On 4/17/06, Dr. Core <[EMAIL PROTECTED]> wrote:
the phrase in bracket actually means something like "mentioning the thing that people least wanted to mention", as Tomino has expressed before SEED and SEED-D has nothing to do with him many times.
Properly thinking it's "in the era on the emphasis of technology".
"Doraemon, Atomo (Atom Boy), [Hello] Kitty,...."
"to be a member of the animation industry"... just to differentiate the word "producer" as one who produce animation vs. "the producer" which is a position in AV production.
[Translator's notes in square brackets]
[Chinese writing style tends to mix objective facts with subjective
interpretations (not too different from Michael Palin doing travel
shows). I am just doing a straight translation job of the Chinese
here. Remember the Chinese was translated from spoken Japanese, so
reader beware.]
富野由悠季�ΜF�rGUNDAM的失望
Yoshiyuki Tomino's Disappointment in Today's Gundam
"Oceanus" < [EMAIL PROTECTED]>
> Copy from forum.hkpcf.net
Translated by Dr. Core.
> 北京�赢����g�c?�I�l展���H����于今日（10月28日）在人民大�W逸夫���h中心�e
> [EMAIL PROTECTED]
> ����上接受了?多�I�热耸考案疫_粉�z的提��，本使徒�^�P疾��一��小�r，大概��
��下了���h的�^程和富野先生的�����热荨�
[Oceanus:] Beijing animation art and commerce [?] development
international discussion panel took place today (Oct 28th) at Renmin
University of China, Sir Run Run Shaw Conference Center. This meeting
was attended by Gundam original creator Yoshiyuki Tomino. At 1pm, he
held a personal interview answering many questions from (animation)
industry persons and Gundam fans. I raced pen on paper for about 1
hour and roughly recorded the proceeding and Mr. Tomino's
conversation.
> 不爽SEED?哪般？
[Q] Not happy with Seed? Which aspect?
> 首先被��及的是�τ凇�Seed》和《SEED Destiny》的看法（哪�夭婚_提哪�匕 �…）
[Oceanus] First question was on Seed and Destiny (what else)?
the phrase in bracket actually means something like "mentioning the thing that people least wanted to mention", as Tomino has expressed before SEED and SEED-D has nothing to do with him many times.
[For the remainder, I will skip Oceanus' less sustaintial banters]
> 富野：基于我的立���o法做太多�u�r，而且大家知道SEED��作者的年�g，和�F
> 在的形�荩�一��六十多�q的老人��在也�]什?好�f的了。年�o大了，已��不是推��
[EMAIL PROTECTED] 人的。
Tomino: Can't really make too much out of my viewpoint; you all know
the age [youth] of Seed's creator[s?], and the situation now, a
60-year-old man can't have much to say. As one ages, he can no longer
be a main driving force pushing development of the society, also can't
influence as deeply as young people can, this world cannot rely on
senior citizens.
> 接著，坐在桌前的正�x提��：GUNDAM系列正��于一��急速膨��的�^程，�]有人
> [EMAIL PROTECTED]
[Q from the front] Gundam series is currently in the process of rapid
expansion, no one can control this expansion, how thought does Mr.
Tomino have?
> [EMAIL PROTECTED]
> �F��，但�F��如此。前�K��那�育�大的一����家，在瞬�g就瓦解了，GUNDAM作?一
�����M世界的?物，�t更加脆弱，稍微的不注意就��造成它的瓦解，而我只能眼�� ��看著。
Tomino: I don't have control rights, can only watch the Gundam series
disintegrate. Maybe you feel this is exergerated, but the fact is
just so. A country as big as the former Soviet Union, disintegrated
in a flash. Gundam is a fictional world, so is much more fragile. A
little lack of attention would cause its disintegration, all I can do
is watch it with wide open eyes.
> 反�^�碚f，由于���M作品的不��定性，一��人的努力可以�S持它，但我已���]
> 有力�饬耍�而且，影像作品的��作如果�]有投�Y，只靠一��人的�崆椋�必然��失
> [EMAIL PROTECTED]
> 年?，如果�]有了投�Y商？
On the other hand, because of the instability of fictional creations,
a single person's effort could maintain it, but I don't have the
energy any more; also, visual (anime?) creations in the situation of
lacking investment, and depends on the passion of only one person,
must end up in failure; we have many examples, like Star Wars. It
looks very successful, but if there were no commercial investors,
would it maintain 20 years?
> 如果有市�觯�我��可以要求�u作人去�����^?的需求，但如果�]有，我�F在��
[EMAIL PROTECTED] 定性。
If the market is there, we can ask that producers to match the
audience's need; but if the market is not there, now I really cannot
assure where the commercial needs are in the future, so I also don't
know what I should do, there is a great uncertainty.
