AnimeNfo Forum Index AnimeNfo
 AnimeNfo Forums 
   SearchSearch     UsergroupsUsergroups 
 RegisterRegister   Log inLog in 
The time now is Tue May 21, 2013 1:24 pm
All times are UTC + 1 (DST in action)
View posts since last visit
View unanswered posts
Poll

what to do if Daniel Radcliff is chosen to play Shinji Ikari

What? I like that little kid, he would be great as shinji!
17%
 17%  [ 3 ]
Boycott the movie
17%
 17%  [ 3 ]
Pray he does a good job
5%
 5%  [ 1 ]
Have unit 01 eat him episode 24 style
35%
 35%  [ 6 ]
Have unit 01 eat him EoE style
23%
 23%  [ 4 ]

Total Votes : 17

 
 Forum index » Anime Series Discussion Forum » Neon Genesis Evangelion
casting debate!
Moderators: AnimeNfo Forum Moderator
Post new topic   Reply to topic View previous topicView next topic
Page 1 of 1 [39 Posts]  
Author Message
18th Angel Kabaris (#48699)
AnimeNfo Peasant


Joined: 24 Jun 2004
Posts: 30
Location: In a land forgotten by time.
 casting debate!

ok, so let's get some wish lists going who wants who to play who in the Eva live action movie?

Fuyutski - Ian Maclellan (come on, he even LOOKS like him)

Chairman Keel - Marlon Brando...too bad he's dead.

Kaji - Colin Farell

Misato - Kate Beckinsale

Ritsuko - Joey Lawrence Adams (Chasing Amy, Mallrats)

Pen Pen - the Taco Bell Dog (just kidding...relax) Twisted Evil

Gendo - Al Pachino (just a thought, because he could reprise the line "Say hello to my little friend" in reference to Adam)

Rei - Allison Lohman (O.K. the actress is 25 BUT she played a 14 year old
in Matchstick men very well.)

I would love to hear some other ideas....
_________________
"This world is made of Love and Peace!"

"It's hot."
"Yes"

PostPosted: Sat Jul 03, 2004 6:37 pm
  View user's profile Send private message    Back to top 
simon (#39337)
AnimeNfo Overlord


Joined: 25 Mar 2004
Posts: 2404
Location: "closer to the heart"
this poll lacks one posibility..."kill him with a shovel"

i will see it...but if they choose him...it will be downfall.

and i don't know any good actors that could play NGE characters.

it would be best if this movie wasn't done.

maybe David Duchovny and Gillian Anderson as Shinji and Asuka Laughing

David as Shinji:
hey dad...have you seen any green angels?

lol
_________________


PostPosted: Sat Jul 03, 2004 10:17 pm
  View user's profile Send private message Send e-mail    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
Re: casting debate!

18th Angel Kabaris (#48699) wrote:
ok, so let's get some wish lists going who wants who to play who in the Eva live action movie?

Fuyutski - Ian Maclellan (come on, he even LOOKS like him)

Chairman Keel - Marlon Brando...too bad he's dead.

Kaji - Colin Farell

Misato - Kate Beckinsale

Ritsuko - Joey Lawrence Adams (Chasing Amy, Mallrats)

Pen Pen - the Taco Bell Dog (just kidding...relax) Twisted Evil

Gendo - Al Pachino (just a thought, because he could reprise the line "Say hello to my little friend" in reference to Adam)

Rei - Allison Lohman (O.K. the actress is 25 BUT she played a 14 year old
in Matchstick men very well.)

I would love to hear some other ideas....


LOL. Clever stuff.

Personally, I don't think Daniel Radcliffe would be that bad of a choice. I like Harry Potter, though I'm not sure if he could pull off the level of emotion required for Shinji. Who knows? It depends on how much of a production they intend on making out of this. Are they shooting for a blockbuster, or just some B movie?
_________________


PostPosted: Sun Jul 04, 2004 2:28 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
Are they shooting for a blockbuster, or just some B movie?


God the whole thing makes me retch. The very best we can possibly hope for is a knock-off of Gundam. Sad

Daniel Radcliffe doesn't seem to have the right temperament for Shinji -- we're talking about one angry boy here. Maybe Leonardo Dicaprio when he was a teen (no really!) Or Haley Joel Osmont or Kieran Culkin.

But if you age Shinji about 10 years, then definitely Jake Gyllenhaal. They should age Shinji, Asuka, and Rei into 20-something people so that they can find proper actors.

Fuyutski - Ian Maclellan (yup, no doubt)
Chairman Keel - Jon Voight
Kaji - Colin Farell (yup, another good match)
Misato - Jodie Foster or Angelina Jolie
Ritsuko - Nicole Kidman, Parker Posey

Gendo - ????
Asuka - Scarlett Johanssen
Rei - ?!?!?!

PostPosted: Thu Jul 08, 2004 3:32 am
  View user's profile Send private message    Back to top 
18th Angel Kabaris (#48699)
AnimeNfo Peasant


Joined: 24 Jun 2004
Posts: 30
Location: In a land forgotten by time.
replacements for Brando

all the buzz is that is going to be fairly big... maybe not a summer blockbuster, but definatley not a B-movie


as for Brando being dead... how about Yul Brenner or the guy that played Kojack as Keel?
_________________
"This world is made of Love and Peace!"

"It's hot."
"Yes"

PostPosted: Thu Jul 08, 2004 10:37 pm
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
But if you age Shinji about 10 years, then definitely Jake Gyllenhaal. They should age Shinji, Asuka, and Rei into 20-something people so that they can find proper actors.


I suppose that is a good idea, though I think it kind of takes away from the philosophy of the series. I think the fact that they were just kids was an important aspect that I would be sorry to see thrown out. But I suppose we can't really expect them to stick too faithfully to Anno's guns.

I'm really interested in seeing how they deal with the philosophical aspects of the series, if they do at all. It would kind of upset me if they just wiped the intellectual slate clean and made a mindless action flick out of this.

I hope this movie turns out to be good... but I don't know.
_________________


PostPosted: Fri Jul 09, 2004 12:07 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
See, I think the philosophical and symbolic aspects of the series would be virtually killed off in such an adaptation. I don't even know how to begin to write a 2-hour screenplay to an audience who . . .

A) has never seen a robot show in their entire lives
B) are used to happy, "clean" endings
C) are expecting a summer action movie

The only viable creative approaches I see are . . .

A) tell only the beginning of the story and emphasize gundam-style action plus some "i hate you dad" melodrama
B) adapt it as a mini-series for cable
C) split it off as a 3-part trilogy and hope it doesn't kill off a studio
D) make it into a fan-service ecchi comedy. I'm all for that! Very Happy

PostPosted: Fri Jul 09, 2004 1:31 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
I don't even know how to begin to write a 2-hour screenplay to an audience who . . .


A) has never seen a robot show in their entire lives

true, but the robot CG is being done by the Weta Workshop, so that might have some pull.

B) are used to happy, "clean" endings

Unfortunately true.

C) are expecting a summer action movie

I guess it would depend on how they market it. It is a matter of what risks they are willing to take. I think maybe it would have been better to start doing live action adaptations with Cowboy Bebop, or something more accessible. Then later on when they have more money and creative freedom trying out something as complex as EVA. In fact, I would love to see a live action CB, but if EVA flops, there's probably no chance that will ever happen.

The only viable creative approaches I see are . . .

A) tell only the beginning of the story and emphasize gundam-style action plus some "i hate you dad" melodrama

Sounds like what will probably happen.

B) adapt it as a mini-series for cable

Oh Jesus.

C) split it off as a 3-part trilogy and hope it doesn't kill off a studio

It was a risk they took with The Matrix, and it worked. IMO the end of The Matrix sucked, but people still saw it. I think the end of EVA would create just as much contoversy among the general public as it has among anime fans, which would ultimately be good for it. I still don't think any movie studio would go for it though.

