[推荐]电影《风之谷》的故事

tower2

<P><FONT color=#4d61b3>节选翻译</FONT></P>
<P>同时, 在东京的许多办公室中的一个, 宫崎骏与东映老板藤冈丰竞争着,后者想参与到《小尼莫》的计划中来 。宫崎骏从未接受任何命令似的东西, 于是他离开了最重要的东映公司附属部门之一，在《鲁邦三世:卡里奥斯特罗城》的商业运作之后他在那里被作为一个教导者。德间书店让他实现将漫画《风之谷》动画化。伴随着众多漫画读者的失望, 它由东映和意大利RAI被分割成为MEITNTEI HOLMES,一个非常昂贵的TV动画产品。由于经济原因HOLMES在仅仅四集后被冻结了。因为德间书店是个没有动漫工作室的出版社，所以同时作为制片人的高畑醺, 负责寻找一个制作单位, 尽管东映拥有必要的技术, 但是由于最近的分歧，它被完全抛在一边。Toei Doga, Sunrise和绝大多数日本工作室都完全投入到TV产品的制作中去(从1983到1984大约70%都是TV作品). 高畑醺没有犹豫就选择了Topcraft, 他们的工作已经被高所了解. Toru Hara（注2）的工作室将是描绘所有在宫崎骏〈风之谷〉里出现的幻想情境的理想化选择。在那个时候,Topcraft在一个不明的荷兰公司的委托之下仅仅制作长片里的一些场景。于是宫崎骏决然地离开了东映而加入了不熟悉的Topcraft, 在那里他实现了绝对的杰作, 它立刻被整个世界的公众和批评家们称赞为一部真正的cult电影（注3）. 电影传达的信息是明确地反对战争和破坏自然的行为。</P>
<P><FONT face=楷体_GB2312 size=5>“《风之谷》让宫崎骏的名声超出日本，我真的佩服它”</FONT></P>
<P>黑泽明 （来自《千与千寻》意大利版发行现场）</P>
<P>关于NAUSICAA, 小松原一男被选择为动画监制和角色设定 (他是高畑醺的名作《大提琴手》的主要策划者）。 Topcraft绝大多数的重要职员比如小林和幸与吉田忠胜设计出现巨大的王虫的种种情况.另外, 高畑醺召集了一些经验最丰富的::自::由::漫画家比如金田伊功, Yoichi Otabe, 高野登和OH! Production的一些成员比如福田健二和高坂希太郎. 这次仲代正树担任美术指导. 色彩规划与《最后的独角兽》无异,因为铃木福冈担任了两部电影的色彩指定.还有两个年轻人，叫庵野秀明和前田真宏. 庵野秀明后来成为GAINAX的主要建立者之一, 出品了一系列有名的TV动画比如《不可思议之海的娜迪娅》. 前田真宏制作该动画的道具设计,但是,同时又和Ghibli进行合作. 首先, 广受欢迎的剧作家伊藤和典应该参与其中, 但在最后时刻, 他的名字从名单中除去, 由于宫崎骏无法预料到的复杂性.得益于外部条件的帮助, 《风之谷》完成了并定于1984年3月上映。令人惊异的是, 它以56，000的观众数少于75，000观众数量的《最后的独角兽》, 这是由于为苛刻的美国观众生产, 需要最好的技术. 《风之谷》的成功归功于Koji Shiragami对摄影的创新使用.尽管没有什么宣传, 它仍然是最轰动的日本电影艺术的历史之一, 得到了一些奖励。尽管在最近十二年来这是第一部为日本公众生产的电影, Topcraft的成员还是拥有了很高的名声. 主要的功劳应该归功于聪明的动漫编辑，即铃木敏夫,他工作于制片委员会.Topcraft同样在《太空堡垒》的制作上也起了很大作用, 它由龙之子公司同年出品。由于《风之谷》的巨大成功, 《最后的独角兽》通过CBS/FOX家庭映像得到了一个VHS版。<br></P>
<P><FONT face=楷体_GB2312 size=5>“《小尼莫》花费了6年时间完成, <br>宫崎骏制作《风之谷》只用了9个月”</FONT></P>
<P>Moebius（注4） （来自《宫崎骏：日本动漫的大师》） </P>
<P><br>注1：此翻译匆匆而就，质量很不高，有待于热心人指正，三天后回来修改。<br>注2："Topcraft"是由Toru HARA领导的，他是宫崎骏和高畑醺的老朋友。Hara之后成为Ghibli工作室的会长 见《〈风之谷〉常见问题及解答》<br>注3：拍摄手法独特、题材诡异、剑走偏锋、风格异常、带有强烈的个人观点、富有争议性，通常是低成本制作，不以市场为主导的影片。简而言之，就是属于非主流领域却能在特定的年轻族群中大受欢迎的电影作品。它的另一个特点是类型多元化：暴力片、科幻片、恐怖片、黑色喜剧、西部片、实验电影等等各种标榜着另类和决不妥协口号的电影，都可以成为Cult电影。 <br>注4：法国漫画家moebius 原名jean giraud 的作品以浓科色彩见称，可说是欧洲科漫画代表人物, 连法国名导演吕克·贝松的电影第五元素也受他的漫画影响。<br>见《法国漫画家moebius与宫崎骏的对话》</P>