> [EMAIL PROTECTED]
元素能受到�^?的喜�郏���知道有什?���}，��解?什?���}，比如��意、人物、
�∏椤⒅黝}，可以通�^分析�t解哪些部分更能
> 吸引人。在每一代出品後，可以通�^
[EMAIL PROTECTED]
善取得成就的。
If [one] can make a series, and make a generation [series?] after
another, then [one] can learn what elements in this creation are loved
by the audience, what are the problems, what solutions can be
provided; e.g., original ideas, characters, plotlines, themes, [one]
can use analysis to understand what parts can be more attractive.
After each generation, [one] can use digital [?!] statistical etc
methods to understand the needs. Take the Final Fantasy games, [they]
took gradual perfection thru the generations to achieve the success.
> 我���F在的�赢�正��于技�g化的�r代，看到��面我����去喜�g，但�H�H�τ诖�
> 感到�M足是不�Φ摹６�相�τ诮��I商，�u作者更重��的是故事和人物――�u作者需要
> �J清�u作的目的是什?。而���I者�t需要每半年或一年去考�]，�赢�的受?的需求。
Our animation is in the era of techicalization [?], when we [the
producers or the fans?] see the pictures we love them, but it's not
right to be satisfied with this alone. Compared to businessmen,
producers should emphasize the story and characters -- producers
should clearly recognize the purposes of the production. The
businessmen need to, every half year or every year to consider, the
popularity and demand of the anime.
Properly thinking it's "in the era on the emphasis of technology".
> 但目前大家都��于一��危�U的���B，大家都急于求成。�u作者不去考�]�^?需
要什?，而是依靠自己的�喝の度パu作，有人�J?有三千人去看他的作品就很多
了，��粹?了迎合少�等说娜の叮�有三分之二的
> �赢�作品是出于�u作者的��人趣味
[EMAIL PROTECTED]
[EMAIL PROTECTED]
But now everyone is in a dangerous state, everyone is keen on a quick
success. Producers are not considering the audience's need; but
following their own dispicable [see note] interest, some people
consider 3000 audience would be plenty, purely to adapt to a minority
interest, two thirds of animes are based on producers' own personal
interest -- these people, as publisher [or authors?] are low [],
because production [should be] aimed at the greater [influence?], at
the moment of the publication, the publisher must take responsibility
for the work.
[note: this is a tricky, but probably important, point]
> 就我��人而言，大家能喜�gGUNDAM，我很高�d。我也希望大家能��住我二十年
> [EMAIL PROTECTED]|西被污
[EMAIL PROTECTED]
������也很大。
Personally speaking, I am very happy the public likes Gundam, I also
hope that the public can remember my work from 20 years ago. But the
businessmen? Have they the courage to wait 20 years?? In this era
certain things have been contaminated [corrupted?], e.g., IT industry
became extremely rich in a short time, and then faded away; this [type
of?] situations everyone are familiar with, and the impact on everyone
is great too.
> 也�S在你��看�恚��赢�是一�T新�d?�I，但它不是。GUNDAM是20年前�u作的，
多拉A�簟�阿童木也是，Kitty，芭比也是。�_��，短期火爆的例子在��影界、�赢�
[EMAIL PROTECTED]|西�\�獾某煞趾艽蟆６����}是
> 你是否能�猿质�年，二十年。在�@
[EMAIL PROTECTED] 28年前我�]有注?，
�Y果前�啄耆プ�?，�l�F已��被��了（笑）。
Perhaps from your [China's?] point of view, animation is a new hot
business, but it is not. Gundam was made 20 years ago, Doraemon,
Ikkyu the Little Monk [???], [Hello] Kitty, Barbie are too. In fact,
"Doraemon, Atomo (Atom Boy), [Hello] Kitty,...."
flash in the pan examples in films, animation are plenty; but this
thing [flash in the pan?] has a large component in luck [chance]. The
problem is if you can sustain 10, 20 years. In this aspect, there are
successful examples too, like HARO. This image was created 28 years
ago, I didn't pay attention 28 years ago, a few years ago I took a
look, and found that it was stolen already <laugh>.
> 所以，我��必��去�岩�IT?�I在三十或五十年後是��什?�印５�另一方面，我
[EMAIL PROTECTED]|西。比如在Z敢�_的���霭嬷校�我就��用了很多新
技�g――不承�J技�g的有效性是很不好的。但
> ��大家回想一下，在喜�g上某��卡通人
物的瞬�g，?什?？?不是因?技�g的革新，�赢��τ谟^?表�F力不是基于技�g
的。希望大家不要忘��自己的童心，�e�纳��I化的角度去思考�赢�。
Therefore, we should suspect what the situation for the IT industry 30
or 50 years in the future will look like. On the other hand, we also
have to exploit these novel and temporary things. Like in Zeta
Gundam, I used many new techniques -- not recognizing the
effectiveness of technology is bad. But please everyone think, at the
moment when you take a liking to a certain cartoon character, ?? ??
