[转贴]杂烩渡边信一郎

转贴
杂烩渡边信一郎 :: Scissorhands

杂烩渡边信一郎

他最出名的作品是两部26话的TV版动画《cowboybebop》（《星际牛仔》）和《samurai champloo》（《混沌武士》）。

他可称之为“电影剧场版”的只有《天国之扉》和黑客帝国动画版中的《kid’s story》（《少年故事》）和《detective story》（《侦探故事》）等几个屈指可数的作品。而且《天国之扉》其实只是《cowboy bebop》向商业妥协的烂尾巴，《Kid’s story》和《detective story》也仅仅作为向黑客帝国致敬的动画短片中的一部分，十几分钟的片子。尽管如此，把他归入日本一般意义上的动画导演却是我们的过错。

渡边信一郎有一个尴尬的境地，他的作品从来不会得到那些标签式“日本动漫迷”的追随，他们几乎不接触他的动画。他也不像宫崎骏、大友克洋、押井守一样，在电影界得到推崇。尽管他的每一个故事几乎都可以以一部完整的电影看待，他却固执地用电影的手法来做着26集的动画片。于是他的名字很少出现在这两类资讯宣传的任何一方中，但这并不妨碍他自得其乐。

他说“如果只是在动画爱好者的接受的范围内进行缩小再生产，看的人会感到腻，同时制作者也会渐渐走进死胡同。”所以他要做一些“向外的，比如突然拿给一个居住在摩洛哥的人看，他也会觉得有趣的作品。”可你千万不要误会，他决不是指从更大范围的观众出发做动画。渡边信一郎从来不是广大观众的上帝，相反，从艺术来说，他是一个极端的个人主义者，一个随性的天才。他用作品做着纯粹“渡边”的事情：他让史派克打李小龙的拳法，以此向这位功夫明星致敬；他管自己片中的餐厅叫 “Woody’s Ice Cream Parlor”，在其中出现的人物形象也与伍迪·艾伦有几分神似（《cowboy bebop》第5话“重金属皇后”）；他用皇后和滚石乐队的经典曲目做自己的片名(《cowboy》第6话“sympathy for the devil”和第13话“波希米亚狂想曲”)；他借剧情对葵川爱信和他带给梵高的向日葵灵感进行调侃（《samurai champloo》第5话）。而他没有吕克·贝松一生只拍10部电影的宏愿，十余年来却只有6部作品问世。他归隐于世地做着自己的事情，很难有外界的影响能波及到他，从《cowboy bebop》到《混沌武士》，他毫不在意自己作品主题和风格的转变甚至可能让观众跌下板凳。他极少在媒体前出现，却只是说“动画界已经开始走向均质化”，并在自己的作品中理所当然地涂抹个性主义色彩。

Animation Prototype

Animation before its time
- the earliest optic toys in the 19th Century

1825 John A. Paris, Thaumatrope
1832 Joeseph Plateau & his sons, Phenakistoscope
1861 Horner, Zoetrope
1872 Emile Reynaud, Praxinoscope
1879 Eadweard Muybridge, Zoopraxiscope

Death Note to be made into live action movies?!

From Animenewsnetwork
Death Note Movies (2006-01-17 11:45:45)
Manganews.net reports that Weekly Shonen Jump issue 8 (January 23 issue) will announced two live-action Death Note movies. The first is to be released in June, the second in October.

Hayao and Goro Miyazaki, Tension!

Latest News from Nausicaa

January 12, 2006 Miyazaki Interview about Museum Shorts and "Tales from Earthsea"
The Daily Yomiuri Online has coverage (in English) of a recent roundtable interview with Miyazaki. He talks about the three newest Studio Ghibli Museum films and has the following comments about his role in the production of Tales of Earthsea:

I won't say anything [about the movie], lend a hand or even look it over. I'm not involved in any way. I'm keeping myself to myself in my studio as whenever we see each other we quickly start to feel tension.

The relationship between a parent and a child isn't easy or simple. And I myself have my own standards to evaluate other people as professionals--whoever they may be.

But I'd never say, "Give up!" even if I didn't like something he was doing. I've never said anything like that to him.

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Personal Thoughts

I don't understand why Hayaoi Miyazaki doesn't support his son on the new project or is it because it is his son and he thinks their father-son relationship will bring extra attention and gossips from the public that might tarnish the studio's image? Or another major reason could be Goro Miyazaki has no previous experience in directing, or 'drawing' for that matter that he's deemed an unsuitable heir? The latter concern is reasonable but if that was the case, why wouldn't a father give his child his fullest mental support even though it is Goro's virgin project? Don't let public expectations butt in the way...

Experienced or not, I think Goro's going to give his 100% best just to prove what he's capable of! GO GO!