黑泽明和宫崎骏的轻松闲聊（1）
Miyazaki and Kurosawa Fireside Chat (Part One)
1996
翻译：朱花花
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.
翻译记录：从他们谈话的语气语言中，被访者黑泽明作为导师，而宫崎骏作为学生形象给我留下了深刻的印象。这也很容易理解。黑泽明比宫崎骏大将近30岁，刚好超过了电影制作经历的时间，要追溯到30年代。在谈话中宫崎骏使用的都是敬语而黑泽明却更多地用日常用语。同时，宫崎骏在整个谈话中显得有点紧张。然而我并不能说什么，因为如果是我，坐在他俩任一个人面前都会很紧张的。
宫崎骏： 作为一个电影制作人 我认为最难事情就是处理那些关于我作品的问题 他们好像希望我能涉及到我作品的每一部分
黑泽明： 就好像他们让你对台下的观众说些什么一样 你却没什么好说的 是这样么
宫崎骏： 就是这样的 特别是一些激进的问题像有些人会问 这部片子的主题是什么[笑]
黑泽明： 是的 那些问题是让人很不舒服
黑泽明： 我同意 我确实不知道怎么回答一些问题像 你对你作品的感觉是什么样的 之类的问题
宫崎骏： 当你被期望呈现出一种信心：“这就是我的作品，怎么样！”这是大家期望你说的。然而我更多的时候会说：“我陷入了深深的困境中！”然后我开始感到面前有堆积成山的压力。事实是，我更愿意躲到石头下面一直到所有的激情都平静下来[笑]这才是当被问及关于自己作品真实地想法，不是么？你的感受是什么？[笑]
黑泽明： 是这样的，你已经无数看这部影片已做好所有的编辑，所以，你再看它的时候确实没任何感觉了
宫崎骏： [笑]我非常理解您的意思
黑泽明： 是么？
[话题转移到讨论黑泽明：最近的一部电影，Ｍaadadayo (1993)]
黑泽明： 那么你怎么看Ｍaadadayo呢？
宫崎骏： 一对夫妇住在约7.5平方英尺的狭小房子里...真的很奇妙。并且那个客人来访的场景...女主人怪异的习惯——先给自己倒茶然后是客人...那给我留下了深刻的印象。[笑]那些很有感觉的习癖正是像我这样的人所缺少的东西。她会离开视线一会并且我们不会完全看到那是什么东西...但她出现的时候却是如此轻微和不可察觉，甚至在这样一个小屋子里...什么时候日本人能确实的释放掉这种感觉？[笑]
黑泽明： 我同意；Kagawa-kun 这次确实表现的相当出色。有趣的是因为她在编本中并没有被提及很多...[说明，经常受尊敬的长者谈及年轻人时带着一个kun后缀不考虑性别]
宫崎骏： 哦，是这样么？那么这全是您的...