[my browser failed to render these characters] not because of new
[animation] technology, the expressiveness of anime to the audience is
not based on technology. [I] hope you won't forget your childhood
heart, don't take the viewpoint of commercialization to consider
animation.
> 我希望每���赢��u作者能����自己，是否能成?那�N人，��小朋友看著自己的
作品高�d，更重要的是，��他���θ松�充�M�崆椤�
I hope every anime producer can ask him/herself, can I become such a
person, let little friends be happy to see my productions, more
importantly, let them fill with passion for life.
> 影像作品有很不幸的一�c――它需要�Y金，它的宿命在企��的�^程就已��?定
> [EMAIL PROTECTED]
> 很多�u作人�T��在�_始的�r候�o���赢��A算，不替���I者去考�]，只在乎�赢�是否
> 好看。
> 而同�r，�u作者?不能考�]大?的看法，���I者又不能判�啾O督的��意能否符
合社��的需求。所以我��看到�F在很流行的一些�|西都�]有好的�Y果。
Visual production has a downside -- it needs capitals, its fate was
already pre-decided during the planning process. So [the producers]
must be cautious, if a mistake was made, the loss will be great. This
must sound obvious, but in reality many producers neglect the budget
from the beginning, not considering for the businessmen, and only
think about [here it's a bit ambiguous] if the animation looks
gorgeous. [another possible way to interpret this phrase: "if the
anime is good"]
At the same time, can the producers consider the views of the public,
the businessmen can not appraise the suitability of the creativity of
the supervisor [executive producer?] to the society's need.
Therefore, we now see some very popular things don't produce good
results [I think he means that many things that are successful
commercially are in fact poor in quality]
> ?什?？因?流行的已��是�Y果了，一���Y果�B著一���Y果，是�o法上升的。
我��需要去做新的�|[EMAIL PROTECTED]
�^去的一�N���Y和整理。GUNDAM就是我靠著
> ���^去的�C器人�赢��M行整理和改造
[EMAIL PROTECTED]
�w�{二者中�ふ移胶恻c是一件很困�y的事情。
[Unrendered] popularity is already a fruit [or result], one fruit
after another, is [still] not able to reach higher. [yes it's hard to
interepret] We need to make new things, only [new things] have space
[freedom] to reach higher. But in fact, this is very difficult, more
often [one] makes a summary and organization of the past. Gundam was,
therefore, what I created from organizing and modifying past robot
animes, even as it [became] the trailblazer for the real robot anime
genre, it was itself orginated from past works. Finding a balance
between originality and summary [of the past] is a very difficulr
task.
> 接著有人��到，富野先生����了一些�s志的���冢�他�τ陔s志是怎?看的。
[Q] Mr. Tomino is responsible for some magazine columns, how does he
look at magazines?
> 富野：�x者喜�g就好，��作者（指�赢���作者）要去�t解受?的���B，而只通
[EMAIL PROTECTED]
的表�_不��只是�τ��勇�迷，�c其抓住一百�f
> 的�勇�迷，不如抓住一千�f的普通�^
[EMAIL PROTECTED]
�M隘的日本人那�尤パu作�赢�。
Tomino: it's good if the readers like [it], anime producers should
understand the state of their popularity [?], if [one] uses only
magazines to reach [?] audience, this author is powerless, [and has] a
narrow view. We use animation to express our work's results[,] should
not aimed only at manga fans, to grab a million manga fans is not as
important as grabbing ten million general audience -- which is
achievable by mass media. Regrettably, many [anime] producers have
not yet realized this point. I hope you [meaning the Chinese at the
panel discussion?] won't be like the narrow-minded Japanese when you
make animations.
> 富野先生曾�f�^作?�赢�的���I者，�H�H依靠�崆楹团d趣是不?的，那?需要
什?�拥乃刭|或是���洌�
[Q] Mr. Tomino said that to be a producer of animations, it is not
enough to just have passion and interest, so what qualities or
preparations are needed?
"to be a member of the animation industry"... just to differentiate the word "producer" as one who produce animation vs. "the producer" which is a position in AV production.
