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jueves, marzo 27

Entrevista al Productor de "Ex Machina" I

Entrevista a Joseph Chou, Primera parte
Sobre 'Appleseed: Ex Machina'
20 de marzo de 2008

Joseph Chou trabajó con la Warner en Animatrix, siendo uno de los DVDs de anime más vendidos junto con Pokemon en Estados Unidos, antes de crear su propia Productora, que ha desempeñado un papel importante en la producción y comercialización de Appleseed: Ex Machina. Chou nos dedicó unos minutos para hablar de su participación en el proyecto, así como del futuro de la industria del entreteniminto. En la primera parte analiza el éxito del lanzamiento del DVD de Ex Machina y las contribuciones del productor y director, John Woo y Shinji Aramaki respectivamente. En la Segunda parte, Chou hablará sobre la animación CG (y la reacción otaku en contra de ella en Japón), las posibilidades de otra película de Appleseed, y la forma en la que en un futuro próximo la tecnología cambiará el entretenimiento audiovisual.

Háblenos un poco sobre su trayectoria y la forma en la que se involucraron en Appleseed Ex Machina.

Soy el productor de Appleseed Ex Machina. En cuanto a mis antecedentes, empecé en Warner Bros con la planificación y el desarrollo de Animatrix. He trabajado en la parte comercial de la misma, y también en el "Anime Business Commitee" órgano de la Warner Bros que busca una estrategia para crear o participar en anime, en el que estuve trabajado un tiempo. Entonces tomé la decisión de salir y hacer mis propias producciones, siendo mi primer proyecto este (Appleseed Ex Machina). Los últimos cinco años he estado centrado en la producción de anime y películas basadas en anime y manga.


Animatrix fue un gran éxito, por lo menos en el mercado norteamericano, ¿no?

Sí, creo que se vendieron alrededor de 2,5 millones de unidades en todo el mundo. Fue un trabajo bien hecho.


¿Cómo es el DVD de Appleseed Ex Machina? - salió hace diez días,¿ no?

Ha sido a lo largo de la semana. Por ahora se venden en Best Buy y Wal-Mart, y todas las grandes cadenas nos lo están pidiendo. Por ahora creo que se han vendido unas 100.000 unidades. Espero que esto continúe así. Con la producción de John Woo estamos llegando a un mercado más amplio. Evidentemente, los fans del anime son los principales compradores de este título, pero también llegamos a un público más amplio. Este es el tipo de cosas que harán que en el futuro podamos ampliar el mercado fuera de Japón. En términos de cuota de mercado de anime, América del Norte ha sido siempre importante, así que esperamos que esto sea un éxito y nos permita seguir con más proyectos como este.


Hemos oído decir que casi el 30% de las ventas de Ex Machina hasta la fecha han sido en el formato Blu-ray, ¿cómo explica eso?


Estoy un poco sorprendido, pero al mismo tiempo me doy cuenta de que los fans salieron en masa a comprar la “Edición Especial” y el Blu-ray, a pesar del precio más elevado. Me parece que queda de manifiesto que los aficionados al anime están a la vanguardia en tecnología, como lo fueron cuando se presentó por primera vez el DVD. Supongo que muchos de ellos tienen la PlayStation 3. Creo que Ex Machina atrae a los jugadores de videojuegos.


¿El nombre de John Woo también ayuda a que la película interese más?


Eso espero. John Woo es uno de esos nombres que generan confianza, y esperamos llegar a la gente que le gustan sus películas y su estilo. Yo soy de esos, ví sus trabajos de Hong Kong cuando estuve en Corea, y de verdad que me gustaría que los fans de John Woo o simplemente los aficionados al cine de acción se interesen por esta película.


¿Qué aporta John Woo a Appleseed?

Hemos tratado de explicarlo en los extras del DVD. Estuvo involucrado en la etapa de creación de la historia y participó en la acción. Tuvimos algunas reuniones con Shinji Aramaki, el director, y John Woo. Woo nos dio una gran cantidad de ideas; es una auténtica asesoría creativa. Me ha sorprendido e impresionado por sus sugerencias para que podamos hacer los momentos emocionales que dan sentido a las escenas de acción. Él sabe tocar el núcleo emocional para hacer que el espectador sienta las emociones de los personajes. Ahí nos empezamos a dar cuenta de que el estilo de John Woo no es solo slow motion y secuencias de acción, hay algo mucho más profundo que eso. Nos impresionó muchísimo y eso se refleja en la película.