黑泽明： 这并不使我的功劳而更多的靠她的天赋...比如，记得他们怎样提供给教授建造一栋新房子，他都非常坚决地拒绝；然而到后来，他这样说：“你们了解，如果有一个池塘会更好。”嗯...她不想在那离开Hyakken先生，也不愿一个人呆在那里。所以你可能已经观察到在走出之前她四处张望了一下并叹出一丝安慰。[我坦白；我并不是到他提及的这一部分]。她演得多好啊。他的反应完全的正确。我对这点印象很深。
宫崎骏： 哦，我以为你在描述一个人的梦[笑]
黑泽明： 不，不...我只是我所有的事都交给了kagawa-kun。事实上，在整个电影中我甚至没有多关注她...完全自理。我一直很小心的观察别的演员...但kagawa-kun没有。我后来告诉她，她的反应是：“哦，天哪，不是吧。”之类的话。
宫崎骏： ...[笑]。
黑泽明： 事实就是这样的。
[放映了一些ｍaadadayo的片断]
宫崎骏： 呃，你知道，我真的很羡慕生活在演艺圈的人——一天工作完后的米酒一定很可口。
黑泽明： 确实是这样。特别是在拍摄现场，我们会在一天结束时直接开始的。
宫崎骏： 然而在动画界...一天工作结束后的米酒可没什么可口的。[笑]。不会缓解任何压力。[笑]
黑泽明： 晚餐时间也非常有趣。我们经常有一大批工作人员，所以我们不可能把每个人安排在一家旅馆里的。但是那些和我们在一起的——主要的演员和工作人员——在晚餐时间和他们在一起总是很快乐河蟹。我经常告诉人们在那会我才真正像一个导演。
宫崎骏： 这就是我们为什么那么嫉妒了。对于我们，只有到我们完成了...并且我们准备开始另一部了，我们才喝酒庆祝。是这样的。在实际业绩中的每一件事...就是在划船。
黑泽明： 是的是的。Tezuka-kun总是这样说不是么？
宫崎骏： 是，释放所有的压力确实不好。你确实要保持一定程度的紧张。
黑泽明： 我们尝试过在工作中有趣一些...当我们做电影的时候，他们表演的时候展示这他们的面孔。所以我总这样告诉我的工作队伍：“不要再坏的情绪中，因为你的面部表情会展示出来的。让我们开心些。”我们就这样找点乐子。
宫崎骏： [我觉得这是他想说的] 。我认为当我不住的打哈欠和抱怨僵硬的肩膀这样对我画画不好。[笑]
黑泽明： 可是你对动漫没有什么别的选择。
宫崎骏： 我注意到当我们笑着做一些情绪高的电影，漫画家在他们画画时也会尽量笑着——因为你自己的面部表情也是很重要的。同时，如果我们
作严肃的电影是，画画的时候人也会严肃的。
黑泽明： [笑]
宫崎骏： 当你走进制作室，总是一股死气沉沉，就好像有什么黑暗的东西在那一样...并且就像我们做了很多年越来越多的电影，并且被人们开始所说的一些话意识加强了，就像：“那个角落闹鬼，”或者“你如果在那睡着的话会做噩梦的”之类的幽默[笑]。
宫崎骏： 我们的工作就是将我们捆在桌子上...结果是我们越来越胖并且不可能健康。[笑]
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宫崎骏： 在'Yume' by the river的最后一幕...真的做的非常完美！
黑泽明： 是呀，我们确实做了很多工作。一件事就是为了拍摄河底的苔藓，我们不能让天空从水面上反射出来。我不得不使用巨大的起重机挂起很多窗帘来遮光。
宫崎骏： 啊...
黑泽明： 同样的事情但我们有绿色镜头用蓝天作背景时——蓝色结束了统治并且完全弄糟了别的颜色。
宫崎骏： 说真话。看到那一幕真的触动了进入真实演艺圈的愿望啊。事实上，如果我在那一幕时我将一无所用，就是水车的那一幕。
黑泽明： 关于这个...有三个水车确实是水力驱动的。其他的都是人藏在里面让它转的。
宫崎骏： [笑]人？我以为是由引擎呢。
黑泽明： 在我们那天快完成任务时，才想到：“等等，那个人是不是还在里面转啊。”
宫崎骏： [大笑]可怜的人啊！[笑]
黑泽明： [笑]并且他确实在那，用尽一切办法旋转那个东西！而我们，已经准备收拾东西离开了。
