In the following posts I'll be posting the interview included in the second English DVD of The Wings of Rean. I don't have part 1 but I do have part 3 which will come some time later (maybe)
In this interview Tomino talks about naming his characters, Dunbine, Ideon, Gundam, and many other interesting things.
>>14446408
On Staring the Planning
-- I'd like to ask a pretty basic question. Although the content differs from the novel version*(1), why did you decide to produce The Wings of Rean now?
Tomino: Since the decesion was made by staff members who are one or two decades younger than myself, please ask them. I believe it happened something like this: there's a plan for internet distrubution; why don't we have Tomino do it; and it would probably be better if the material was something familiar. I've prided myself on making my living creating original material, so I don't find any joy in being asked to take something from the past and "do it again. If I had been fifteen years younger, I probably would have had a major confrontation with whoever brought the idea up with me. But the reason I won't do that now is because after I cleared sixty, I came to thank I should be guided by the opinions of the younger generation.
>>14446421
-- Buut that said, the Byston Well universe deeply reflects your ideals. Revisiting that once more could be seen as something positive, couldn't it?
Tomino: There is that. It's a universe I created myself. Plus, because it's a world I remember as not being fully brought to fruiton, that's something I can revisit. I was able to think in that matter after making the Mobile Suit Zeta Gundam Movie version*(2), where I learned from experience that even if that content is already fixed, by chagining the presentation, you can change the essense. I came to understand that, out of the framework of the old project, a new version could be created. That's why when younger people brought the material to me saying, "we want you to do this," and it happened to be a universe that I created, as well as something I felt might be worth expressing, I was if anything appreciative and thought I might be forgiven if I was a little vain about it.
-- What was it like creating the story?
Tomino: It was a big deal for me when the younger producers told me, "it's okay to use the Sakomizu character."
>>14446421
>If I had been fifteen years younger, I probably would have had a major confrontation with whoever brought the idea up with me. But the reason I won't do that now is because after I cleared sixty, I came to thank I should be guided by the opinions of the younger generation.
I love this line. It's pretty much the core essence of Tomino's philosophy and key to understanding any of his works.
>>14446425
-- Interviewing the staff, it seems the settings and ideas changed again and again and again*(3) at the outset...
Tomino: At that time, I was busy with Zeta Gundam and so I wasn't involved in the details. But as far as I was concerned, from the outset, this was going to be Aesap and Sakomizu's story. That part was always clear. Since it wouldn't be a present-day story without the present-day character of Aesap, there was no way his story could blur with Sakomizu's story. Using the actual work as an example, in order to pull the blurred area into what was planned in the initial stage using twists and turns, we applied a strong and clear composition to the third and fourth episodes to return everything to the original storyline.
-- The third and fourth episodes? in The Wings of Rean I thought that the difficulties in termsm of composition would be the second and third episodes, where the story is developed. What are your thoughts regarding that?
Tomino: Because I was working on the movie version of Zeta, I was completely approaching the story at a movie version pace. And for better or worse, I feel that became very obvious. Whether it was for internet distrubution or not, I think I should have taken a single, self contained episode approach. And I regret that. I think I erred slightly by starting off with everything out in the open and composing in a matter that said. "please wait for the next internet release"
>>14446430
-- When you do a TV series, you often simutaneously take on the task of series composition*(4). In that sitution, how do you look across the entire series?
Tomino: Althought introduction, development, turning point, and conclusion, I don't really look that far ahead into the series while I'm making it. In a series, the first three episodes, represent the introduction. From there until the end of the three month broadcast period (approximately 11 to 15 episodes), you line up episodes that create a variety in the work such as tearjerkers and battles. during that time, I think of how to make each episode enjoyable, generating the audience interest towards what's to come. In the second and third episodes of The Wings of Rean, each episode should have had more of that "it's an adventure story about another world" or "it's and aventure story" kind of variety feeling to it.
-- But if you have a composition of six volumes and approximately twenty minutes each, isn't that pretty difficult?
Tomino: No, a length of 21 to 22 minutes is really superb. It is long and short enough for you to tell a single story that's in keeping keeping with the four fundamentals of story telling, giving a sense of coheherency and enjoyment. Once again, it was the Zeta movie version that made me realize this. With fifty single episodes that are indivudial stories with their own conclusions, the episodes pile up to form the expansive universe of the movie version. If the story started by pushing a single plotline throughout, it never would have achieved that motion picture feel. It isn't a movie if the story drags along at a slow pace. Right now I'me full of regret that I didn't realize this earlier with the respective project.