D) make it into a fan-service ecchi comedy. I'm all for that! Very Happy

Might as well, considering all the other ways they could ruin it.
_________________


PostPosted: Fri Jul 09, 2004 1:51 am
  View user's profile Send private message Send e-mail    Back to top 
simon (#39337)
AnimeNfo Overlord


Joined: 25 Mar 2004
Posts: 2404
Location: "closer to the heart"
Slippy wrote:
I don't even know how to begin to write a 2-hour screenplay to an audience who . . .


does it matter anyway? the more important is that after this movie, trilogy or mini series they will sell a lot of stuff with Evangelion...mugs, dishes, baloons and everything on which you can insert Shinji's, Asuka's or whatever faces....and don't be suprised if you find Eva mini games in crisps...and don't forget about a lot of children running around and pretendfing to be Eva 01 as it was with pokemon..look mum i'm pikachu!!

please...shoot me now!!!
_________________


PostPosted: Fri Jul 09, 2004 2:02 am
  View user's profile Send private message Send e-mail    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
simon (#39337) wrote:
Slippy wrote:
I don't even know how to begin to write a 2-hour screenplay to an audience who . . .


does it matter anyway? the more important is that after this movie, trilogy or mini series they will sell a lot of stuff with Evangelion...mugs, dishes, baloons and everything on which you can insert Shinji's, Asuka's or whatever faces....and don't be suprised if you find Eva mini games in crisps...and don't forget about a lot of children running around and pretendfing to be Eva 01 as it was with pokemon..look mum i'm pikachu!!

please...shoot me now!!!


I wouldn't worry about that. Pokemon and EVA are two completely different things.

Besides, do you see people running around pretending to be Hobbits? Or wearing dark glasses and trench coats and calling themselves the One?

Maybe there might be T-shirts and posters and stuff like that. But there are already things like that anyway, so what's the big deal. Personally, I'm happy if it is brought to a larger audience. Just so long as it represents the EVA that we know, and isn't turned into something that it shouldn't be.
_________________


PostPosted: Fri Jul 09, 2004 2:13 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
does it matter anyway? the more important is that after this movie, trilogy or mini series they will sell a lot of stuff with Evangelion...


Done properly, the special effects in an Evangelion movie would probably start the budget at $175 million. (Organically mecha is far above ANYTHING done in Spiderman 2 or Matrix.) For about 100-110 minutes. Do the 2.5 hour movie that would be bare minimum to cover a story vaguely reminiscent of Eva, well you're already hitting $200 million. Throw in A-list actors and Eva is already the most expensive movie ever made.

Bravest move would be to not do a robot show and just do sequences for beginning and ending. It would save them a lot of money.

Quote:
It was a risk they took with The Matrix, and it worked. IMO the end of The Matrix sucked, but people still saw it. I think the end of EVA would create just as much contoversy among the general public as it has among anime fans, which would ultimately be good for it. I still don't think any movie studio would go for it though.


I rather liked the middle part of the Matrix actually, the Foucault posturing tickled me good! Very Happy All in all, though, even if they did a straightforward coming-of-age story about a boy who learns to accept his role as a "hero" . . . I just don't know. It will still be horribly expensive, and it probably wouldn't hit the zeitgeist meter like the Matrix did. I could be wrong, though -- at its most obvious, I felt Eva capture generational disaffection as well as, say, Trainspotting. Smile

Quote:
Might as well, considering all the other ways they could ruin it.


Misato played by Angelina Jolie. YOSH!!! Very Happy

Quote:
I think maybe it would have been better to start doing live action adaptations with Cowboy Bebop, or something more accessible. Then later on when they have more money and creative freedom trying out something as complex as EVA.


That's how I feel too. Bepop was already "remade" as a TV series (does anybody else remember Firefly? Wink ), and the show worked through well-worn crime/noir tropes. A natural for adaptation. Also, a simpler mecha show like Gundam or OVA series like Macross Plus would work naturally. Expensive but it has highly filmable storylines. CardCaptor Sakura and Escaflowne would make perfect summer films. Heck, you could make an Oscar-calibre adaptation of Haibane Renmei, Lain, or *ahem* SAIKANO. Heh heh.

Obviously Battle Royale is the model to follow here. But Eva defeats that very model by splintering its narrative in so many different ways. It's not a true "robot" show; it's not a true fantasy show; either ending would be impossible to adapt to live-action. Of all mainstream anime shows, Eva is by far the hardest one to adapt to live-action film.

PostPosted: Fri Jul 09, 2004 5:28 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
Done properly, the special effects in an Evangelion movie would probably start the budget at $175 million. (Organically mecha is far above ANYTHING done in Spiderman 2 or Matrix.) For about 100-110 minutes. Do the 2.5 hour movie that would be bare minimum to cover a story vaguely reminiscent of Eva, well you're already hitting $200 million. Throw in A-list actors and Eva is already the most expensive movie ever made.


What sucks is I think I read that the movie is only getting a $100 million budget...

Quote:
Misato played by Angelina Jolie. YOSH!!! Very Happy


No objections here.

Quote:
Bepop was already "remade" as a TV series (does anybody else remember Firefly? Wink )


No, actually. Never heard of it. Was it American? I'll have to check this out.
_________________


PostPosted: Fri Jul 09, 2004 6:09 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
What sucks is I think I read that the movie is only getting a $100 million budget...


And, see, I just don't think a mecha movie can be adequately done for that. It's not that I'm a FX fiend, but can you imagine how BAD the fights will be under budget? Sad

Quote:
No, actually. Never heard of it. Was it American? I'll have to check this out.


Heh heh, just kidding around. Firefly was a short-lived Joss Whedon sci-fi-meets-cowboy series. A lot of Joss's concepts seem taken out of anime/manga, the monster hunter chick with teenage issues, the vampire seeking redemption . . . and lo and behold, a gang of yahoos doing good deeds done dirt cheap in space.

Pretty good show, though. And witty.

PostPosted: Fri Jul 09, 2004 6:21 am
  View user's profile Send private message    Back to top 
Freddy C (#31563)
AnimeNfo Juggernaut


Joined: 07 Jan 2004
Posts: 4210
Location: UK
firstly, i don't want to see this anyway, and if HP boy does get picked, the chances of me watching this will be very looooow.

but it's just a rumour that he will get picked for this, he's too busy making HP movies instead.
_________________


PostPosted: Mon Jul 12, 2004 7:49 pm
  View user's profile Send private message Send e-mail MSN Messenger    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
I really don't see this movie ever happening. If this movie really is a labor-of-love, then they don't have the $$$ that true fanboys would need to do this proper. And who but fanboys would watch it? If this movie ends up being a committee thing, then you'll see an empty, FX-heavy show with some "drama" to move the plot. The former is a financial disaster. The latter really isn't Eva.

PostPosted: Tue Jul 13, 2004 4:30 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
Okay, I found this commentary on the supposed intentions for the project, if anyone cares to peruse:

Maher Al-Samkari, author of "Neon Genesis Evangelion: R" and "Faren: A Dragon's Tale" posted the following on the Modus Productions online forum. It is a slightly more expansive and somewhat more revised version of a statement previously made by Tiffany Grant, English voice of Asuka, and wife of ADV co-founder Matt Greenfield. In it she adressed a number of issues, but mainly adressed the issue of quality, assuring that these films will be done by WETA with painstaking care.

QUOTE:"As you can imagine, I have received a large number of questions inquiring about various aspects of the announced live-action Evangelion movie. As I answered each question, I would add on to my earlier response, which is how I came up with this "article" on the subject. I hope this will address your concerns.

