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请让高畑勲再制作一部动画吧！
翻译：禾豆子
所有翻译均为动画爱好者交流所用
版权归原作者及所属媒体所有
翻译部分未经允许请勿转载
在西方，有很多人猜测为什么高畑勲自1999年的《我的邻居山田君》后没有再制作一部长篇动画，直到一年甚至更早之前，他几乎很少谈到这个问题。但高畑勲正为多部动画项目努力工作，而他的才华也无休止地被这些“研究”工作埋葬了，而我们知道，这可能会一直持续下去。高畑勲在动画作品中体现的深度是令人震惊的，这也是《萤火虫之墓》与《回忆点点滴滴》距离整整三年的原因。
高畑勲曾经坚持在等《我的邻居山田君》完成后会辞退导演工作一阵子。尽管我不能说这是由于来自GHIBLI内部的压力所致，反正高畑勲明确否认这种说法。如果说仅仅因为《我的邻居山田君》的票房并不是太成功，而铃木敏夫与宫崎骏轻易地拿走了他的导演地位，这似乎很奇怪，甚至说有一点残忍。当我们纵览他们的职业生涯时，发现好些电影与电视，未能像名单里的《太阳王子》《鲁邦三世》《卡里奥斯特洛城》以及吉卜力前三部作品《天空之城》《再见萤火虫》《龙猫》一样带来一时的轰动。所以，就我的看法，事情并不是这样。 （译者注：即作者认为并不是由于票房的问题，而导致高畑勲自《我的邻居山田君》以后长久没有再执导长篇动画）
我完全拿自己跟那些日本公众作比较，他们可是看着高畑勲的作品如《海蒂》（这部作品完全是部幻想作品，该死的字幕）与及《三千里寻母记》《安娜的故事》长大，却可能会忽视《我的邻居山田君》。《我的邻居山田君》这部作品的高质量，它所讲述了人的天性的微小差异，同时电影从头到尾都有着很多的笑料。这部动画像一个领航的气球。日本的电影迷会更乐意拿自己辛苦赚回来的钱去买票观看......《平成狸合战》？或者《星球大战前传》？他们没有听到来自美国的评价吗？他们在想些什么？难道致幻剂的使用在1999年仍然是合法的？
我也想知道高畑勲要制作一部电影会遇上多少困难，他最好的拍挡现在都离开了吗？近藤喜文是高田勋最好的合作伙伴（他负责《安妮的故事》的人物设定，《再见萤火虫》《岁月的童话》《平城狸合战》的人物设定以及动画监督），但他逝世了。大冢康生，退休去当教师。KOTABE，OKUYAMA，去参加了暴发户们的小辆赛车比赛。这对于一个不懂绘画的导演和剧本作者来说，情况十分严峻。（译者注：和押井守一样，高畑勲也不会绘画）高畑勲需要一些志同道合的艺术家相助。所以，我早上作祈祷时总会许下这个愿望：“请让高田勋再制作一部动画吧！”我深知要实现这个愿望比光是嘴巴说要困难得多。
但是：现在我拥有高畑勲所有作品的收藏，而也极度希望能再拥有一部。噢！我想再拥有一部高畑勲的作品以及有英语字幕的《海蒂》和《JARINKO CHIE》。这个愿望我会放到晚上的祈祷去。
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原文：
Please Let Takahata Make One More Movie
There's been a lot of speculation in the West as to why Isao Takahata hasn't directed a feature film since My Neighbors the Yamadas in 1999, and until a year or so ago, he barely said anything about it. But Takahata is working hard on a number of projects, and is buried endlessly in the "research" phase, which, as we all know, could take forever. The amount of depth he puts into his films is astonishing. There's a reason for that three-year gap between Grave of the Fireflies and Omohide Poro Poro.
Takahata has insisted that he wanted to step down from directing for a while after Yamadas was completed. Whether or not there was pressure from within the studio, I cannot say, but he firmly denies it. It would seem to be odd, and more than a little cruel, for Suzuki and Miyazaki to take away his director's chair simply because Yamadas wasn't a hit. When we look at their careers, the films and tv shows that failed to become instant hits looks like a roster of their greatest hits - Horus, Lupin III, Cagliostro, and the first three Ghibli films, Laputa, Fireflies, and Totoro. So, as far as I can muster, that just wasn't the case.
I'm completely beside myself that the Japanese public, which grew up on Takahata productions like Heidi (which is absolutely fantastic, the subtitles be damned) and Marco and Anne, would ignore Yamada-kun. For all the brilliant qualities of that film, for all its subtle nuances of human nature and endless laugh-out-loud jokes, the movie went over like a lead balloon. Japanese moviegoers preferred to spend their hard-earned money on...Pokemon? Jar-Jar Binks? Didn't they get the word from America? What were they thinking? Were psychedelic mushrooms still legal in 1999?
I also wonder how much more difficult it is for Takahata to make a film, now that all of his best collaborators are gone? Yoshifumi Kondo was his best sidekick (character designer on Anne, character designer/animation director for Fireflies, Poro Poro, and Pom Poko), but he's gone. Otsuka - retired to teaching. Kotabe, Okuyama - kart-racing around the Mushroom Kingdom. It's harder for a writer/director who doesn't draw; he needs artists of a similar stripe. So while my morning prayers always include the petition, "please let Talahata make one more movie*," I'm aware that this is more difficult than it sounds.
Still. Now that I have all of his directoral works, I'm only left wanting for more. Oh, that and some English subtitles for Heidi and Jarinko Chie. Those will be in my evening prayers.
[此贴子已经被桃夭于2006-11-1 23:12:15编辑过] | 
...仿佛听到过这样一种说法似的,能够固守缄默的,不是神明就是野兽. 笑...似乎这句话,还可以有别的解读......
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