>>14446443
-- Really? I thought that, compared to the density of the first episode, the second and third episodes seemed to pack just enough, making for an easy to-watch film.
Tomino: That's because I have at least that level of skill. That's why it's probably easier to watch for those people that follow a story from the logic of words. But that that and the logic of composition are two different things, and that's not what movies are about. That's why the influence of those aspects remained in the fourth episode.
-- Having said that, the fourth episode is the epitome of the "turning point" within the four storytelling fundamentals, as it builds rapidly, without any lagging moments.
Tomino: I wanted to show that more with the images. The subtitle is "The King's Designs," right? I'm depending on words. There was a lot of difficulties in keeping the fourth episode within its required length. That was also due to the after-effects of the second and third episodes. It seems like I'm saying a lot of negative things, but with respect to the second and third episodes, I think I was able to do something different from what I've normally done.
>>14446450
About the Scipt
-- As an extension of the logic of composition, I'd like to ask about the scenario at this point. You mentioned that the second and third episodes were easty to watch because it was structured with the logic of words. With that in mind, can't it be said that it's the scenario that plays with the roles of running logical thread throughout the story?
Tomino: No, that's wong. The logic in the story is already there at the basic plot stage, so the scenario is a task meant to pack the composition from start to finish. But a mediocre writer will attempt to create literature with a scenario. He fills it up with words. And then he dwells on the dialogue. But for forty years now, I've believed that to be wrong.
-- Tomino works have a number of famous and quotable lines. Isn't that something you dwell on?
Tomino: It might surprise you to hear this from someone like me, but I don't dwell on dialogue. I just bring in the necessary words to ultimately fit the visual pace and express the characters. I will not create a work in which you can understand the content of a movie by listening to the dialogue. Instead, there is a visual change, and if amid that Aesap's lines and Sakomizu's lines come in at the right spot, you don't need long lines of dialogue, and you end up with a cool closing line of dialogue instead.
>>14446476
-- In "Principles of Images"*(5) you wrote that a scenario requires structure. Could you please explain a little more about this structure.
Tomino: Reflecting on the second episode of The Wings of Rean, and taking that as our subject matter, it means the following. Aesap suddenly attacks Hip Kurene Castle and closes in on Sakomizu. Upon first seeeing him, Sakomizu shouts something like, "You pawn of Amahlgan, attacking with a stolen Aura Battler!" a surpised Aesap responds with, "Why can't you speak Japanese?!" At that point Sakomizu answers "Oops!" and asks "Who are you?" This is structure. Interesting, isn't it? Although this kind of fun doesn't seem logical, it actually is.
-- What you mean is, in that one scene, elements which represent the entire story are inserted not by explanation in words but by means of structure.
Tomino: That's right. That's why when Lyukus is also there. When Lyukus thinks "Aesap is trying to kill my father," Sakomizu, with his arm already wounded, says something along the lines of, "I like you, Mr. Suzuki. will you succeed the Kingdom of Hojo?" In this interval you could even add a scene of a naked Kottou and Codour fleeing from a destroyed room. Situations with structures like these are movie-like, and you shouldn't chase after them with words.
>>14446488
-- Right, that's what you've been saying for a long time, isn't it? What you mean is, "if the character and the key siutation is clearly drawn on a single page, you can storyboard it." Is this the same thinking you apply to a TV series?
Tomino: Of course. But there are some differences. For a TV series, in order to make it something that has structure which can be understood without the explanatory dialogue which we talked about before, I redraw the storyboards. This is the same for every project, no matter what it is. But for a TV series, making it something that can be throughly understood without dialogue means things have to be shown with movement, requiring too many frames of animation, which results in pushing past the allowered running time. So I turn things around, and add dialogue. Long dialogue stands out in my works to the point that some viewers tend to think that I focus primarly on dialogue, but it's the reverse for me. Long lines of dialogue are like stage directions for fulling out the running time.
-- But even so, those lines are not actually of an explanatory nature, are they?
Tomino: Lines used within those situations are playing over frozen images. That's why I require strong lines that can support a still image. Lines like "I love you!" are no good. It's more effective like "Why won't you look my way!", "I'm telling you to look at me, so look!" and from there, you switch back with the camera. Even without a verbal explanation, the feelings of each character can be understood. That's what a strong line is. But this isn't actually the logic of dialogue, but should be referred to as the "structure," since it's the same as what we discused before.
