常磐・いわき市のはずれでほそぼそとお芝居と会社員と人の親をやっております。呟きは備忘録主体。嗚呼、我が暮らし楽にならず。ジッと手を見る。
Iwaki-shi, Fukushima
Joined May 2019
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先輩が作った芝居のモノローグに『砂漠を渡る風はいつも僕に語りかける／『死んだら砂に埋めてやる。安心して生きろ』』というのがあったのを思い出した。豪華な葬列は死者へのはなむけだろうし、自分が死んだ時にそうしてもらえるという約束と安心の為だと思う。
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薄暮そういやまだ観てねえな…
アニメ町おこし失敗例
・福島県いわき市（薄暮:監督 #山本寛）:バスの停まらないバス停とベンチのみを作中と同じ場所に置いただけで沢山の人が訪れると思ってた。なお作品自体の興行収入は低すぎて計測不能レベル
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『歴史に詳しい』人の中には出どころの怪しい珍説ばかりが載っている資料というかムックというか雑誌みたいなのばかりをむさぼるように読んでいる人もいるので鵜呑みにする前に一度考える必要はある。『動画で見たので詳しい』とか。
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ヨコハマ買い出し紀行の演出庵野秀明なのか
Never realized the Yokohama Kaidashi Kikou LD has this interview! I had it translated into English for those interested:
Composition • Direction Takashi Annou Interview
*What are your thoughts on the original work?
It's fascinating. Very much so.
*You were intrigued by the originality?
Yes, the creator's personality is apparent.
*What did you think when you met Asahino-san in person?
He's shockingly tall.
*Was that different from how you pictured him from reading the manga?
He can be as tall as he likes; it's not like he's writing the manga with his looks.
*When you began making the video adaptation, how did you begin to expand on the imagery?
You're asking how I do the imagery... Yes... I'm basically just going along with the original work. I am drawing from the thoughts and feelings I felt when I first read it.
*What do you think of the characters?
I'm more interested in the world as a whole, including the characters and their place within it.
*Where were you born?
Yokohama. It looks very different, though.
*You did plenty of location scouting too, but what did you think of the original work’s scenery?
The telephone poles left a lasting impression; I never imagined telephone poles could look like that. Recreating that scenery and having the characters move through it, I think that’s the right direction to take things. I'm not trying to say anything specific. It's about the way the worldview, the way the scenery is interpreted.
*Do you think your directorial vision is effectively shown in the work?
I think so, yes. Everybody is working hard.
*What were your considerations when it came to recreating the original work?
I’m taking care to preserve the feeling of reading the manga. It's important that we don't over-explain the poetic aspects of the original work when adapting it to the screen. I want to preserve those impressions and feelings—if you try to explain them, you lose them. I hope those who watch feel the same.
*Where did you get the ideas for the opening, ending, musical clips, and other aspects that differ from the original story?
Because we have music, I place importance on each and every sound. The opening shows the part where Alpha goes to Yokohama for coffee beans and the ending shows Café Alpha, so we already have the visual imagery. From there, we consider how the visuals might fit into a piece of music, and how we can make it feel good.
*The second volume has some of your original stories. What did you consider when creating those stories?
Hmm... well, I figured it was inevitable that things would feel different no matter how we tried to fit them in. We did our best to make it feel natural.
*Would you say it’s like your own vision of "Yokohama Kaidashi Kikou"?
It’s not really my vision. It’s more like I’m experimenting and seeing what feels right.
*Any last message?
Please buy lots of copies (laughter).
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イトモシヤバコ@演劇結社スナフ缶 retweeted
新世代サンデー賞で佳作をいただきました。下から読めます。
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「コートで死ね！(26年8月期佳作)」作／山下壱号 #サンデーうぇぶり
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