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宫崎骏： 作一个描述近代的电影...好像如果完成会花费大量的金钱。
黑泽明： 是的，确实是一笔巨大的经费。
宫崎骏： 那个在maadadayo里倾斜的街道...当我听说你建造了那一幕时，我只能说：“那太夸张了！”
黑泽明： 那个...可能是最贵的事情了...那个倾斜的街道。我们不得用多的发疯的卡车不拉了所有的泥土。
[放映了士兵从maadadayo倾斜的街道上行军的片段]
黑泽明： 后来，我们不得不又把它放平了。我告诉他们就那样放着，可能以后会在别的场景用上...我知道这非常昂贵，但不管怎样这个小山是世界上独一无二的。
宫崎骏： 非常特别。
黑泽明： 但是最大的争论时不得不等所有的泥土和沙粒安置好，使得看起来很自然的样子。不足够使用压路机；必须靠人脚来踩。所以人们完成这个工作就花了很多天...事实上大概有半个月，大伙的日常工作就是在那个上面...这样沙砾层才最终完成。木栅栏也是这样...雨水偶尔的在表面反弹...你知道新建的设施是不会这样的；你不得不花去些时间。
宫崎骏： 明白了...光考虑这些我就不耐烦了。[笑]
黑泽明： ran的燃烧城堡（1985）也是在场景确实建造的...就在那。那个建筑是真实的因为我们不想使用模型燃烧...那样会很明显。在我们拍完后那个城堡还燃烧了至少半天。
宫崎骏： 多浪费啊...[笑]
[放映ran的燃烧城堡的片段]
[荧屏中展示了黑泽明：作品的各式各样的图片，逐渐地从各个的场景中淡出]
[宫崎骏：浏览了一本木制图片画集]
宫崎骏： 这是一项巨大的工作
黑泽明： 你能想到有多少就有多少。
宫崎骏： 真的么？
黑泽明： 这些只是素描；我并没有花多少功夫。
宫崎骏： 当你画他们的时候好像你已经在脑子里有男女主人公的人选了。[笑]
黑泽明： 当我开始画的时候，他们并不是那么像我真实的演员，但我却在画讽刺画中找到了兴趣。
黑泽明： 你会发现我的很多画都用雨作背景。是因为所有这样的片段从来没有剪过。所以这些画确实的帮助了我发现每个场景物镜视角。所以不仅他们帮助你给员工传达你的想法，它也能发觉到每个场景的小细节——决定用什么作背景，他们应该穿什么，等等。它可以教你很多。
宫崎骏： 像这样的画。我会想“这样一个建筑建造的画会花费很多的！”[笑]
黑泽明： 呵呵，你必须接受做电影要花费很多的。
宫崎骏： [笑]我趋向于让它便宜些。
黑泽明： 如果我们不得不作，燃烧石头，地面就不得不被烟熏黑。还有一些不得不完成的不可能的工作，像做一个富士山一样的场景。所以因为要把一切都蒙在烟里，事情却变得容易了。但是做燃烧过的碎石，有些人在地上洒一些焦木。但你知道，这是不够好的。我问过他们：“这个房子像真实的么？它根本没有一点感觉像是被烧掉的。”所以我给他们从新画了蓝图。“那里必须有柱子。棚子在那对么？厨房在这，那么这因该有些为龙头作的管道。这是不是一个砖房？砖房倒坍的时候因该是什么样的。”当你发现了这些细节，场景变得明显的真实了，并且你的工作也变得更有趣。观众没必要熟悉这些细节，但他们将会感到彻底的不同。
黑泽明： 经常，你会发现尘暴和碎石。那么，当问起我们怎么做的，如果它被曝光了，那将是这些效果中特殊的方法——我们使用了一套风扇吹起来的。这类事情都是我们的工作有趣起来。
[更多电影中的场景通过清洁串联图板被展示]
宫崎骏： 从一个时期起，日本的建筑...城市风景和特殊的气氛。在我看来...很多景象消失了。[我不能完全抓住他后来说的]
黑泽明： 在七武士中——你现在听不清因为声音效果毁掉了，但是——我们在作七武士音效时花了很痛苦的一段时间。
宫崎骏： 我完全可以想象得到。
黑泽明： 我保证那有很多铁匠。
宫崎骏： [笑]
黑泽明： 小贩也有，但是不会就像大街上那么明显。可能你会听到喃喃的低声：“油呵...油呵...”