>>14446512
The Process of Creating Dialogue
-- Well, I would like to ask a little more about dialogue methods now. In the last scene of the second episode, Lyukus whispers, "The boots are on my feet..Which means he's shoeless..." I thought this line was a very Tomino-esque line of dialogue.
Tomino: There was a story behind that, and amid that I came up this line because "I wanted to communicate the physical nuance of Lyukus's feelings toward Aesap." And what's vital here is length. First there's the premise of the imparting the content in questions with a few seconds, which requires the acceptance that the scenario will be automatically revised in the storyboard stage. This also means that at the scenario stage, there is no idea of how much length will be required. Let's be a little more specific. First the situation: Lyukus has rolled down a slope and realizes she's wearing the boots. This leads to the realization that Aesap has gone to the Hojo army barefoot. This physical situation is already depicted in the imagery. Then the camera is placed at the distance where Lyukus's boice can be heard. Up to this point everything is already determined by the visual flow. On top of that, there's a feeling at work telling you that you don't want to waste this scene. So what can be added here? Since there's no tactile sensation to anime, you want to add that part with dialogue. In which caseshould that line be a monologue or a dialogue. And if that's a monologue, would something like "Aah, Aesap, Aesap, Aesap"(laughs) be appropriate?
>>14446535
At this point, if the length is longer than three to five seconds, it won't fit it into the shot. Plus, there's a strong emotion involved. If you use the shot as a springboard and have a line like "well in that case...!" when Lyukus stands up, the story will start moving at that point. Instead, you need to figure what needs to be done to head towards an ending. within the frame, what kind of pose the character is in at that time is also relevant. After considering those points, Lyukus's dialogue is decided.
-- Would you mind telling us a little more about the relationship between images and dialogue? For instance, Aesap in the fourth episode, makes a point with the line, Whereever I am, I am Aesap Suzuki!" For a line like this, I think you also have the choice of moving in closer to the character, but in the episode it's a pronounced pull back from the image. What goes through your mind when decided things like that?
Tomino: That's extremely simple. First, there's a relationship between the situation and the person. Quickly moving in close with the camera is simply based on the logic of the line "I am Aesap wherever I am" is like, for example... doing a close up of the crotch as soon as the panties are removed. (laughs) As to whether that's good, that is one kind of approach. But, even if the panties are removed here, maybe there is something even more interesting happening somewhere else. That's why when it becomes a routine direction like moving in to the crotch when the panties are dropped, or moving in on a blushing face that's been kissing, it made me say hold on just a second.
>>14446561
This time in particular, there was a consicious desire to clearly express the location of the characters within an area. For times when I would normally call for a close-up, on screen dialogue, I pulled the camera back slightly, as can be seen a lot in the sixth episode. With this view, I wanted to pack in what the character is feeling in a particular situation, and the reason why the character is responding with a specific line of dialogue. This is an approach I can't really apply in a work like Gundam, where one pretty much tends to automatically adhere to certain accepted promises that come with the terriorty of that title.
It's creating a shot as a situation. This is something I was very conscious of in the Zeta movie, too. That's because I want to create movie-like images even though the work is going to be watched on DVD. After all, capturing the scene is an inherent fuction of a movie.
>>14446577
Ceating Drama and Names
-- Let's go back a bit. Regarding the composition of a series, you said a little while ago that you don't take a long-term view but tend to concentrate on making each episode interesting. Does this mean that you are not too conscious of a logical development even at the "turning point" of the story?
Tomino: Generally speaking, I might be, But as you might expect, I'm not really conscious of it. For example, after finishing the three-month broadcast period in which you've aimed for that turning point, you might realize that it wasn't really there. So when I proceed with a story, I was until the ending is ultimately in sight, and then compose the turning point accordingly. That's the way it was in Mobile Suit Gundam. At that time the broadcast period was shortened, leaving the story without what would normally be considered a "conclusion," let alone a "turning point". So I arranged a sword battle, the burning of A Baoa Qu, and brought the entire crew together to create something of a conclusion at least in terms of imagery.
-- What about the time you worked on the Zeta TV series?
Tomino: With Zeta, Kamille's final mental collapse is the only point to lead to. At that time, I slyly thought that as long as you reach that point, the process taken to get there would automatically appear as "drama." I'm well aware that I used a "forbidden tactic" like I did with the ending for Space Runaway Ideon where everybody died. I'm also aware that it's difficult to image a creator who uses "forbidden tactics" like this.
