喜,从而让作品不致定式、无聊。「Cowboy Bebop」的诞生可能就是一个随性的开始,一开始渡边信一郎被告之故事里一定要有太空船,于是他就交了个提案,然后他得到的回复是:只要有太空船就行了,其它我们不干涉。所以,最后渡边信一郎就把这个企划接了下来。

“孤独”是一个被用烂了的词,这倒不是因为大多数人喜欢无病呻吟,毕竟孤独是一种大家都有的“病”。

“不要去害怕接受巨大的挑战,

Much like hip-hop rappers can represent themselves with a single microphone, Watanabe said, "I would like to represent myself with a single pencil on a blank piece of paper."

菅野洋子对「Cowboy Bebop」制作组的整体印象是:每个人都很轻松……比如说他们有时会很懒散地做在一块儿。不管是对于动画、商业还是电视剧,他们总是非常认真地对待,并为此争论不休……“这个场景应该这样……”……“不不不,女主角不应该说这样的话!”这就是我的印象。但是……他们看起来真的非常懒散,就像他们的动画所表现出来的调调。

“过去都是假的,回忆是一条没有归途的路,即使是最狂热最坚贞的爱情,归根结底也不过是一种瞬息即逝的现实,唯有孤独永恒。”——加西亚·马尔克斯《百年孤独》

你可以做好失败的心理准备,但是靠毅力去征服它。”

Watanabe concluded his lecture by announcing three new projects to begin showing next year, though he was reluctant to give away any details. The first is a short film with a "boy-meets-girl" story called "Genius Party." He also verified that he is working on a live-action film and an anime series that will be "very mysterious and different from the past [works]."

基本上就是这样的情况,非常的随性,举个例子,在「Cowboy Bebop」的剧场版「Knockin' on Heaven's Door」中,当信本敬子写到商店抢劫的桥段时,她完全找不到灵感了,因此他们决定找一个现实中的演员来作模型,他们半开玩笑地找了石桥莲司(Renji Ishibashi),想不到对方居然答应了,于是“Rengie”这个角色就诞生了。石桥莲司是日本影视界的实力宿将,曾经凭借在《浪人街》中的出色表演赢得第十四届日本学院奖的最佳男配角奖;石桥的父亲月形龙之介曾是东映公司的招牌反派演员,可能是遗传了父亲的才能,石桥莲司也非常擅长演反面角色,他演过很多犯人、恶人、黑道中人,能将性格反常的反派刻画得入木三分。因此,渡边找上他也不是完全随性、毫无理由的。

一艘飞船,四人一狗,这些人里,有遗忘了过去的,有沉溺于过去的,有去追逐未来的,有不想考虑未来的,就是这样的一行人,临时搭伙在一起,随时会转身离开。

无论是在和贝尔冒险的过程中,还是在担任首部4K输出的电视剧制作人中,她也是在看待事情时,先去考虑,最坏的结果是什么,然后,不顾一切,去尝试和努力。

It was with all of this in mind that I made the journey through the off-limits corridors of the museum to meet Watanabe himself. I found him sitting in a conference room regularly used by the museum's public relations department, with an interpreter beside him and a stack of memorabilia to be signed in front of him. There were posters, DVDs, CDs and a pair of neon yellow hot pants made by a fan to look like the clothing worn by the character Faye Valentine in "Cowboy Bebop." A museum aide joked with Watanabe to hurry with the autograph, because the fan may be waiting in the lobby wearing a trench coat. What she was wearing while her pants waited for a signature is anybody's guess.

其他的例子,比如说「Samurai Champloo」中的许多配乐其实都是临场发挥的。渡边提到对「Samurai Champloo」影响颇深的电影包括《座头市》(应该是北野武这部,虽然以“座头市”为名的电影实在多了去),此外还有李小龙的《龙争虎斗》以及《辣手神探夺命枪》(Dirty Harry)等——「Dirty Harry」可以说影响了一批动画人,梅津泰臣就在「Mezzo Forte」中曾出现过「Dirty Barry」这样的异体致敬海报;除此以外的影响自然就是脊椎推拿疗法。在制作「Samurai Champloo」期间,渡边经常光顾一个中国脊椎推拿师,那位师傅在推拿过程中会告诉他一些中国传统文化故事,比如说“气”之类的概念——事实上渡边就在「Samurai Champloo」中打造了以此概念为主题的一集故事。

孤独是没有选择的,不管是好人还是坏人,孤独的人就是孤独的人。正如制造恐怖袭击的文森特一直在寻找的,就是一个逃离孤独的出口。

韩雪表示自己进行非母语演讲也是如此,

Hot pants aside, Watanabe looked relaxed and eager to answer questions about his past, his future and whether Spike's hair is, in fact, green.