First off, there are 26 TV episodes and two movies in the Eva library (not to mention the as yet unfinished manga series by co-creator Sadamoto). The first goal is to produce a movie that encapsulates the most important elements of the early part of the series so that the viewer will not have to have seen the aforementioned 15 or so hours of video, and still leave room for one or two (maybe more?) follow up films that can finish off the story.

The movie is being produced jointly by Gainax (of course), ADV and WETA. If you are somehow NOT familiar with the WETA Workshop, this is the incredible studio founded by Peter Jackson in New Zealand that created the Lord of the Rings films - for which they just won an unprecedented number of Academy awards in a clean sweep of all categories in which they were nominated. By watching the fantastic documentaries on the LOTR DVDs, you can get an excellent idea of the kind of attention to detail that this group gives to everything they do.

Also, if you have read the LOTR, I think you will see that the characters in that iconic tome have been very faithfully brought to life. In fact, in a film adaptation of the second most read book in the English language (the Bible is the first), it is pretty well unanimously agreed that WETA got it exactly right. Bearing that in mind, I have every reason to have confidence that the same folks who hand glued every hair on each hobbit foot, will do a spectacular job with our NGE heroes.

Keep in mind that WETA will not be doing this in a vacuum either, as they will be supervised by people at both Gainax and ADV (such as my husband, of course).

As for the "slug" names used in the preliminary script (NOT the final version!!!) which appear on the production drawings, they are only used so as not to refer to them as "Pilot A" and "Captain B" etc. As has been widely discussed, the cast will be international, and mostly of European descent. Meaning, for example, if Daniel Radcliffe (Anime Insider's suggestion - NOT mine!) were to play the lead male role, it would be pretty stupid to call an ENGLISH boy "Shinji." Therefore, "Kate Rose" for example is the name they are using for the designs is in place of "Pilot of 02" or whatever.

As no actors have yet been cast, the pre-production drawings are simply pictures that are drawn of imaginary people in place of having a headless body in a plug suit. The artists are trying to design what a real-life plug suit will look like, and it would seem easier to do (and better to look at!) if the person also has a head. Remember - we don't know what the suits are even made of! Rubber? Plastic? Leather? The sketches are part of the early costuming process, and I am quite certain that when a director is found, he or she will seek out the best people for the roles. It seems quite doubtful that they would try to find a person to match a drawing.

It may also be of interest to note that there is a genuine desire to cast kids of the right age to play the main roles - NOT 22 year-olds to "play younger." Therefore, it is difficult to speculate at this early stage on who will play these roles since it is not possible to tell right now when principal filming will begin.

The show is in VERY early stages of pre-production, so nothing is final yet. ADV was just trying to share a little Eva goodness with everyone by showing off some of the thousands of production drawings that have been produced. I think they are fabulous, personally, and I eagerly await each new development in the project.

I believe you can all rest easy knowing that the films will be everything and more that we ever thought they could be."

Source: Modus Productions Online Forum


Reading this, it would seem to me that ADV at least has the intent of being faithful. It also suggests that they seem to have it in mind to try to make more than one film out of this... if that is the case, I can see it as a greater possibility for it to become consummate. After all, if they base the first movie on the earlier part of the series, they could be entirely faithful without incorporating any of the highbrow concepts that would alienate it's target audience. Then they could add all of the philosophical elements in later installments, like a bait and switch tactic, which really mirrors the style of the series, I think. So I do see hope for this IF (and probably only IF) they can make more than one flick out of it.

Otherwise, I would say i have to agree with slippy. If they actually try to make it a labor of love, they will surely meet too much resistance from paranoid producers who speak for the studio rather than the artist, and production would come to a halt. Or, they could give in to the studios demands and produce an adulteration.

For my part, I hope they can make a trilogy out of this, or something along those lines. That is the only way I can see it working. Or at least, they should go into it with the intention of making more than one, even if in the end they aren't able to if it flops. It would be better to have one movie faithful to the early part of the series and just have it end there, rather than have one movie that ruins Eva altogether.
_________________


PostPosted: Tue Jul 13, 2004 5:42 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
If Eva the Live Action Movie were to become a big hit, the dam will burst between anime and the American distribution market. ADV's been riding the Eva milk truck for almost ten years now -- this would elevate them into a legit production company.

I don't know . . . Random rant to follow See, one of the reasons I love Eva is that it uses a lot of progressive manga-meets-anime symbolist/ideographic/non-linear intertextual aesthetic. I've probably talked that point to death on this forum, but seriously I wish everybody could understand what I mean by all that. Because if people did, then people would stop viewing the future of anime animation as better, faster technology. If somebody watches the last half of Eva, then watched the first half of Kare Kano (and even compare it to the manga), just pay attention, for 30 seconds, one continuous series of stills, texts, and black-outs, they'll notice how this teleological progression from "static manga" to "translated expressionism" becomes the dramatic, visual vocabulary of their subconscious. It's "American Splendor" done at least two formal steps (continuous chain of visual abstractions // interior dialogue subverting story structure) ahead. Thereinlies the foundation for all of the obscurantist, philosophical structure of the series.

Without this language, you can't have Eva. It's too hard. You start with Kubrick, go through Lynch, stop by Von Trier, and have sex with Monty Python. And still all you have is a lot of screaming, crying, heretical Christian babble, and misplaced bodily fluids. Sad

Quote:
After all, if they base the first movie on the earlier part of the series, they could be entirely faithful without incorporating any of the highbrow concepts that would alienate it's target audience. Then they could add all of the philosophical elements in later installments, like a bait and switch tactic, which really mirrors the style of the series, I think


I think that's the right idea for doing a proper 3-set movie. I am very negative toward this project, but I'd like to see how they can make this work. If they can produce a spectacle and be true to the spirit (i.e. follow through with what "Rei" is and what Gendo does and what Shinji chooses), hell it'll win the friggin Cannes. Wink

PostPosted: Tue Jul 13, 2004 6:28 am
  View user's profile Send private message    Back to top 
18th Angel Kabaris (#48699)
AnimeNfo Peasant


Joined: 24 Jun 2004
Posts: 30
Location: In a land forgotten by time.
good points guys, but back to the casting wishlists

wow, lots of good points there, but let's get back to the wish lists...

BTW, the guy who tlayed Kokack? Telly Savales

controvresy here I come:

As Gendo? Christopher Walken.
_________________
"This world is made of Love and Peace!"

"It's hot."
"Yes"

PostPosted: Thu Jul 22, 2004 6:24 pm
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
I found this recently and thought I would post it here for any who might be interested:



At Akon 15, the oldest running anime convention in the US, a number of new anime acquisitions were announced by Bandai, Funimation, and ADV Films...

Live Action Evangelion Update:

Still no director yet. They are in negotiation with a couple of A-list directors
(hmmm...) right now, and in fact Gainax has just approved the short list of directors. Now its just a matter of negotiating out things. Until there is a director, there will be no final script. Until there is a final script, there will be no casting. Anybody you're thinking of for a main [child] character, unless they start shooting immediately, will be too old for the part. The Harry Potter movies being an example of this. If they were to cast right now, the actors would need to be at most 11-12 years-old. [Ed note: I think we can draw two conclusions from this: There will be more than one movie since they are concerned with the actors outgrowing their parts (like Harry Potter) and that the actors will be relatively unknown since they will be so young (11-12) when they are cast.]



So, looks like Daniel Radcliffe might be out of the picture (get it? out of the pic... well, whatever). I know that will come as good news to most of you.