>>14446593
-- Going back and forth a bit here, but am I correct in assuming that a fully laid out storyline wasn't decided on for Aura Battler Dunbine, the series based on the same Byston Well universe as The Wings of Rean?
Tomino: That's right. It wasn't clearly envisioned.
-- Looking at The Wings of Rean, for example, it's much more forthright than Dunbine in depicting Byston Well as "a world created from emotion." Despite the fact that there aren't many scenes in which the other world is portrayed, I felt the raison d'etre for Byston Well was quite clear.
Tomino: That's becasue Dunbine was created ultimately as an extension of a robot story. That was also an absolute neccessity of that period in order to have the program approved for production, and it also defined the limitations of Dunbine. But as the years passed, I've been able to grasp the world called Byston Well more solidly in my mind. That's why I was able to depict an "other world" as an actual construction, rather than constructing a superficial world. I suppose that it probablly takes one person about this much time to create an "other world." I'm realizing this once again as I work on novelizing The Wings of Rean. When I come to think about it, I'm glad that the name Byston Well, which has a nice ring to it, is being used in this show. If I didn't like the name, I probably wouldn't have been compelled to stay with it for this long.
>>14446561
>Quickly moving in close with the camera is simply based on the logic of the line "I am Aesap wherever I am" is like, for example... doing a close up of the crotch as soon as the panties are removed. (laughs) As to whether that's good, that is one kind of approach. But, even if the panties are removed here, maybe there is something even more interesting happening somewhere else. That's why when it becomes a routine direction like moving in to the crotch when the panties are dropped, or moving in on a blushing face that's been kissing, it made me say hold on just a second.
This old man is the greatest.
>>14446601
-- Looking back at Dunbine, it doesn't seem like you had strong feelings regarding the main character Show Zama. Could this be the reason why the story didn't flow very well?
Tomino: There is that. Speaking frankly, I never came to like the name Show. I don't like the sound of it, and yet I made a major mistake in making him the main character.
-- I thought you named him him yourself.
Tomino: I did. And I made him the main character anyway. I know why I did it, but I can't tell you even if you torture me. (laughs)
-- So that's why in your remake of Dunbine -- your novel, Aura Battler Senki* (AKA "Record of Aura Battler Wars")-- the main character's name is Joku. What about Aesap?
Tomino: I like it because Aesap is a name that you can play around with. Aesap Suzuki, Suzuki Aesap... No matter how you say it, the name has a nice ring to it.
-- Given the names that you usually created in the past, the surname seems pretty ordinary.
Tomino: I used an ordinary name for the first time. I think it was an example to myself that an ordinary name can be used it applied in this manner. The construct of the name "Aesap" is pretty extreme, so i tought that I'd take the most common sirname in Japan, and use that -- I thought it was pretty funny to have Sakomizu refer to him as "Mr. Suzuki." That was made possible because on one side you have Sakomizu, whose full name is Shinjiro Sakomizu. Regarding that, I realize yet again the importance of naming the main character. At the time of Gundam, it was all I could do to think of the name Amuro, and I ended up cutting corners when I named the supporting characters.
>>14446610
-- How about Lyukus
Tomino: I really quite like the name Lyukus. But I struggled almost as much to come up with that as i did with the name Amuro. I'm also surprised to find that I like the name Codour.
-- I see now that coming up with names is a pretty important element. For our next installment, I look forward to asking you about your overall impression regarding The Wings of Rean. Until then, thank you very much
>>14446408
Don't use a G-Reco pic for a general Tomino thread, I almost skipped it thinking that it was about that awful piece of shit.
>>14446421
>I've prided myself on making my living creating original material, so I don't find any joy in being asked to take something from the past and "do it again. If I had been fifteen years younger, I probably would have had a major confrontation with whoever brought the idea up with me. But the reason I won't do that now is because after I cleared sixty, I came to thank I should be guided by the opinions of the younger generation.
The absolute madman. He is so outspoken.
>>14446667
He always has been. It's one of the things I love about him.
"Toy companies are the real enemies of Gundam," or however it goes is a favorite of mine.
>>14446488
>This is structure. Interesting, isn't it? Although this kind of fun doesn't seem logical, it actually is.
This old fucker.
I need a way to save article like this.
Tomino is really a man of legend.
When I watch Wings of Rean, is it going to turn out to be one of those Tomino works that, like Brain Powrd, everyone says is shit but was actually secretly great?
>>14446768
I'll tell you when I find out, this interview reminded me to download it.