这样的随性取材还有那些动作设计,比如说「Samurai Champloo」中无幻的打斗动作设计。扭动的无幻应就像是在跳卡泼卫勒舞(Capoeira,一种源于非洲把民间舞蹈和自卫动作结合在一起的巴西舞蹈),虽然事实上渡边是以霹雳舞(breakdancing)为原形来设计的这套动作,直到后来看过卡泼卫勒舞后才意识到两者原来竟然如此相似。有时这种随性便是来自自然的本能,让人感觉不知不觉就做正确了。

在当实验体的那段日子,他的头脑里飞舞着那些蝴蝶,让他置身于一个虚幻的世界,没有人能理解他,没有人能帮助他。

准备的时候很紧张,但是做好了各种出洋相的准备并全力以赴。

Daily Texan: What made you decide to go on a lecture tour?

渡边这种人,虽然在人间吞吐气息,但他确实是源出自然的。

人类的数量那么庞大,但只有他一个人,生活在别人无法想象的蝴蝶的梦境中。

确实,最后韩雪呈现给观众们的效果很出众。

Shinichiro Watanabe: I was requested by the Japan Foundation to come to America and speak. They provided a series of location choices within the States, and from there, I made a selection. The reason I chose Houston is because it's the hometown for cowboys.

“我不会去‘声明’什么,我做电影不是为了向观众灌输某种思想。电影是一种非常自然的东西,反应我们对一个时代的感受。我们被娱乐,没错,但它们同样也记录了我们的思维方式,和一些我们无法言表的情绪。我认为,电影作为媒体来说应该就是以这样的形式存在的。我对人们能在我的电影中不知不觉获得那种情绪而感到高兴。”当提及「Cowboy Bebop」的剧场版中的病毒是否影射HIV,而影片中是否存在着对社会对暴力麻木不仁的指控这样的主题时,渡边如是说。

从小到大,巨大的隔阂感和孤独包围着他。只有心爱的女人是他的陪伴和希望,但失忆让他失去了唯一的温暖。

也许,你也可以尝试这种方法,来思考人生。

DT: Do you think your work is making animation more accessible to older age groups in America?

不加刻意的导演都是好导演,不文艺,不艺术,也与装逼无缘,只是纪录片,记录一种感动。“原始质感的,自然的”,有平静的空气也有电闪雷鸣的天气,自然了也保证了足够的激情,一如冷爵士与咆哮爵士的区别,就像我们可以把“Cowboy Bebop”理解为“咆哮爵士乐中的牛仔人生”(A Life of Cowboy in The Bebop Jazz)。

与其说文森特是想消灭人类,不如说他孤独太久了,需要有人到蝴蝶的世界中来分享他的寂寞。

W: Actually, I don't know much about American animation at all. So what do you think? If there's anything that's similar to "Cowboy Bebop," please let me know. I'd like to see it.

咆哮的牛仔,咆哮牛仔,这就是渡边信一郎。

蝴蝶的幻象无法消失,他便被自己困在虚幻的世界里无法出来。

DT: Was it your decision to work with Yoko Kanno as a composer for "Macross Plus?"

do~

既然无法从蝴蝶的梦境中醒来,那就让所有人与自己一同沉睡在梦中,在他看来,这是一种救赎。

W: At the time "Macross Plus" started, Yoko Kanno didn't have a name. She hadn't made a sound track. She was mostly working in the commercial industry. So I really didn't know anything about her. Somebody from Victor Entertainment recommended her strongly. I reviewed all of the commercials that her work was used in. While I reviewed these, I was impressed with what I heard and decided by all means yes, I would like to use her.

当有人问及,如果预算不是问题的话你会拍一部怎样的电影时,他笑言,我会拍一部自己逃往南方某个小岛的“电影”。

他想寻找出口,但哪里有什么出口呢?

DT: Is there a particular reason why she wasn't used in "Samurai Champloo?"

一如策马朝着目标从不回头的牛仔,也正像他众多作品中“相遇与分离”的主题,他对自己理想人生的描述当然也不外乎如此。

孤独从来都没有出口,走出孤独的最好办法,就是有人走进来,有人敲敲你的心脏,轻轻问一句:“你还好吗?”

W: I wanted to use hip-hop music in "Champloo" and since Yoko Kanno is not a hip-hop musician, I decided to use other people. There were some people that suggested we ask Yoko Kanno to create some hip-hop music, but I felt that that would be more of an imitation of hip-hop music than the real thing.

自然,他拍的也许本就不是电影,而是一种生活方式。

既然说到孤独,那一定要提到浪漫,孤独的人不一定都不够浪漫,但浪漫的人大多懂孤独。

DT: Any chance of teaming up with Yoko Kanno again on your new projects?

他是一墨镜男,但我们不知道那付墨镜是不是也带有近视眼镜功能。

《星际牛仔》讲的还是一个关于男人的浪漫的故事,关于男人浪漫至死的故事。

W: I do want to work with Yoko Kanno, and I do have plans to work with her again on a future project, I just haven't decided exactly which project yet.

