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: Boris Ivanov 2:5020/496.90 17 98 20:29
: All p 19 98 14:44
: [02/09] [EVA] FAQ EVA

=== Cut ===
translation) and that of Ep.26 (True Heart to You) is Hideaki Anno. The
animation production is, as in EVANGELION DEATH AND REBIRTH, jointly done
by GAINAX and PRODUCTION I.G.
The movie lasts for about 87 minutes.
PRODUCTION NOTES
================
(PY s Note: In the Production Notes, a lot of staff s names are introduced.
Although I have a Japanese Name Dictionary, I have got lazy and decided
to go for the translation without bothering to find out the
pronounciation of the names. This means many of the names would be left
untranslated, and absent from this version of translation. I hope I could
get the name right later. My apologies.
Also please note that I keep the Japanese convention of writing the
surname first, followed by the "first-name")
Two kinds of title logo of "THE END OF EVANGELION" were designed. One is
the logo used on the poster and the advance-sale ticket. Another one is
used as the title in the movie, following the hand-written style of the
title used in "REBIRTH". It is the latter title logo that is used on the
cover of this pamphlet.
The movie ep.25 "Air" is based on the script already in place during TV
production originally intended for TV Ep.25. Because of various problems
during production, this script was not used and the TV Ep.25 "The Ending
World" was done in a same way as TV Ep.26 in which the drama was developed
within an internal mind universe. Because of this, it could be said that
this ep.25 is a return to the original intended story. In contrast, the
movie ep.26, when compared with TV Ep.26, contains much more content on the
story and plot, thus deepening the theme brought out in TV.
Since this movie is supposed to be the remake of the last two episodes of
the TV series, the TV episode format is followed, with each episode having
its own subtitle and eyecatch scenes. (PY: you know, those static scenes
that contain nothing but black background and white Japanese/English words)
The animation production of this movie, PRODUCTION I.G., is known to have
produced anime movies like "Pat Labour 2 the Movie" and "Ghost in the
Shell". PRODUCTION I.G. made the most out of the big composition production
effort put into this movie, a theatrical film, and it became a high quality
film.
In movie ep.25 "Air", the director is Tsurumaki Katzuya, the deputy
director in the TV series. Although the script play is from the hands of
the chief director Anno Hideaki, and all the operations from direction
downwards are also generally entrusted to Tsurumaki. Masuna Yuki (?), also
the deputy director in the TV series, is responsible for the animation
draft (PY: kai-konte? those pencil drafts of the scenes as they should look
in the real animation). Also, Higuchi Shinji partcipated in script play as
well as animation drafting. They all followed the instruction from Director
Tsurumaki.
The direction of the movie ep.26 "True Heart to You" was taken up by
Chief-director Anno himself. Because of that, this movie bears a strong
flavour of his individual taste. As for animation drafts, Jime Kiichi and
Higuchi Shinji also took part.
Masuna Yuki, who was the deputy director of the TV series and the
director of the movie "DEATH", served several responaibilites in this
movie: animation drafts, original print, virtual water artist. The
depiction of water is the most difficult part in animation, and he worked
as the art director of all depiction realated to natural phenonmena like
water and waves. As a result, a post called "virtual water artist" was
recreated for such responsibility. He also drew the original print for the
advertisement poster of this movie.
There are two art directors in ep.25 and three in ep.26. In ep.25, the art
director for scenes centred on charcters is Kouse Kazuya from PRODUTION
I.G.. Kouse is known as the animator of movies like "Pat Labour 2 the
Movie" and "Ghost in the Shell", and he worked twice as the art-director in
the TV series. Honda Yuu is the main art director, as well as the animator
for the "opening".
The art directors for ep.26 are Suzuki Gotoni, Hiramatsu Teishi and Anno
Hideaki. Suzuki and Hiramatsu are both the art directors for the general
scenes, while Anno concentrates on the mecha scenes and cuts centred around
special effects.
In order to depict the interal world of Shinji in ep.26, real life scenes
were employed in one part of the movie. Because of this decision, a team
called "Special Production Team" was formed. The script play and chief
director in this team is also Anno Hideaki. The post for special effect
director was taken up by Higuchi Shinji. "Special effect director" in this
context means the director for the filming of special effects. The real
life filming was done according to the combined opinion formed between
Hideaki Anno and Higuchi Shinji.
Although CG (computer graphics -PY) was widely used in Evangelion TV, those
CG scenes were all computer screens, processed in a 2-dimensional manner.
This time, in "THE END OF EVANGELION", broadened 3-dimensional CG was used.
The core of the CG production is Omnibus Japan, which did the CG in "Pat
Labour 2 the Movie" and "Ghost in the Shell". Most of the CG scenes are
found after the start of the Human Complmentation Project in ep.26. Some
examples include the cut which has the surface of the Earth gradually
buried under more and more big crosses, and the cut which has numerous Rei
swimming around. This time, the most difficult challenge for CG is the
issue of translucence. Also, in order to create a visual feeling closer to
other cuts, some scenes, after the normal CG operations, underwent a
further analog filiming process with filters. The CG effect seen in the
staff roll (in ending) was also done by Omnibus Japan.
PRODUCTION I.G. also did several C.G. cuts. One of them is in ep.25, in
which 9 gigantic transport planes carrying the mass-production model of
EVA s first appeared. The nine big planes are seen from a bird-eye s view
from top, with one plane overlapping another, and they each slided towards
a different direction. Such scene is nearly impossible in conventional
anime camera work, but C.G. makes it possible. The "Eirin" mark (the
trade-mark of the studio appeared at the beginning of the movie -PY) is
also C.G. done by PRODUCTION I.G. So it is also billed as 3D animator in
the telop. As for the CG seen in the computer screens, they were all done
by Gainax in-house, as in the TV series. This is billed as the 2D animator
in the telop.
There is a substantial part in movie ep.25, which repeats the content shown
in "REBIRTH", released in spring time and is the first part of the final.
One quarter of it underwent various retouch work so as to improve its
quality.
The effective use of classical music in Evangelion TV series and the spring
movie "DEATH" leaves a deep impression to everybody. In this movie, 2
classical pieces were used: "Air on G" and "Jesus bliebt meine Freunde" by
J.S.Bach.
"Air on G" is a version from a new recording arranged by Sagisu Shiro. It
=== Cut ===


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