I think Christopher Walken as Gendo might not be appropriate. That guy makes me laugh my ass of with just the sight of him, which wouldn't really work. CW is awesome.
_________________


PostPosted: Tue Aug 03, 2004 2:05 am
  View user's profile Send private message Send e-mail    Back to top 
simon (#39337)
AnimeNfo Overlord


Joined: 25 Mar 2004
Posts: 2404
Location: "closer to the heart"
rossoline (#40078) wrote:


Live Action Evangelion Update:

Still no director yet. They are in negotiation with a couple of A-list directors [/i](hmmm...)


i hope this A-list directors will watch whole Evangelion first...before making fight scenes with a lot of KABOOMs!!


and i get this "out of the picture" joke Smile
_________________


PostPosted: Tue Aug 03, 2004 9:30 pm
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
BTW, anybody weirded out that the States will be selling this live-action Eva back to Japan?!? That's like us doing Godzilla . . . oh never mind. Sad
Quote:
They are in negotiation with a couple of A-list directors (hmmm...) right now, and in fact Gainax has just approved the short list of directors


Has the short list been leaked out? Why do I get the feeling one of this A-list is McG (Charlie's Angels booyah!!)? Sad

Ideally, it would be a Kubrick-influenced director, since Eva is a Kubrick-esque creation. Steve Sodenbergh would do a masterful job at getting all the important thematic details into a tightly paced script and get major-label bling into the FX. A great actor's director too. And he would have the right mind to do it with as few special FX as possible. I'm telling you people, the key to doing this movie is to have as little robot action as possible!! And boobs. Big boobs!! Wink

Again, I think the cast should be in the 18-21 range. They could still do valid adolescent psychology as well as actually cast halfway decent actors.

PostPosted: Wed Aug 04, 2004 2:49 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
Has the short list been leaked out?


Unfortunately, I don't think so. But I'll probably be the first person to post here when I find out. Wink

Quote:
Again, I think the cast should be in the 18-21 range. They could still do valid adolescent psychology as well as actually cast halfway decent actors.


Yeah. I can see that. In fact, after some recent thought, I'm not sure that 14 is an appropriate age anyway. I didn't have Shinji's experiences when I was 14. Suffice it to say, I don't think Anno himself did either. There's really not strong social pressure for that type of introspection at that age, I don't think.

Oh yeah... boobs. Can't make a movie without em.

But that actually brings up the question of a rating. I hope they don't try to make it PG-13. That would suck.

There are so many things that could go wrong with this. Confused
_________________


PostPosted: Wed Aug 04, 2004 3:35 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
Yeah. I can see that. In fact, after some recent thought, I'm not sure that 14 is an appropriate age anyway. I didn't have Shinji's experiences when I was 14. Suffice it to say, I don't think Anno himself did either. There's really not strong social pressure for that type of introspection at that age, I don't think.


I did. To this day, I can't look at an (extra) small beer can or penguin without crying. Sad Wink

For me, the pilots' young, young age really set off the psychodramatic brutality of their Evas. These were deeply damaged children; Shinji's angst with sex, women and abandonment for me really speak from someone just coming to terms with his body, rather than somebody who's ready to step into manhood.

So much of Asuka and Shinji's ordeal with the show (and esp. the movie) moves me because I never forget that they really are children. It's hard for me to explain, but I see Shinji almost as an female-male character who feels his own changing into malehood as an effrontery. His love and neediness for love, his anger and selfishness, is just so sad yet beautiful.

But I also think, because it's an aspect that anime (or comics) is uniquely suited to portraying, that the child-man arche should be abandoned for older characters in a live-action movie. Good counterexample would be Rahxephon, because the principal pilots are essentially at the end of adolescence, the psychological, sexual conflicts are more matter-of-fact and off-the-shelf. Then all of the antiauthroity, antiparent stuff can be worked out as choices and decision process through the movie.

And, yeah, we can get a hot Rei. Wink

Quote:
But that actually brings up the question of a rating. I hope they don't try to make it PG-13. That would suck.


Let's see. Say we have a film where there's no bad language, very little blood, but all the kids are freaking out and crying for their mommies from the get-go. And lots of Satanic stuff!! Can that work as PG-13? Well I say the MPAA let the Ring go, so why not NGE? Very Happy

PostPosted: Wed Aug 04, 2004 9:01 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
For me, the pilots' young, young age really set off the psychodramatic brutality of their Evas. These were deeply damaged children; Shinji's angst with sex, women and abandonment for me really speak from someone just coming to terms with his body, rather than somebody who's ready to step into manhood.


True, but I think there is no question that Anno inscribed many adult characteristics in Shinji. From what I've heard, he wrote Eva in part due to the need to sort out shortcomings in his personal relationships. His insights seem to arise after the fact of these relationships, rather than from the initial trepidation of them.

I think a child character is apropos insofar as one needs to work out problems that stem from childhood, and a conflicted child makes for better entertainment than a reflective adult. Not to exploit it, but, that's what it is after all. I'm not sure how old Anno was when he wrote it, but I doubt he was 14, and I also doubt that he consciously steered clear of utilizing Shinji and the scenario of Eva to metaphorically represent lessons he learned as an adult.

I can see a 14 year old kid coming into this situation, as I did as well (and not to mention some of the posts I've read on this forum), but what I mean to say is that I just can't see them coming out of it so quickly (not to say Shinji fully came out of it, but we've discussed that elsewhere). How is it that Shinji identifies the importance of meaningful relationsips when he, in fact, has never had any? The only answer I can see to this is Kaworu (sp?), but he played such a minor role that I either must forget him sometimes, or I just can't see how they came to love each other so quickly. They only knew each other for a day or so. It seems to me that Anno might have added him as a necessary afterthought, perhaps? or he just expects us to suspend disbelief. Either way, Kaworu becomes a more interesting character to me as I continue to watch it.

Anyway, I agree that older actors would be okay because I think it's easier to envision them with the few adult characteristics that I think Shinji and the others portray. Overall though, as I've said here and elsewhere on the forum, I've always thought there was great significance in the fact that the Eva pilots were children. I'm just starting to think that it could go either way and still work, whereas before, I would have insisted that they be children.

Quote:
So much of Asuka and Shinji's ordeal with the show (and esp. the movie) moves me because I never forget that they really are children. It's hard for me to explain, but I see Shinji almost as an female-male character who feels his own changing into malehood as an effrontery. His love and neediness for love, his anger and selfishness, is just so sad yet beautiful.


I couldn't agree more.

Quote:
Let's see. Say we have a film where there's no bad language, very little blood, but all the kids are freaking out and crying for their mommies from the get-go. And lots of Satanic stuff!! Can that work as PG-13? Well I say the MPAA let the Ring go, so why not NGE? Very Happy


potential Eva spoiler wrote:
You must have forgotten about that jerk off scene in the hospital in EOE. Not to mention a certain 14 year old baby blue haired girl running around nude, growing into a huge monster thing, and having her head fall off into an entire ocean of blood.

_________________


PostPosted: Wed Aug 04, 2004 9:44 pm
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Yes, but do you believe they will have apple pie in NGE? Wink

Well, I suppose the difference is akin to doing Love Hina around Shinobu rather than Naru. You explore essentially the same set of themes, but you add in uncomfortable pedo/Lolita-overtones, which amplifies the psychological and sexual conflicts within the story. Sexual desirability is about 15-16 years old, meaning it's plausible for a 16/17-year old boy/girl to date an adult and to include a non-hentai sexual angle. Go before that and you're uncomfortably treading taboo waters.

Shinji's particular scene with Asuka is especially poignant because we the "adult viewer" are forced to see too-young Asuka as a helpless Lolita-nympth, while Shinji reacts as frankly and rudely as anybody just out of junior high might. Because their sexuality is unusually vulnerable, naive, and primal, it is also rudely honest and unresolved against conventional morality. Sensuality is not that unusual in a coming-of-age mecha story, but the male characters usually are toward the end of their high school experience; we can assume they've had normal friendships with girls; we can assume they have masculine (albiet dork-male) characteristics; we can assume that their principal conflict is to act or not to act. We can't with Shinji or Asuka or Rei; they are born prematurely to this environment, and Anno accentuates this characteristic to make EofE emotionally, viscerally unbearable. Or to put it another way, if they were 17-years old (and acted as 17-year old kids do), the acting/relationship dynamics would be just different enough to make certain consequences more palatable.