刊载于《现视研》VOL 3

埃及有句谚语:“被钉在十字架上不是浪漫,自己走上十字架才是浪漫。”

DT: Is Spike's hair black or green?

本人在acgtalk的最后一篇博文,历史成了历史本身,哀悼为了哀悼已死。

有时候,在女人看来,男人是一种很蠢的生物,明明是陷阱却要踩进去,明明没有胜算却偏要争强,明明很在乎却要放手,明明血流不止却还要笑得轻松。

W: Dark green.

背负着过去沉浸在蝴蝶梦里的文森特,让斯派克想起了自己。

DT: In your lecture you said that you create characters who are constantly hungry and short on cash. In the case of "Cowboy Bebop," how are characters such as Spike and Faye able to afford smokes when they can't buy food?

失去过一次爱人,第一次见面时斯派克对杰特说,我已经是死过一次的男人了。

W: Actually, in my cowboy universe, tobacco is incredibly cheap. And if I go on and say a little more, how do you know it's really tobacco? We'll leave it at that. [Laughs].

第二次见面,被组织追杀,消失已久的爱人死在眼前,野兽没有了归宿。

DT: For the "Mushroom Samba" episode of "Bebop," did you research how people, not to mention Ein the dog, would act under the influence of narcotic mushrooms?

斯派克的两只眼睛,一只看向过去,一只看向现在,而他没有想过未来。

W: It's completely my imagination. If I don't say that, I might be arrested. But Ein isn't just an ordinary dog. You may know this, but Ein is considered a data dog. As a data dog, he's different from a regular dog and has an unusual reaction or response. But actually, I don't know that much about data dogs myself.

“对于一个已经死去的女人,没有什么可为她做的。”

DT: Are you involved with the video game versions of "Bebop" or "Champloo?"

茱莉亚死后,斯帕克本可以远离组织的追杀。但他还是回去了,直面自己过去的一切,做个了结。

W: Actually, no. I've seen a little bit of them. But I was often so busy creating the animation side of it that I didn't have any time to dedicate over to the video game side of it. So if the games aren't all that interesting, it's not my fault.

就算路途遥远,无法到达,就算时间已逝,故人不再,只是靠近它就好。

DT: You said in your lecture that the characters you relate most to are Mugen and Spike. Care to explain?

拼尽全力去做一件别人看来毫无意义的事情,只是因为劳资喜欢。

W: First, I'm often shooting people and slashing them up with a sword ... It's a joke. [Laughs] Spike and Mugen aren't very straightforward in expressing themselves. For example, even if there's a girl they like standing right in front of them, they don't pursue her directly - in fact, they do the opposite, they ignore her almost. I think that part is kind of like me. If I was to sum it up, it's kind of like being a little contradictory or rebellious.

太傻,太浪漫,而这种浪漫,男女都有,多少而已。

DT: Are you talking about Spike's relationship with Faye?

W: Of course. Sometimes I'm asked the question, 'What does Spike think of Faye?' I think that actually he likes her quite a bit. But he's not a very straightforward person so he makes sure he doesn't show it.

DT: Episode five of "Bebop," "Ballad of Fallen Angels," seems to be foreshadowing the events of the final episode. Is there a connection?

W: Actually all of the episodes that contain Vicious that come out in "Cowboy Bebop" are directly related to the ending. Even before I made the first episode, I already had the ending in mind. Even though I had the ending in mind by myself, I was opposed by my staff. They were upset because they were saying that we wouldn't be able to make a continuation. So I told them I'd think about it a little more, but ultimately I decided to go with my original idea.

DT: Have you received any negative feedback for Spike's death?

W: I've never officially said that he's died. At this point, I can tell you that I'm not sure if he's alive or dead. I think probably rather than being yelled at for killing Spike, I think ... people are more upset that I might make a continuation.

DT: I'm sure you've heard the next question a thousand times, and I apologize for asking again.

W: Then I pass. [Laughs]. I'm joking.

DT: When are we going to get to see more "Bebop"?

W: Someday ... maybe, someday.

DT: How was working on a movie different from the series?

W: One thing is that with a TV series, you only have 20 minutes, so you can't convey a long story. I feel like I was able to convey a longer story in the movie. For example, in the movie there is a 20-minute mecha scene. If I were to do that in the TV series, it would take up an entire TV episode.

DT: It's common to hear animators remark about how long it takes them to be offered a solo directing opportunity. How were you able to do this so quickly?

W: The animation industry is one that doesn't really rely on age or educational background. Rather, it depends more on a person's skill and on luck. So for myself, the first TV series I directed, "Cowboy Bebop," was a hit, and as a result of its success, I was offered the opportunity to direct a film. It doesn't really matter have much skill you have, if you don't have a hit work, a popular piece, you won't get any offers to make a film. In that respect, I consider myself lucky.

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