En la película se puede ver cómo Deunan se entrega a Briareos y cómo se desarrollan sus sentimientos hacia Tereus.

Sería muy fácil hacer sólo impactantes secuencias de acción, pero él sabe realmente cómo tocar la fibra sensible para acercarnos más a los personajes. Y los triángulos amorosos, la prueba de amistad y la prueba de amor, son algunos de los temas que John Woo explora en sus películas. Creo que esta es una de las razones por las que el proyecto es atractivo.
Hay un montón de momentos “típicos” de John Woo, el uso de la cámara lenta, los casquillos de bala en cascada por el suelo, el slo-mo en los disparos, y todo parece encajar bien en la película.

Gracias. Es curioso, la primera escena donde se ve la paloma volando, la catedral y el rescate de los rehenes , se hizo sin la aportación de Woo, pero haciéndole un homenaje. Cuando se hizo un visionado de promoción se le mostró primero a John, y la gente de la película temía que se enfadara, pero él lo consideró como un homenaje hacia él, y en un acto que no esperábamos, se ofreció para terminar de montar esas escenas. Así que cuando usted ve el principio de la película, es en realidad una combinación de la idea que tenía el equipo sobre el estilo de John Woo, y el mismo John Woo mejorándolo. Creo que fue muy interesante la colaboración.

La película también incluye una gran cantidad de robots de acción para los fans de anime, y algunos diseños de grandes mechas, que dan testimonio de la experiencia de Aramaki.

Obviamente Aramaki es muy conocido como diseñador de mechas en Robotech, Mospeada, Bubblegum Crisis, por muchísimos diseños claśicos de mechas. Él es conocido por eso y creo que se ve lo mucho que se preocupa por los diseños de los robots y las armas. En esta película muestra sobradamente su capacidad como diseñador, así como de director, y esperamos siga haciéndolo.


Traducción de ShirowSama


Fuente: icv2.com

viernes, marzo 7

CONFIRMADO. Appleseed se pasa a la pequeña pantalla


Uno de los bombazos de la Tokyo Anime Fair de este año ha sido el anuncio de una serie de anime para televisión basada en la obra de Masamune Shirow. Appleseed: Genesis es el título provisional del proyecto que ya tiene director asignado, Romanov Higa (Urda, Hellsing) quien ya se encargara de la realización de la última OVA de Dominion en animación 3D.
La conocida seiyû Romi Paku (FMA, La ley de Ueki, Nana) es el fichaje estrella de la serie, prestando su voz a la protagonista, Deunan Knute.

A finales de mes se confirmarán más datos acerca de ésta producción, aunque la implicación de los estudios Micott & Basara, uno de los encargados de la animación 3D en las dos películas de Appleseed indica que podríamos estar hablando de una serie de anime en CG (gráficos renderizados). Así mismo, Appleseed EX Machina, la segunda película de la franquicia se estrenará en los próximos meses habiendo adquirido distribución mundial con la compañía Warner Brothers.

Fuente: Mision Tokio

sábado, marzo 1

The Sky Crawlers (more)

Somewhere, in a country similar to ours
There are children who do not became adult
They are very similar to us

Mamoru Oshii, the world-famous Japanese filmmaker, whose works include Ghost in the Shell (1995) and Innocence (2004), will direct a new feature animation film, The Sky Crawlers, to premiere in Japanese theatres on August 2, 2008.

The film is based on a popular five-part novel by a best-seller writer, Mori Hiroshi, who enjoys enthusiastic support from younger generations and has sold over 8 million copies of his works in total. The story unfolds in another 'possible' modern age. The main characters are youngsters called "Kildren", who are destined to live eternally in their adolescence. The Kildren are conscious that every day could be the last, because they fight a "war as entertainment" organized and operated by adults. But as they embrace the reality they are faced with, they live their day-to-day lives to the full.

After reading the novel, Director Oshii praised it as "a work that should be made into a movie for young people now." Clothing, food and housing are in abundance in our modern society, and yet we carry an unfulfilled vacuum in our hearts. "It is time to face this new perception to our existence through the Kildren, who live indefinitely in eternal adolescence, and this theme should be dealt with now," claims Oshii earnestly. The author Mori regards his novel, The Sky Crawlers "as the most difficult among all of my works for film adaptation." However, Mori declared himself "surprised and relieved at the same time to know the director was going to be Mamoru Oshii," and gave his immediate consent.