Then again, maybe Keitaro might have done the same with Shinobu. Confused

Quote:
True, but I think there is no question that Anno inscribed many adult characteristics in Shinji. From what I've heard, he wrote Eva in part due to the need to sort out shortcomings in his personal relationships. His insights seem to arise after the fact of these relationships, rather than from the initial trepidation of them.


Anno sort of uses Shinji as his sounding board for his own therapy. In that regard, none of the three principal characters are conventionally "humanistic", they like in a Kubrick film, are symbolic aspects of themes calculated in brutal, naturalist fashion. The age-range is a sort of filter, casting unusually young people in this play, the age where psychosomatic cause/effect is most broad and demonstrably intense, accentuates his themes, creates the right indignation from the audience. Or as you put it, it "makes for better entertainment than a reflective adult." In mecha, a 17-year old guy basically qualifies as "reflective adult" and it opens up plausible harem possibilities with the adult cast. When people call Shinji pathetic or a coward, they usually forget that he's just 14 and that the character is acted out as such; he should not even be on the on-deck circle for manhood, whereas your typical 16/17-year old mecha pilot would. That dissonance from convention also plays out beautifully in the Kenshin OVA series; you never forget that this monster/hero is just a boy.

Quote:
but what I mean to say is that I just can't see them coming out of it so quickly (not to say Shinji fully came out of it, but we've discussed that elsewhere). How is it that Shinji identifies the importance of meaningful relationsips when he, in fact, has never had any?


In the sense that Shinji takes an essentially binary approach to connection, either Gendo or Rei or Asuka or Kaoru(sp?!?) becomes the most important friend in his life at that moment, or that he has absolutely no friends at all. Move Shinji into the 17-year old frame, and then more likely Anno works through various conventional approaches to Shinji's latest disillusionment. His very bitchiness works powerfully because there's no real template for such a young boy. Though I might add there's no template whatosever for Asuka's various traumas.

Quote:
It seems to me that Anno might have added him as a necessary afterthought, perhaps? or he just expects us to suspend disbelief. Either way, Kaworu becomes a more interesting character to me as I continue to watch it.


No I agree with you. Their connection is meant as the plot-catalyst as well as front for Anno's issues. Shinji's reaction to his high school friend has similar effect, Shinji's lack of m

Quote:
Overall though, as I've said here and elsewhere on the forum, I've always thought there was great significance in the fact that the Eva pilots were children. I'm just starting to think that it could go either way and still work, whereas before, I would have insisted that they be children.


I think we're definitely in agreement there. Shinji was acted well because they used an adult female actress for his part. Make him older and you can't cast a female actress, which takes away a lot of the boy-to-man nuances in his anger. Keep him that young and you can't cast an adult male actor. Obviously, a live-action film doesn't have those options (unless you suddenly found a world-class child thespian), and so it would make more sense to go with an older age. I suppose what would be lost using older actors would be replaced with the immediacy in live-action.

PostPosted: Thu Aug 05, 2004 1:07 am
  View user's profile Send private message    Back to top 
simon (#39337)
AnimeNfo Overlord


Joined: 25 Mar 2004
Posts: 2404
Location: "closer to the heart"
rossoline (#40078) wrote:
Yeah. I can see that. In fact, after some recent thought, I'm not sure that 14 is an appropriate age anyway. I didn't have Shinji's experiences when I was 14. Suffice it to say, I don't think Anno himself did either. There's really not strong social pressure for that type of introspection at that age, I don't think.


Anno by placing 14 years old children in 60th meters evas tried to show us how huge responsibility was put on him when he was a child...i may be wrong but it's greatly possible that Anno's mental problems have started in childhood when everyone expected him to do something that was over his capabilities...it is shown clearly in NGE through entire series. So it can't be forgotten in a real action movie(s). making characters adult will be as talking about problems with wheels when there is no car...
_________________


PostPosted: Thu Aug 05, 2004 1:19 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
making characters adult will be as talking about problems with wheels when there is no car...


You could discuss childhood issues as adults or semi-adults. In fact, most mature anime (and movies in general) approaches those issues using self-aware teens at the brink of adulthood. Anno twists that convention by presenting damaged characters who aren't near that stage. It's, again, akin to putting Sumono in the Naru role.

PostPosted: Thu Aug 05, 2004 1:34 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
Anno sort of uses Shinji as his sounding board for his own therapy. In that regard, none of the three principal characters are conventionally "humanistic", they like in a Kubrick film, are symbolic aspects of themes calculated in brutal, naturalist fashion.


I get that from it as well. I'd go as far as to say that almost every aspect of Eva fits that description, though I occasionally find myself wondering whether I interpret it too metaphorically. In a way it seems to me that the characters are collectively a fractured representation of one identity.

Quote:
In the sense that Shinji takes an essentially binary approach to connection, either Gendo or Rei or Asuka or Kaoru(sp?!?) becomes the most important friend in his life at that moment, or that he has absolutely no friends at all. Move Shinji into the 17-year old frame, and then more likely Anno works through various conventional approaches to Shinji's latest disillusionment. His very bitchiness works powerfully because there's no real template for such a young boy.


It actually helps quite a bit to look at it that way. I was considering that Kaworu was actually something significant to Shinji, but I suppose he only wanted to believe so.

Quote:
Though I might add there's no template whatosever for Asuka's various traumas.


I'm not sure I understand what you mean. I thought they did a nice job setting up Asuka's background with her parents, and her association with Shinji and Kaji. Especially in the Director's Cuts.

simon (#39337) wrote:
Anno by placing 14 years old children in 60th meters evas tried to show us how huge responsibility was put on him when he was a child...i may be wrong but it's greatly possible that Anno's mental problems have started in childhood when everyone expected him to do something that was over his capabilities


I agree with that, though I would question whether anything was forced on him. Most of the time we do a sufficient job creating impossible burdens for ourselves around that age as a matter of trying to give ourselves a sense of importance. But it could go either way. Many children I think are forced into lifestyles they may not particularly want.
_________________


PostPosted: Thu Aug 05, 2004 2:11 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
I get that from it as well. I'd go as far as to say that almost every aspect of Eva fits that description, though I occasionally find myself wondering whether I interpret it too metaphorically. In a way it seems to me that the characters are collectively a fractured representation of one identity.


Or that the characters are genre conventions that Anno ruefully discards/tears-apart halfway into the show. Particularly difficult because Anno is Shinji, Shinji is Anno, the principal protoganist is both character and the narrative -- the victim has autonomy over plot; the plot transforms itself into the victim. If we say the show does character studies on Asuka, Rei, and Misato would imply, biographically, emotionally, there's separate qualities and entry points in these characters that remain consistent throughout the show. Yet we don't really see that either. Misato, who seemed like a troubled woman hiding beneath both her facade and hard treatment toward Shinji, dissolves toward the end into Shinji/Anno's unattainable femninine object. The former is figurative; but the latter is functional. Rei is even more troubling. She can represent various maternal/sibling/paternal project of his unconscious prehistory, but she also functions, critically, as Anno's "plot-eraser." But because Shinji controls our frame of reference, we may just as well as say Rei = Anno's psychosexual otherness and Shinji's self-referential white-board. At certain points, we don't know whether Shinji is meant to acknowledge his sexuality, or whether Anno is making us aware of ours for these girls. The show so ruthlessly deconstructs itself that, in questioning whether the story mattered but to kill time, we also must question the literary consistency and import of everybody but Shinji.