宫崎骏： [笑]
黑泽明： 我们有过这样一次：“哦，这个剪辑的声音真的很像Sengoku-era-ish。我喜欢；你是从哪搞到的？”“呃，我刚从[笑]铁管里引来的。”
宫崎骏： [笑]噪音...那是最难的。
黑泽明： 我们已经为七武士做了选择性录音，你能看到调制出的每个人惨叫的声音——是有距离的。不幸的是录制的惨叫使得效果不够，所以我亲手做的调音。最后的惨叫声也不像来自人类，真的...
宫崎骏： [笑]你们的工作确实很有趣啊！
黑泽明： 所以每个晚上，我会把这些剪辑给隔壁的音效编辑然后他会...“这在世上是什么声音啊？！”“我正在给你画呢。”“什么？”
宫崎骏： [笑]
黑泽明： 那些在电影里的所有声音...每一次某些人背剑杀死。
黑泽明： 确实很特别。枪声就像把正方形三角形圆形连在一起一样——“巴、嗒、嗒、嗒。”在观看调制时你大致可以说出是什么声音。
宫崎骏： 如果我在做一个有国外背景的电影，我会来到一个忙碌的城市...我完全的迷路。[放映魔女急宅别的片段kiki在koriko的街道引起交通混乱。]我会问人掌握声音效果做一些研究在老爷车上，但这是无望的。我会带上一个录音器想：“将会是这样，”但不行，因为这是东京。这些天，这里不可能录制一些鸟鸣声如果不隔掉背景的汽车声。你不得不去一些荒芜的岛上；但那里，风声却很大。
黑泽明： 我们有一个非常有天赋的职员作音效工作——minawa-kun。他会把注意力放在最轻微的细节上。即使是下雨声，你会听到它伴着场景改变立即改变。像他这样人真实的存在“伟大的幕后人员；那些做了很多的人却得到了很少的荣誉”。如果你重视那些细节，观众会得到确实不同的感受。
[放映Maadadayo的剪辑]
.
.
MIYAZAKI - As a film-maker, I suppose the hardest thing for me to deal with are questions regarding my own work. It's as if they expect me to have been involved in every aspect of the movie.
KUROSAWA - Like when they ask you to say something to the audience on stage. . .you really don't have anything to say, right?
MIYAZAKI - Right, and it's especially irritating when someone asks something like, "What's the theme of the movie" [Laughs]
KUROSAWA - Yeah, those are really inconvenient.
KUROSAWA - I agree, I really don't know how to respond to questions like "how do you feel about this work of yours" or something.
MIYAZAKI - That's when you're supposed to take on an air of confidence: "This is my work; how 'bout it!". . .is what you're supposed to say. But me, I'm more like "Uh oh, I am in deep trouble!" And I start to feel the pressure pile on top of me like a mountain. The truth of the matter is, I'd rather just be hiding under some rock until all the excitement dies down [Laughs]. But that's really when you're supposed to be speaking out about your own work isn't it? Is that how you feel? [Laughs]
KUROSAWA - The thing is, you've already seen the movie countless times to make all the edits, so. . .you really don't feel like watching it anymore.
MIYAZAKI - [Laughs] I know exactly what you mean.
KUROSAWA - Right?
[Moves onto discussion about Kurosawa's most recent movie, Maadadayo (1993)]
KUROSAWA So what are your thoughts on Maadadayo?
MIYAZAKI - The tiny room [~7.5 sq ft] that the couple lives in. . .that was really wonderful. And the scene when the guests come to visit. . .the mannerism of the Misses as she served the tea - placing it on the shelf first, and then offering it to the guests. . .I was already impressed by that point. [Laughs]. Those sensible mannerisms are something that people like me completely lack in. She'll step out of view for a second, and we don't quite see what's there. . . but the fact that her presence is so subtle and un-awkward, even in such a small room is. . . .when exactly did the Japanese loose that kind of touch? [Laughs].