Mamoru Oshii is best known worldwide for the epoch-making Ghost in the Shell, that topped the Billboard video chart in the US, and its sequel Innocence, the first Japanese animation film to compete for the Palme d'Or at the Cannes International Film Festival. His philosophical speculations and revolutionary visual approach that run throughout his oeuvre had a definitive impact on many film directors, including Luc Besson of The Fifth Element (1997) and the Wachowski brothers of The Matrix (1999).

However, Oshii declares that he is sealing off his method of direction so far. While distancing himself from the original novel "to create a more entertaining work," he has promoted an up-and-coming scriptwriter, Chihiro Ito, who depicted youngsters' sensitive feelings beautifully in two acclaimed movies, Crying Out Love, in the Center of the World (Sekai no Chushin de Ai wo Sakebu, 2004) and Spring Snow (Haru no Yuki, 2005).

The music score will be written by Oshii's most trusted composer, Kenji Kawai.

The Sky Crawlers is going to be a completely new Oshii film.

The Sky Crawlers is a collaborative project by Nippon Television Network Corporation and Production I.G, Inc., distributed in Japan by Warner Entertainment Japan Inc., to be released in theatres nationwide from August 2, 2008.


Official website and trailers (Japanese only):
http://sky.crawlers.jp/

© MORI Hiroshi / The Sky Crawlers Production Committee




TEASER


2º TEASER

Real Drive. Diseño protagonista.

Poco a poco se va descubriendo más sobre la nueva producción de IG y Shirow. Aquí el diseño para uno de los personajes principales.

Kenji Kamiyama y SSS

"We consider this project as a sort of badge of honor."

Profile Director and scriptwriter. Born in Saitama Prefecture on March 20, 1966. In 1985 he joined the background atelier Studio Fuga. A rare example of a background artist shifting to directorial roles, Kamiyama worked as sequence director in Jin-Roh (1999) and wrote the script for Blood: The Last Vampire (2000), then debuted as director in MiniPato (2002). International attention eventually arrived with the TV series Ghost in the Shell: Stand Alone Complex (2002) and Ghost in the Shell: S.A.C. 2nd Gig (2004), followed by the feature-length Ghost in the Shell: Stand Alone Complex - Solid State Society (2006). In 2007, after almost 6 years in the world of SAC, Kamiyama directed the high-fantasy TV series Guardian of the Spirit. In 2006 he 'acted' as a superlivemation digital puppet in Mamoru Oshii's Tachigui: The Amazing Lives of the Fast Food Grifters, in the role of Manager Kamiyama.


What were your thoughts after finishing Stand Alone Complex - Solid State Society?
For this special chapter of Stand Alone Complex, we spent an entire year and a budget totaling 360 million yen (about US$3.4 million), which is about the amount usually spent for a feature film. The S.A.C. series started in 2002 - actually even earlier, if you count the planning and pre-production period. At that time, I was still a novice director, so I thought I'd be happy if this series could serve as an opener for Director Oshii's feature film Innocence, which was in production at the same time. And I thought it would be an honour just to have the series' DVD to be placed in a small corner of the section dedicated to Mamoru Oshii's works in video stores. That was my feeling when I started. But one good thing about a TV series is that since it unfolds across a wider time-span, it progressively captures more and more fans, and allows the staff to develop stories as we could not otherwise in a single feature film. Eventually, staying with this project all these years has turned out as a very rewarding experience.

Starting from myself, all the staff has the greatest respect for the world of Ghost in the Shell, so we have been very cautious not to degrade this name. Stand Alone Complex - Solid State Society was not originally made for theatres, but I think it was because of our years of hard work that made its screening at the 19th Tokyo International Film Festival and other film festivals overseas possible. I am very honored to be the representative of the production staff. And I am so proud that we were able to produce a series that's been loved for so long.

Have you ever felt it difficult to make a sequel to S.A.C. 2nd Gig?
To tell you the truth, when I completed S.A.C. 2nd Gig, I felt I had done everything I wanted to do. So I wasn't really confident about doing a sequel when I started working on the script. I was wondering whether I could actually make a sequel, or whether the fans were really waiting for it, and all that sort of thing.

But as we proceeded into the production, I came to realize that the audience, staff and the people who were associated with this project were looking forward to my next challenge with the world of GITS: SAC. Of course there was no question about my motivation to make a new anime, but what really moved me while working on Solid State Society was this strong sense of gratification in being aware that we were creating something that was highly anticipated by those people around us. Even though it was not intended for theatrical release, this was my first challenge with an over 100-minute long anime, so the production staff and I had some very difficult times, but everyone really gave his and her best. I am so grateful and I feel we have produced something that is going to stay in terms of quality and storytelling.