[此贴子已经被作者于2006-2-14 14:01:47编辑过]

tower2

<P>原文：</P>
<P>Meantime, inside one of many Tokio's office, Miyazaki ran against TMS president Yutaka Fujioka, who wanted to involved him in the planning of LITTLE NEMO (a feature film co-produced with Canada). Miyazaki had never accepted any order and so, he left Telecom, one of the most important TMS subsidiary where he was employed as teacher after the CAGLIOSTRO's commercial flop. He was called by Tokuma Shoten to realize an animated version of its manga NAUSICA&Auml;. With much of disappoint of the Animage readers, it was interrupted to develop MEITNTEI HOLMES, a very expensive TV series co-produced between TMS and the Italian RAI (for further info go to TMS history page). HOLMES was freezed after just four episodes, because of economical problems. Meanwhile, Isao Takahata, in role of executive producer, was charged to find a production facility, since Tokuma was a print publisher with no animation studio. Altough TMS owned the necessary know-how, it was promptly set aside, because of recent disagreements. Toei Doga, Sunrise and most of Japanese studio were fully involved in the production of other TV series (between 1983 and 1984 were produced about seventy). Isao Takahata with no doubt chosen Topcraft, whose works were already known by him. Toru Hara's studio would be ideal in capturing all of the fantastic atmosfers in which Miyazaki had set Nausica&auml;'s characters. In these days, Topcraft had just finished to make some scenes for a minor feature film under commission of an unknown Dutch company (for details go to database). So Hayao Miyazaki definitively left TMS to join the yet unknown Topcraft, where he realized his definitive masterpiece, to be soon acclaimed as a real cult-movie from pubblic and critic all over the world. The film's message was clearly against every war and pro-enviromentalist.</P>
<P>"KAZE NO TANI NO NAUSICA&Auml; spreaded the Miyazaki's fame out of Japan. I really respect it!"</P>
<P>Akira Kurosawa (taken from SEN TO CHIHIRO Italian press-release) </P>
<P>About NAUSICA&Auml;, Kazuo Komatsubara was chosen as animation supervisor and character designer (he was already main planner in Takahata's masterpiece GAUCHE THE CELLIST). Most of Topcraft's key employees such as Kazuyuki Kobayashi and Tadakatsu Yoshida animated all the epical sequences in which appeared the gigantic Ohmu.Furthermore, Isao Takahata called some of the most able veteran free-lance such Yoshinori Kanada, Yoichi Otabe, Noboru Takano and some members of OH! Production like Tadashi Fukuda and Kitaro Kosaka. This time Mitsuki Nakamura did art director. The color style had no difference with that of THE LAST UNICORN, since Fukuo Suzuki took care of both movies color designation.There also worked in it two young man named Hideaki Anno and Mahiro Maeda. Anno will be later one of the main GAINAX's founders, conceived in one of the most recent successful TV-series such FUSIGI NO UMI NO NADIA. Maeda did NADIA prop-design, but, at the same time, collaborate with Ghibli. At first, the well-liked writter Kazunori Ito had to partecipate, but at the last minute, his name was erased from the credits, because of unforeseen incomprehensions with Hayao Miyazaki.Thanks to the help of some external facilities, NAUSICA&Auml; was completed and distribuited in March 1984 (in fact, no Japanese studio could make an entire long-lenght movie by itself. In this case were involved Doga Kobo, Yamato Productions and Studio Pokke).Curiously, it counted just 56.000 cells against around 75.000 cells of THE LAST UNICORN, since it, produced for exigent American audience, required the highest technique. NAUSICA&Auml; instead got its success thanks to the innovative use of camera by Koji Shiragami.Despite of the scarce advertising, it was one of the most resounding hit of Japanese cinematography's history, receiving several awards. Although it was their first film to be produced for homeland's public in the last twelve years, the names of Topcraft's members became very famous. Main credit of this had to be tributed to a clever Animage's redactor named Toshio Suzuki, who worked in the production committee.Topcraft was also helpful in inbetweens, finishings and filming in MACROSS AI OBOTEIMASUKA, released fron Tatsunoko in the same year. Taking advantage of NAUSICA&Auml;'s largest success, THE LAST UNICORN got a Japanese VHS version by CBS/FOX Home Video (it was available on Beta as well).</P>

<P>"While LITTLE NEMO took six years to finish, <BR>Miyazaki made KAZE NO TANI NO NAUSICA&Auml; in nine months!" </P>
<P>Moebius (taken from the book Hayao Miyazaki Master of Japanese animation) </P>

wangyu258

<P>资料收集的好啊</P>
<P>总比人快一步．．．</P>

tower2

<P>补录照片两张：</P>
<P>TOPCRAFT工作场景</P>
<P></P>
<P>TOPCRAFT老板TORU HARA</P>
<P></P>

[此贴子已经被Dolors于2006-2-17 18:36:54编辑过]