KUROSAWA - I agree; Kagawa-kun did such a splendid job this time. It's funny because she's not mentioned much in the book. . . [Note, it is common for more respected individuals to refer to younger ones with a -kun suffix regardless of their sex]
MIYAZAKI - Oh, is that so? So it was all your. . .
KUROSAWA - No it's not that as much as it is me relying on her talent. . .for example, remember how they offer to build the professor a new house, which he adamantly refuses to accept; and then later, he says something like. . . "you know, a pond would be nice." Well. . .she doesn't want to leave Mr. Hyakken there, nor stay there herself. So you might've noticed that she glances over and breathes a little sigh of relief before stepping outside [I apologize; I don't know what he's referring to here]. That's how good her acting is. Her reaction was extremely well done. I was really impressed by that.
MIYAZAKI - Oh I thought you were just depicting a man's dream. [Laughs].
KUROSAWA - No no. . .I just left everything up to Kagawa-kun. In fact, I wasn't even paying attention to her during the filming. . .complete confidence. I kept a careful watch on the other actors. . .but not Kagawa-kun. I told her afterwards and her response was "oh golly, no!" or something like that.
MIYAZAKI - . . .[Laughs].
KUROSAWA - That's how it is.
[Shows above clip from Maadadayo]
MIYAZAKI - Uhm, you know, I'm really envious of the people in the live action business - the osake at the end of the day must taste really really good.
KUROSAWA - Oh absolutely. Especially if we're filming on location, we'll just start drinking right there at the end of the day.
MIYAZAKI - Well in the animation business. . .the osake at the end of the day isn't that good. [Laughs]. Doesn't relieve any of the stress. [Laughs]
KUROSAWA - Dinner time is a lot of fun too. We usually have a big staff, so we can't necessarily accommodate everyone at the same hotel. But with the ones that do stay with us - the main cast and staff - it's always a pleasure socializing with them during dinnertime. I always tell people that it's then that I truly fulfill my role as director.
MIYAZAKI - See that's what we're so jealous about. For us, it's only when we finish. . . and when we're about to start [on a film] that we get to drink and celebrate. That's it. Everything during the actual production. . . is like rowing a boat [Laughs and pretends to row boat].
KUROSAWA - Right, right. Tezuka-kun was saying the same thing wasn't he?
MIYAZAKI - Yes, it's actually bad to relieve all the stress. You really need to maintain a certain level of anxiety.
KUROSAWA - We try to have fun while we work. . .while we film, and it shows on their face when they perform. So I always tell my staff, "don't be in a bad mood, because your facial expressions will show it. Let's have some fun." We try to have some good laughs.
MIYAZAKI - [I think this is what he said]. I guess it's not good for me to be drawing when I'm having to fight back yawns and complain about stiff shoulders. [Laughs]
KUROSAWA - Well you really don't have a choice with animation.
MIYAZAKI - I noticed that when we're working on an uplifting film with a lot of smiles, the animators tend to be smiling when they draw -- because it's important to make the facial expressions yourself. And at the same time, if we're making a serious movie, people tend to have serious expressions when they draw.
KUROSAWA - [Laughs]
MIYAZAKI - When you walk into the studio, there's this staleness to the atmosphere, almost as if there's some big dark entity somewhere. . . and as we make more and more films over the years, it intensifies until people start saying things like "that corner over there is haunted," or "you'll get nightmares if you sleep right here" or those kinds of rumors [Laughs]
MIYAZAKI - Our job is about being shackled to our desk. . .the consequence being we keep getting fatter and don't get any healthier. [Laughs]
MIYAZAKI - The last scene in 'Yume' by the river. . .you really found the perfect spot for it!
KUROSAWA - Yeah, we did a lot of searching. One thing about that scene is that in order to be able to film the moss on the bottom of the river, we couldn't let the sky reflect off the top surface of the water. We had to use these huge cranes to drape blackout curtains over the set.
MIYAZAKI - Ah. . .