In other words, because the story may not really matter or be consistent, beyond just viewing the characters as symbols, we can uncomfortably deconstruct them as having no real literary meaning but pure function. That in turn means all the shown relationships are meaningless in themselves. But is Shinji saying that as character or is Anno saying that about his show?!? It's fine when that kind of meta-referentiality is in a comedy like Excel Saga, but nobody's tried that in a serious drama show.
That's partly why I doubt EofE is this middle-finger to the masses. If anything the last third of the show could claim that right. EofE sees through the characters, makes them real, and clearly demarcates where they morph into Shinji's head-chess pieces. While Anno is clearly speaking through Shinji, he does not dissolve his creative authority into Shinji.

This discussion more and more makes me think NGE the Live-Action Movie is going to be Gundam.

PostPosted: Fri Aug 06, 2004 2:49 am
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
slippy (#46880) wrote:
The show so ruthlessly deconstructs itself that, in questioning whether the story mattered but to kill time, we also must question the literary consistency and import of everybody but Shinji.

In other words, because the story may not really matter or be consistent, beyond just viewing the characters as symbols, we can uncomfortably deconstruct them as having no real literary meaning but pure function.


I thought the same at the end, and in some respects was unhappy with Anno for this. My contention has usually been that if you want to present an explicit philosophical doctrine, write a dissertation. Don't make a TV show wherein you exploit and sell out your characters to this end. Not to say that authors of fiction should be excluded from philosophical preoccupation, only that there is an appropriate form of presentation. Turn to the classic authors like Hemmingway, Steinbeck, or Faulkner for obvious examples. In this respect, I always felt the end to be somewhat inappropriate.

Quote:
the principal protoganist is both character and the narrative -- the victim has autonomy over plot; the plot transforms itself into the victim.


So at the same time, as you have stated, the show does contain an affluence of implicit symbolic and metaphorical elements along side the explicit factors. Most notable to me is the externalization of Shinji's psychological condition as a form of armageddon, the return to nothingness, or instrumentality project, by term. This seems to me to be the premise of the plot, and justifies it's necessity beyond merely a setup for an ostentatious lecture. This is the key factor that keeps me from writing the show off, as I think it is very creative and original, and provides a decent structural underpinning.

To elucidate: Shinji lives in an isolated world, "a private haven in the recesses of [his] mind," to take a line from the show. Instead of confronting reality head on and identifying others as individuals, he prefers to live in his head, where everyone who exists is nothing more than a convenient fabrication constructed on the premise of his own identity, and serve no purpose other than to stroke his ego. This is where he is comfortable. In this contrived (non-)reality where there is no conflict. This psychological state is reflected in physicalistic terms through the instramentality project, where all separate individuals become one, as they are in his head. Of course, this results in the end of the world, which gives us our plot. As they say in the show: "This is what [Shinji] wished for".

I would say that there is more to it than just that, though. The instrumentality project plays on several different metaphorical levels, I think, and the fact that it conceptualizes the above so well while illustrating other ideas simultaneously is a pretty nice literary accomplishment. All in all, even though I almost resent Anno somewhat for underestimating the ability of his audience to read into the premise without explicitly beating us over the head with it, I still think because of this there is enough implicit information and metaphorical value present to give the show worth. The fact that I agree whole-heartedly with most of the philosophy probably doesn't detract from my opinion either, of course.

Quote:
In other words, because the story may not really matter or be consistent, beyond just viewing the characters as symbols, we can uncomfortably deconstruct them as having no real literary meaning but pure function. That in turn means all the shown relationships are meaningless in themselves. But is Shinji saying that as character or is Anno saying that about his show?!?


I would have an extremely difficult time believing that is what Anno wants to say about relationships. Maybe Shinji would as a character, but Anno's ideas seem to me entirely to the contrary. Communication is a key element of Eva, and without others, it isn't possible. The relationships must have value, otherwise the show is from my perspective incomprehensible. More likely than not, rather than being intentional, I think this problem can be attributed to a mere oversight of literary construction. Anno accomplishes, but also blunders. I hate to say it, but from a purely literary perspective, Eva is in many ways occasionally second rate.

Quote:
That's partly why I doubt EofE is this middle-finger to the masses.


I don't like that theory either. From a purely practical standpoint, I'm not sure how one is forced to make a movie they don't want to. If he didn't want to make it, he wouldn't have.
_________________


PostPosted: Fri Aug 06, 2004 4:15 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
Don't make a TV show wherein you exploit and sell out your characters to this end. Not to say that authors of fiction should be excluded from philosophical preoccupation, only that there is an appropriate form of presentation. Turn to the classic authors like Hemmingway, Steinbeck, or Faulkner for obvious examples. In this respect, I always felt the end to be somewhat inappropriate.


I imagined part of the problem was balancing his analysis with the obligations of an original, complete story. Anno took an interest to Masami Tsuda's Kare Kano manga, which with its monologue-heavy text and "appearance vs. reality" viewpoint to identification and love already gave him his necessary source material. Of course, Anno then had issues when that source material veered away. By then, Gainax had neither the budget nor the resources to cook up an alternative story focusing on the subjects Anno had in mind. Sadly, Anno's expositional style really arrive in the first 1/3 of the show. That third is flat-out best thing Gainax has ever done.

But I'm actually thinking along the lines of the last third of the series being a textual commentary of his own series (and anime-making in general.) A bit like Adaptation, a bit like Excel Saga, where he, through Shinji is saying "hey, viewer, do you like Misato's fan-service? Hey, viewer, were you expecting Shinji to come-of-age like every other come-of-age mecha story? Hey, viewer, don't you think all the STEELE-NERVE story was a waste of time to fill up 26 episodes?" And so, last 1/3 of NGE -- as one interpretatoin goes -- takes the viewer out of the escape of the art and forces him to assess and critique *his* assessment and critique of his own work (and you, dear viewer.) I'm sometimes not sure, because it's only done in comed,y and NGE sure isn't (that) funny. . .

Quote:
This is the key factor that keeps me from writing the show off, as I think it is very creative and original, and provides a decent structural underpinning.


Yeah, that's how I felt too, and in a way, I was very glad that Anno saved us from the dramatic consequences of that scenario; I didn't want to see all these people die. Of course, he made EofE; I guess people thought you could live after the end of the world. Wink

Quote:
would say that there is more to it than just that, though. The instrumentality project plays on several different metaphorical levels, I think, and the fact that it conceptualizes the above so well while illustrating other ideas simultaneously is a pretty nice literary accomplishment. All in all, even though I almost resent Anno somewhat for underestimating the ability of his audience to read into the premise without explicitly beating us over the head with it, I still think because of this there is enough implicit information and metaphorical value present to give the show worth


It's very effective and novel how he approaches it. Anno is Kubrick-esque in that respect; if you're keen on his theories, you the viewer not only notice the symbolic and allusions at play, but how the narrative structure seeks to translate those theories into dramatic form without necessarily "dramatic content." End of Eva's "story" essentially ends halfway into the movie; the rest is exposition, dissertation, dialectic as drama. I think that's why it's useful contrasting Anno's "spectacle" with Ueda/Abe's highly internal, abstract dramas.

It somewhat makes me think of X the TV series, where most of the characters merely serves as ying/yang contrasts for various moral and spiritual aspects, and as pieces to the inevitable climax. That in itself is not remarkable, except the TV show from the get-go tells you exactly these various ideas. Instead of drama, we get connections. Instead of suspension of belief, we are constantly foretold what will happen, and asked to append themes from the show's messages. Everything that should contribute to dramatic integrity gets flattened for the sake of clarifying those themes, and so the characters remain unwrapped even as they undergo "conflict."