> 富野：我只能�f，提高自己的修�B，但�f不清更具�w的，要平�r多多�e累。比
> 如你想做的�湫碌氖澜纾�但如果你���^去的�v史?不�t解，那?就很�y��架出好的
�|西。又比如要�u作一��可�鄣男蜗螅�如果�o法理解大?�τ诳��鄣娜の叮�也就�o
[EMAIL PROTECTED]
> �f，提高修�B。
Tomino: all I can say is, raise your own excellence [this word is hard
to translate, perhaps it's also "merits", but it's more about one's
inherent quality then an explicit quality that's evaluated or
evaluatable externally]. But I can't explain it more concretely,
[one] needs to accumulate over time. For example, you want to create
a brand new world, but if you have no understand of past history, then
it's very difficult to construct some thing good. Another example,
you want to create a lovable image, if you can't understand the
public's taste in lovable, then you can't be successful. This is a
very general question, so I can only say, raise your excellence.
> 我�����F在日本�赢�中的美少女，都太�我涣耍�要培�B好的�d趣和��性的�|
> 西，就需要�e累。
I hate the pretty girls [image] in Japanese anime nowadays, [all of
them] are the same, to cultivate something interesting and have
characters, [one] needs to accumulate [positive qualities?].
> [EMAIL PROTECTED]
> �}……），那?有�]有考�]�^怎?用自己的力量去引��他��走出�`�^，或者到�e的地
> 方�l展，比如中��。
[Q] From previous response [one] can see that Tomino is very
disappointed in Japanese anime (what kind of question is this...). So
have you considered using your own power to lead them out of the
mistakes; alternatively, [have you considered] going to a different
place to develop [new things], e.g. China.
> 富野：我是一��土生土�L的日本人，所以�x�_那�Y是很�y的。但如果要改����
> 部的情?，就需要�淞��橙恕�―所以我希望大家努力，十年以後，你���⒊�?日本��
> 漫界很好的�橙恕�
Tomino: I am born and rasied Japanese, so to leave is very difficult.
But to change [Japan's] internal situation, [one] needs to make some
enemies [this sentence is ambiguous, at first I thought Tomino meant
he is unable to change Japan's anime scene because he is unwilling to
make personal enemies, but combined with the remainder of the
sentence, perhaps he meant that Japan's anime scene can only be
changed when there are competitors] -- so I hope that you will work
hard, in 10 years, you will become very good enemy [I am pretty sure
he meant "strong competitors" here] of Japan's anime industry.
> [EMAIL PROTECTED]
> [EMAIL PROTECTED]
> [EMAIL PROTECTED]@是一�N好的���荨Ｒ���文化如果��
> �l展，那?就需要�c不同文化�M行碰撞。我去年�_始提一���f法：日本的�勇�要�X醒。
I realized this during my interaction with Korean youth last year
[2004?] when I went to Korea, I saw their expressions were lively,
full of passion and energy; nowadays, Japan's anime industry is
lacking this energy. Today, here, I see your lively expressions, I
feel happy too, this is a good trend. If a culture is to maintain
progress, it needs to make collisions with different cultures. Last
year I started making a new speaking point: Japan's anime needs a
waking up.
> �赢�比起��影，有更?的����性，它可以超越��界，超越人�N。
[it's actually not clear to me WHO made this statment; it might not
have come out of Tomino's mouth at all] Animations, compared to [live
action] films, have a stronger [?] planning-ability [I don't
understand what it means either], anime can transcend national
boundaries, transcend the human species.
> 也�S是�Ω灰��χ���的�B度很有�d趣，又有人��他，�χ���的什?作品最有印象。
[Q]: what creations from China leave you with any impression?
> 富野：十分抱歉，我�χ���的什?作品都不�t解――事��上，我�B日本的�勇�作
> 品都不�t解。
Tomino: I apologize, I am not knowledgable with any of China's
creations, in fact, I am not even knowlegeable of Japanese anime
[nowadays?].
> 最後，MSL�N�^斑竹ZEEK邪神蹦出�硖���：作?GUNDAM��，作?富野��，我��
都很期待您的下一部作品，不知是否����有你�O督的GUNDAM作品出�F？
Q by Zeek from MSL [someone apperantly well known, a forum master?]:
whether it be Gundam work or Tomino work, we all expectantly wait for
your next creation, will there be any more Gundam work under your
supervision?
> 富野：�τ�GUNDAM，我已��失去�d趣了。另一方面，我所�O督的Z敢�_（����
> 版），已��是集大成之作了。所以更希望���湫┬碌��|西。
Tomino: I've lost interest in Gundam; on the other hand, my
supervision of Zeta movies is essentially a grand summary [of my
life's work?]. So, (I) hope to prepare something new."
> ��面��很短，由于富野要去�s�w�C，所以匆匆�Y束了，在又回答了一���o�P痛
> [EMAIL PROTECTED]@。
[Oceanus:] The interview was very short, because Tomino had a plane to
catch, so after another insubstaintial question, this baldding old man
left the location hurriedly, leaving the crowd sighing at his shadow.
--
Dr. Core
--
Boaz
http://myturnaspace.blogspot.com