KUROSAWA - The same goes when we have greenscape against a blue sky - the blueness ends up dominating and it completely messes up the colors.
MIYAZAKI - I'll be honest. Seeing that one scene really made me wish I had gone into the live action business. In reality, I wouldn't be worth anything once I'm on the set, but still. . .About the waterwheels in that scene.
KUROSAWA - Only about. . .three of those waterwheels were actually water-driven. The rest were just turned by the people hiding inside.
MIYAZAKI - [Laughs] People? I thought they were motors.
KUROSAWA - We'd be finished filming for the day and uh. . ."Wait a minute, is that guy still turning?"
MIYAZAKI - [Big Laugh] Poor guy! [Laughs]
KUROSAWA - [Laughs] And he's still there, cranking that thing with everything he's got! And here we are, getting ready to pack up and leave.
MIYAZAKI - Making a movie that depicts even the immediate past. . . it seems like it would end up costing an unbelievable amount of money.
KUROSAWA - Right, it costs a huge amount of money!
MIYAZAKI - That sloping street in Maadadayo. . . when I heard you constructed that on the set, the only thing I could say was, "that's extreme!"
KUROSAWA - That. . . might've been the most expensive thing. . . that sloping street. We had to haul in all the dirt with an insane number of trucks.
[Shows clip of soldiers marching down the sloping street in Maadadayo]
KUROSAWA - And afterwards, we had to flatten in out again. I told them to leave it as is, but they apparently needed to use the set for something else so. . . I know it's exorbitant, but whether or not there's a hill there makes all the difference in the world.
MIYAZAKI - A huge difference, right.
KUROSAWA - But the biggest hassle is having to wait for the dirt and gravel to settle, so it looks all natural. It's not enough to just drive over it with a roller; it has to be walked on by human foot. So as people trample over it over the course of a few days. . . actually more like a half a month, and as they go about their daily work on top of it. . . the gravel eventually settles. Wooden fences too. . . rain drops bounce off the surface at first but eventually. . . you know. Newly constructed sets just don't cut it; you have to give it some time.
MIYAZAKI - I see. . . it makes me impatient just thinking about it. [Laughs]
KUROSAWA - The burning castle in Ran (1985) was actually constructed within view of here. . . right over there. Its construction had to be authentic in that we couldn't set a fake mock-up on fire. . . it would just be too obvious. That castle kept burning for at least half a day after we filmed it.
MIYAZAKI - What a waste. . . [Laughs]
[Shows clip of burning Castle in Ran]
[Shows on screen Kurosawa's various image board drawings, which gradually fade into their respective scenes in the movie]
[Miyazaki flips through a book of image board drawings]
MIYAZAKI - It must be a lot of work!
KUROSAWA - Well, not as much as you'd think.
MIYAZAKI - Really?
KUROSAWA - They're just quick sketches; I don't put too much effort into them.
MIYAZAKI - It seems as if you already had an actor/actress in mind when you sketched these. [Laughs]
KUROSAWA - When I first start drawing, they don't resemble the actual actors/actresses, but I start having some fun by making them caricatures.
KUROSAWA - You'll see that I have a lot of drawings for scenes with rain. It's because that segment was all filmed without any cuts. And so making all these drawings really helped me work out the camera angles of each scene. So not only do they help you convey your thought-picture to the rest of the staff, it makes you aware of the tiny details within each scene -- what do they buildings in the background look like, what are they wearing, and so forth. It teaches you a lot of things.
MIYAZAKI - Like this drawing right here. I'd be thinking "that building over there is gonna cost a lot to build!" [Laughs]
KUROSAWA - Well, you just have to accept the fact that movies cost a lot to make.
MIYAZAKI - [Laughing] It's just that I tend to be cheap like that.