But I think there's something to Anno's style; it reminds me of good shoujo manga. And because anime/manga has a genuine grammar, I've always enjoyed how Anno literalized complex ideas into animated sequences, connected a set of symbols into a fast moving sentence. He was incredibly successful with Kare Kano, though KK emphasized simpler teen-angst territory.

I guess I can't imagine an Eva movie where this style could be applied . . . and that's half of the fun. Impossible to apply to live-action, even if you went into Lynch-style territory, you would be forced to adhere to dramatic integrity, otherwise the movie's cause-effect chain would be completely broken. You aren't afforded anime's pre-text.

Another side note: I picked up the Rahxephon movie with a lengthy booklet. In that booklet is an interview/debate covering between seasoned mecha directors, among other things, coming-of-age mecha stories. And it kind of hones in some of the literary dilemnas with stories like Eva . . .


Quote:
Like Eva is a drama that would end the instant he says. "I'm going to take responsibility!" Everything converges on that point. And how long you can stretch that out for determines how many episodes the series will last . . . Why I dislike stories based on trauma is because the drama ends when the main character is told the true nature of the trauma and he understands it. Because the drama is planned from the beginning to converge on that point, it's not like any of the people have changed or anaything. In other words, it's not dialectic. As a movie, this doesn't work at all. It's an enormous easy way out that works only in Japanese animation, which provides details to feed the audience's appetite. I think substantiating fantasy is probably our fundamental job for those of us working in animation or sci-fi or special effects movies. That's why it's undoubtedly the easy way. Endlessly, we start from that point and return to that point . . . But, with me, my theme is on how you can escape from that easy path. That's why I couldn't help but be conscious of it . . . After Eva ended, there were a mountain of shows similar to it, but all they did was trace the details. But none of them identified the true nature of it and tired to make a grand world out of the incredibly simple motive of "wanting to substantiate desire as a fantasy." . . .

. . . Because this kind of thing is most definitely in demand in the world. In every area, young kids coming out of puberty are a the mercy of their own desires and live their days solely on the impulse of wanting to dflesh out their desires with details, even without really understanding it themselves.



PostPosted: Sun Aug 08, 2004 9:09 am
Last edited by slippy (#46880) on Wed Aug 11, 2004 3:28 am; edited 1 time in total
  View user's profile Send private message    Back to top 
rossoline (#40078)
AnimeNfo Warrior

Joined: 02 Apr 2004
Posts: 776
@Slippy: You make some valid points. It's nice for me to see that there is someone else who interprets this stuff similarly to the way I do. I don't know about you, but no one else I know really likes anime, so I have no one to discuss this stuff with.

Btw. Kare Kano, that's His and Her Circumstances in English right? I haven't seen it, and I'm not familiar with many Japanese titles.

Was that interview with the director or writer of RahXephon? Whoever it is, I think they are completely right about the plot resolution coming in the form of merely a realization of trauma. I think that this can serve as a function of the plot in a live action movie, though not act as the plot itself. Take Amelie, for example if you've seen that. The characters of Shinji and Amelie have a lot of the same traumatic realizations throughout the course of their respective story boards I think, but the difference is that Amelie provides us with a tangible real-world (not just metaphorical) conclusion whereas Eva doesn't. I think that will be Eva's downfall taken out of the anime pretext, like you say. They would have to change it. With Amelie we see a purpose for her realizations (she changes, and doesn't just end where she began), but with Shinji we are just left wondering if there was any point to his realizations at all as we see no results come of them. Like the person from the interview said, "It's not like [he has] changed or anything".



Anyway, something occured to me recently that might be a little more on topic here:

Has anyone seen One Hour Photo? There is a scene in the Savmart where Robin William's character is talking to a boy about a toy, which happens to be none other than an NGE toy. Now, I wonder, why the Japanese toy from an obscure anime which most kids in america have never heard of rather than Ninja Turtles or something? Could it perhaps be intentional?

Let's look at the characters:

Sy the Photo Guy: Lonely man with psychological problems stemming most likely from his upbringing. No real friends, prefers to indulge in fantasy as opposed to real interaction.

Shinji: Lonely boy with psychological problems stemming most likely from his upbringing. No real friends, prefers to indulge in fantasy as opposed to real interaction.

Maybe I'm reading into it unnecessarily, but I bring it up for a reason: Maybe Mark Romanek, who wrote and directed One Hour Photo, would be a good director for Eva. Even if the allusion wasn't intentional, I think he could still do a nice job figuring out the character of Shinji.

I don't know. Just a thought.
_________________


PostPosted: Wed Aug 11, 2004 12:25 am
  View user's profile Send private message Send e-mail    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
It's nice for me to see that there is someone else who interprets this stuff similarly to the way I do. I don't know about you, but no one else I know really likes anime, so I have no one to discuss this stuff with.


I came onto site, having just finished Rahxephon and basically needing a "shoulder to cry on." Very Happy I haven't seen a better acted anime or complete treatment of love, family, and "coming of age", but that would barely describe the heavy "wholeness" the show left me. In that regard, what I share here on this and other are merely denotatative interpretions of a completely emotional experience. About an ache that doesn't leave.

The last time I felt that for an anime was End of Eva. I enjoyed Anno's discursive attempts with the last third of the show, and I could say I would have been satisfied with that resolution. But, EofE is the maddest, clearest dream that you can't keep with you. I have extremely difficult time distancing myself properly from the piece to assess it objectively, because the piece as a whole is so much like an entire life flashing before your eyes, Anno's human condition as he lived it at that time . . . Beautiful, tragic, divinely mad, magically rational, supremely clear-eyed. Most of all, deeply, deeply lonely, the kind of solitary knowledge Kierkedgard (sp?!?) and Rilke opine about. EofE is like the classic 70s films when directors aspired to make not genre works, but auteur spectacles crashing toward the event horizon of a personal appocalypse.

I can't forget Rei's irradiated face along the desolate landscape. I know that smile. I think you do too.

Figuratively, I go to these places like this to talk about that face (or the way Haruka's hand shook when Ayato returns the glove.) You know, a support group for my favorite shows. Wink

Quote:
Was that interview with the director or writer of RahXephon? Whoever it is, I think they are completely right about the plot resolution coming in the form of merely a realization of trauma. I think that this can serve as a function of the plot in a live action movie, though not act as the plot itself


The interview was between the director of Rahxephon and, I think, a well-known mecha director. (They're worked together on Patlabor.) Apparently, the latter has written many essays analyzing and criticizing the post-Eva mecha and especially the RahX director, and so they had a falling out. But the interview was a very good give and take (he blasted the Rah movie to hell too Very Happy ), and it highlights the generational shift from mecha-as-mechanistic-tool to mecha-as-character.

For the anime genre, *that* (not Anno's expositional techniques) was the formal contribution to the genre. Can't really be understated how massive this "mech-as-tool" to "mecha-as-character" art theory shifted anime. You have to tear down the adolescent sci-fi fantasy, from one of masculine empowerment and role-play identification (what am I? a hero to the community? a rebel against the generation? a romantic archetype for my women?), to one of self-absorption and essentialist pessimism . Because once you become your "mask", you must explore the invariable anxeities and artifice of the "mask creation", and you must resolve it. But your primary relationship isn't with other people anymore, but your mecha, or rather your mask.

The art moves from Walt Whitman (mecha hero as externalized symbol) to Emily Dickinson (mecha as perversion/revealer of human spirit.) Problem is, this sort of interior aestheticization, this crucial generational lift unfortunate fails in film. And when it succeeds (rarely), you have the makings of a horror film. And, so, the live-action directors must go backward in generation, and approach the Eva mecha as mechanistic tools having a separateness from the principal characters. Yes, they could throw in all of the AT Field, blood=liquid stuff, but the principal conflict must be generated through the "work-place" operation of their robots against the other characters.