After Kusanagi left Section 9, Aramaki chose to expand the organization and appointed Togusa to take on the job as the leader of the new expanded team. In S.S.S., the audience will be exposed to an extensive human drama that's unequaled in the previous S.A.C. series.


Solid State Society was produced two years after 2nd Gig, and in the SAC timeline, the movie itself is set 2 years after the last episode of 2nd Gig. We can see that the leading characters had gone through a minor change in their relationships. What do you think are the key points to remember in S.S.S?
The anime characters are not real actors, so you would expect them to move as I, the director, wish them to. Furthermore, they are not supposed to get older ever. But after working with the same characters for six years, they began to go out of control. I mean they actually gained "ghosts," i.e. the human souls. The members of Section 9 had moved on, so that they didn't allow themselves to stay in the same moment in time over and over as is the case with popular family entertainment anime characters. Actually, when I completed 2nd Gig, I regretted not being able to bring Motoko's emotional state back to the cheerful one you can see in the original Shirow Masamune's comic book. So that became my goal in Solid State Society. But as I worked on the script, I found myself at the latter part of the story, with no more time left, and Motoko apparently still unwilling to decide to go back to Section 9.

My mentor Mamoru Oshii taught me one important truth: "as you keep working with a story, you gradually realize that it becomes impossible to control the characters." I never dreamed I'd experience that myself, so I was happy, but also sad at the same time when I actually encountered that moment. It was exactly as he told me and I felt Kusanagi was telling me, "If you are going to return me to Section 9, then you must make a convincing story." And then, just seven minutes before the end title, I felt that I finally accomplished the goal I set out, i.e. to put Kusanagi and Section 9 back to almost where the first season started. Even at that point, Kusanagi didn't say she wanted to return. At the same time, I think that we have succeeded in depicting the maturation process of Section 9 after two years and a full-scale reorganization in a real and credible way.

For the incidents occurring in S.S.S., you've chosen topics that come directly from our present times, such as the aging society and child abuse. What was the reason behind choosing these topics?
As a matter of fact, in the entire Stand Alone Complex series, we have often taken up actual social issues and incidents, so in a way we just stuck at an established "tradition." But there's another reason. My mentor Mamoru Oshii's feature film, Innocence, also dealt with kidnapping. However, although that was the theme of the movie, the story didn't necessarily cover the actual kidnapping of real humans, but inclined toward telling the story of the "containers" they were dubbed into. I had my own ideas, I mean I felt it was about time to grow away from my mentor... I felt I had to give back something to the director too, but Innocence sort of stood in my way. So I decided to present my own idea. That was my first motivation to take up kidnapping as my theme. Basically, I think S.S.S. is the most actual and political of all the S.A.C. installments. And at the same time, I am confident that S.S.S. has extensively portrayed the human drama to the maximum that the S.A.C. series could offer.


Issues of the elderly and child abuse were chosen as core elements to buildup the storyline for S.S.S. The movie inherits the habit of the S.A.C. series to borrow ideas from Japan's crime history, such as the Lockheed bribery scandal, the Glico-Morinaga case and HIV-tainted blood scandal.


How do these themes connect to the title, Solid State Society?
I was conscious of the double meaning of the words. I have used the word transistor (a solid-state device) as a metaphor of the elderly - there is actually a line in the story that tells of this. So the title means a society where elderly people lived, but at the same time I made it a society that had already deteriorated (device-oriented.) I tried to insert a message that we should get back to a society where people were conscious of and caring about others.

Lastly, could we have your message for the fans?
S.S.S. is the materialization of the appraisal received by the staff for the Stand Alone Complex series, and the culmination of 6 years of hard work. We consider this project as a sort of badge of honor. I am especially indebted to chief animation director Takayuki Goto. He was the spiritual backbone of the animation team, and instilled souls to the characters in the film. He checked all of the cuts attentively - more than 1200 of them - all alone. His titanic efforts greatly contributed to bring S.S.S.'s quality to a theatrical feature film level. We have spent one full year and gave all our energy to it. Hope you will enjoy it.


© 2002-2006 Shirow Masamune - Production I.G/KODANSHA

MOVIMIENTO POR SAC3RD

#wantstandalonecomplexseason3

Está muy bien que lo deseemos, pero en este mundo de las redes sociales es raro que no haya un movimiento más grande, así que propongo es...