KUROSAWA - If we were to have to make, say, burnt rubble, the ground itself has to be black with all the ash. And it's such an impossible task to have to do so, that we decided to make the set on the side of Mount Fuji itself. So in terms of having to cover everything with ash, it really made things easier. But to create the burnt rubble, people were just scattering some charred wood on the ground. But you see, that's not good enough. I asked them, "what did the house look like originally? It doesn't make sense for the foundation to have burned away too." So I made them draw up blueprints from the ground up. "There must have been pillars here. There was a shed here right? And a kitchen here, so let's put in some piping for the faucet. Is this a brick house? What does a brick house look like when it crumbles?" And as you work out these details, the set becomes noticeably more realistic, and your job becomes more interesting. The audience won't necessarily pick up on those details, but they'll definitely feel the difference.
KUROSAWA - Often times, you'll see dust devils amid the rubble. Well, we asked ourselves how we could make one, and as it turns out, there's a special field for those kinds of special effects -- we used a series of fans to pull it off. Those kinds of thing really make your job interesting.
[More scenes from the movie accompanied by storyboards]
MIYAZAKI - Up until a certain era, Japanese architecture. . .cityscape had a certain ambience. This is my opinion but. . .that image seems to have disappeared. [I couldn't quite catch what he said next]
KUROSAWA - In Seven Samurai -- you can't hear it now because the sound is all deteriorated, but -- we really had a hell of a time with the sounds of the Sengoku-era [1467-1567]
MIYAZAKI - I can imagine. . .absolutely.
KUROSAWA - I'm sure there were blacksmiths.
MIYAZAKI - [Laughs]
KUROSAWA - And peddlers too, but not like the ones from the Edo-era [who'd holler at passerbys]. Maybe they'd mumble in a low voice: "Abura. . .abura. . ." ["Oil. . .oil. . ."].
MIYAZAKI - [Laughs]
KUROSAWA - We had one instance: "Wow, this clip right here sounds really Sengoku-era-ish. I like it; let's use it. . . where'd you get it?" "Uh, I just [Laughs] dragged around a steel pipe."
MIYAZAKI - [Laughs] Ambient sounds. . .those are the hardest.
KUROSAWA - With optical sound recording, which is what we had for Seven Samurai, you can see the modulation of the screams each time someone is killed -- it has a distinct shape. Unfortunately a recorded scream just isn't effective enough, so I drew in the modulation myself, by hand. And the end result is a scream that doesn't even sound like it came from a human, really. . .
MIYAZAKI - [Laughing] You were really having fun weren't you!
KUROSAWA - So every night, I'd give these clips to the sound editor next door and he'd be like. . ."what in the world is this sound?!" "I'm drawing the modulation you see." "What?"
MIYAZAKI - [Laughing]
KUROSAWA - And all those sounds are in the movie. . .any time someone gets killed by a sword.
KUROSAWA - It's really peculiar. Machine gun fire looks like a square, a triangle and a circle all connected together - "rat tat tat tat." You can almost tell what kind of sound it is by looking at the modulation.
MIYAZAKI - If we're working on a movie with a foreign setting, and I come across a scene of a bustling city. . .I am at a complete loss. [Shows clip from Kiki's Delivery Service where Kiki triggers a big traffic jam in the streets of Koriko]. I'll ask the person in charge of sound effects to do some research on antique cars, but it's hopeless. I'll bring in a recording thinking "this'll do," but no, it's a dead giveaway that it's Tokyo. These days, it's almost impossible to even record bird chirps without it being contaminated by the sound of cars in the background. You have to go to some deserted island; but there, the wind is too loud.
KUROSAWA - We have a very talented staff member that does our sound effects - Minawa-kun. He'll pay attention to the slightest details. Even if it's the sound of rain, you'll hear it change as the scene changes. People like him are the true "En no shita no chikaramochi." [The strongman underneath the stage; people that do deserving work but receive little credit]. If you respect those small details, then the audience will definitely feel the difference.
[Shows clip from Maadadayo]
[End of Part 1]
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发表于 2005-8-23 02:51:00
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