A successful live-action film would deny Rei/Shinji from becoming the Monster. Without the grotesque Living, how the hell can we rage against the Void?

And that, among other things, is what partly pissed off so many Japanese otaku with EofE. With all of the conspiracies and generational issues and the Rei's Otherness, they wanted Shinji to achieve throuh mecha-as-tool resolve his external connections with everybody. They didn't realize Shinji was sliding into Frankensteinhood, that this mecha was the sum tragedy of his and Asuka's and Rei's lives.

PostPosted: Wed Aug 11, 2004 4:38 am
  View user's profile Send private message    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
Btw. Kare Kano, that's His and Her Circumstances in English right? I haven't seen it, and I'm not familiar with many Japanese titles.


Mm hmm, that would be it. The manga (popular in bookstores; I see you're into XXXholic Wink ) is very close to the anime (and very good in its own right.) I feel that anime's real future isn't in better CG or filmic appropriation, but returning back to its manga roots and reexploring that connection. Here's something I wrote on that (loosely related to Haibane Renmei) --

Quote:
for me, anime is both a rigidly stylized animated form and correspondent to ideographic language. because the former's formal styles has evolved inertly in comparison to America animation, "Betty Boop" facial reductions -- repeated again and again for 50 years -- exist now as consistent words of a living language.

we wear masks to reveal the truth. a dream we recieve are symbols in the immediate. it is not enough that i love you or i want to kill you. i am the Love. i am the Kill. in ancient theatre and ritual (Greek, Noh), i am a complete mythical action upon which your life is mapped onto me. when i dreaming, you know me because you know the symbol that knows you. as it is when i love an anime.

when does formula become ritual, a kinesthetic and visual semantics, whereby i know the end is the beginning map? its familarity is banal, but each symbol, unlike Western language, is inviolable and yet a city map of our psychology, as is the word "God" or "Infinity." just as you know that you can can only feel completely when time stop along the ridged size of its coin, just before the copper rattle resonates temporal, absract surfaces, an anime heroine's death swoon or a boy's sexual frustration is recieved completely in the pure symbol. they wear the masks again and you absorb the entirety of that experiential meaning.

anime should be object without the predicate. we experience it in full motion only because we are reading a history. time is besides the point and optional. Greek theatre eschews the story for irrationalism's momentary gesture. we are not inherently connected. anime's metalanguage is casually metaphysical.

Anno deconstructed the Word of the sword with Evangelion and the uncomfortable silence with Kare Kano.

most anime genre cliches are prose imposed on calligraphy. why not recognize the symbols for what they are, maps without explanation but the viewer's deeper structure, and express poetry instead? ABe has something stronger than pretension -- that skeptical faith.


PostPosted: Wed Aug 11, 2004 4:58 am
  View user's profile Send private message    Back to top 
slippy (#46880)
AnimeNfo Overlord


Joined: 05 Jun 2004
Posts: 1652
Quote:
Has anyone seen One Hour Photo? There is a scene in the Savmart where Robin William's character is talking to a boy about a toy, which happens to be none other than an NGE toy. Now, I wonder, why the Japanese toy from an obscure anime which most kids in america have never heard of rather than Ninja Turtles or something? Could it perhaps be intentional?

My brother and I howled when we saw that. Nobody else got it. Very Happy

Quote:
Sy the Photo Guy: Lonely man with psychological problems stemming most likely from his upbringing. No real friends, prefers to indulge in fantasy as opposed to real interaction.

Shinji: Lonely boy with psychological problems stemming most likely from his upbringing. No real friends, prefers to indulge in fantasy as opposed to real interaction.

Maybe I'm reading into it unnecessarily, but I bring it up for a reason: Maybe Mark Romanek, who wrote and directed One Hour Photo, would be a good director for Eva. Even if the allusion wasn't intentional, I think he could still do a nice job figuring out the character of Shinji.


Romanek wears his Kubrick-influences on his sleeve, so yes he would be an appropriate director. (You're also the 2nd guy who brought up that film!) I can see that with both characters, since we have two people in a stunted escapist-loop. Of course, Shinji's problems are completely normal for a 14-year old. Both are unable to relate to the female gender without their occupation. Though I would say Shinji's a bit of a nihlist whereas the Photo Guy is clearly a zealot; Shinji has no real moral indignation besides his neediness; PG seems to have "addressed" his childhood, sexual trauma in a, uhm, specific way. Wink

Maybe Michael Jackson is the popstar Shinji?

PostPosted: Wed Aug 11, 2004 5:07 am
  View user's profile Send private message    Back to top 
Retehi (#39685)
AnimeNfo Peasant

Joined: 29 Mar 2004
Posts: 8
...ugh I have to try to watch evangelion again, thx a lot you two :p

I cannot stand it. But then, I have never taken up presumptions about Shinji's character (which is what I think I will have to do in order to stomach this show, let alone decipher it).

Last time I tried to watch the show again I made it to episode three. Shinji said something like "I can't do it. I don't want to. Who am I? blah blah."

If I am going to go around telling people this anime is a POS I had best be prepared if I come across folks like you.

PostPosted: Mon Oct 11, 2004 1:55 am
  View user's profile Send private message    Back to top 
Koveras (#55131)
AnimeNfo Peasant


Joined: 30 Aug 2004
Posts: 43
Location: Karlsruhe, Germany
Wow, wow, wow, hold on there, folks... Can someone explain me what's going on? What's this part with Harry Potter playing Shinji? I mean, is someone gonna make a REAL movie out of EVA?.. :-/

PostPosted: Tue Oct 12, 2004 6:59 pm
  View user's profile Send private message Visit poster's website 
ICQ Number 
  Back to top 
Tabris (#53299)
AnimeNfo Scout


Joined: 09 Aug 2004
Posts: 366
I know this is a bit of an old thread, but I hope to god that there will be no live action Evangelion.

simon (#39337) wrote:
Slippy wrote:
I don't even know how to begin to write a 2-hour screenplay to an audience who . . .


does it matter anyway? the more important is that after this movie, trilogy or mini series they will sell a lot of stuff with Evangelion...mugs, dishes, baloons and everything on which you can insert Shinji's, Asuka's or whatever faces....and don't be suprised if you find Eva mini games in crisps...and don't forget about a lot of children running around and pretendfing to be Eva 01 as it was with pokemon..look mum i'm pikachu!!

please...shoot me now!!!


x2 I've been thinking this ever since the Evangelion live action was announced. The idea of kids with Evangelion action figures and lunch boxes is sickening. Plus there'll be a lot of 'know it alls' who think they are the shizzle with anything Evangelion.
_________________

ZOMG! Lolicopter power!

PostPosted: Mon Feb 07, 2005 7:55 pm
  View user's profile Send private message    Back to top 
Last Exile (#35342)
AnimeNfo Description Editor


Joined: 13 Feb 2004
Posts: 4337
Location: Sholazar Basin, Australia
Live action is jsut wrong. Evangelion live action constitutes even more wrongness.
_________________
Thirteenth Step - My blog about anime and other stuff
Latest thread - Minami-ke - The 4-koma diamond in the rough



PostPosted: Tue Feb 08, 2005 7:54 am
  View user's profile Send private message Send e-mail MSN Messenger    Back to top 
Display posts from previous:   Sort by:   
Page 1 of 1 [39 Posts]  
Post new topic   Reply to topic View previous topicView next topic
 Forum index » Anime Series Discussion Forum » Neon Genesis Evangelion
Jump to:  

You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum


Powered by phpBB © 2001, 2005 phpBB Group
Swift Communications | Swords
[ Time: 0.7159s ][ Queries: 14 (0.0237s) ][ GZIP on - Debug on ]