I liked Brain Powered a lot so it'd have to be genuinely crap if I don't come out of it with a decent opinion of it.
>>14446768
Brain Powered isn't shit at all. Not in the slightest. It's a very flawed show, but one I love all the same.
Pros:
>Fantastic setting (But that's really Tomino's strong suit)
>Interesting mecha design
>Endearing characters
>Happy Tomino show
>Some of the best instances of Tomino
dialogue ever
>Dunbine homages
Cons:
>Inconsistent animation
>Feels too short in the worst way. Even just three or four more episodes would've made things a bit more interesting
>Pacing is wonky
>Some concepts seem... Poorly explained
It's a mixed bag, to say the least. But still memorable and worth a watch. I'd love to see someone take another crack at it. Even just a sidestory or something, since I find the setting to be very interesting.
>>14446828
To make an addendum: I think a lot of the show's problems weren't Tomino's fault. The animation was outsourced to a group of total D-listers (The reason the Antibodies vital jump so much is because they had a hard time drawing Nagano's designs in motion, allegedly) and he was working with a lot lower of a budget than he should have had.
For as big a name as he was, and still is, it always pained me to see how much he got fucked over by the studio suits.
>>14446768
Wings of Rean is cool fanservice for Dunbine fans. Instead of a European fantasy you get a Japanese fantasy with samurai bug mechs. It's 6 episodes and is non-stop rapid Tomino dialogue with action. The main heroine is really cool and the 2D animation is pretty good.
Pastebin for interview: Zn8BeT9h
>>14446768
Not really.
Nanajin and whatever Sakomizu's bug was named was pretty cool looking, though.
>>14446561
>That's why when it becomes a routine direction like moving in to the crotch when the panties are dropped, or moving in on a blushing face that's been kissing, it made me say hold on just a second.
Holy shit Tomino I'm gonna miss you so much once you're gone.
>>14448285
Tomino is eternal.
>>14446408
from the thumbnail I thought Anthony fantano decided to review gundam
>>14446667
You're fucking retarded.
>>14446408
>but I do have part 3 which will come some time later (maybe)
What is part 3 about?
>>14446430
>dat pic
why does he love making that expression
good work OP
>>14451401
Tomino talking about what he considers fantasy and "non-assumed" fantasy, how to create a universe within a story, Wings of Rean episode 6, how he goes about deciding on a setting, the logic of his villains, Cosmo from Ideon and some other stuff.
Thanks a lot. Interesting to now know what he considers "cinematic".
>>14453589
Cool, can't wait for it.
Will you make a different thread or post in this?
>>14453820
Depends. I wrote down the entire interview of the last one in one sitting because of autism and that was pretty tiring. Might try to do it in pieces over a few days.
Okay either I'm retarded or this interview makes no fucking sense. I have no idea what he means when he's talking about "structure" even when the interviewer clarifies it.
Also there are a lot of typos.
>>14453914
I typed it without looking at the screen while looking at the glossy booklet. I'll fix some of it if I ever add the notes that accompanied the interview.
Vaguely off-topic, but how is Aura Battler Dunbine? Been thinking of moving it up my backlog.
>>14454243
I would take it off of your backlog I really wanted to like it but regret spending time watching it.
>>14454243
It's good
>>14454243
Its thourghly Tomino
>>14454389
This guy got it right. My least favorite Tomino show.
>>14454389
>>14456372
That make 3 of us.
BUMP
>>14454243
I liked Brain Powerd better.
>>14456372
Have you seen Garzey's wing?
>>14461052
>Have you seen Garzey's wing?
Garzey'a wing suffers from having a completely shitastic and senseless english dub. That's where most of the hate comes from. But the anime is quite good.
>>14460478
W-what's going on in that image? Why is machi there?
>>14461061
Hate?
The Garzey's Wing dub?
There's nothing to hate, it's fucking amazing.
Or do you not like being surrounded by 12th and 13th century foreigners?
>>14462957
Sorry, I'll start on part 3 tonight
>>14454243
The subs are awful.
>>14469579
>7 pages
HELL YEAH
|Approach to Directing The Wings of Rean
|3rd Installment
The Power of Fantasy
--Was it your plan from the outset to close the last scene with Aesap and Lyukus visiting the grave?
Tomino: I already had the content of the first episode and the overall ending in my mind from the very start. There's the story in which modern Japan is seen through the eyes of Sakomizu, a former kamikaze pilot. And then there's the story as witnessed by someone from the 21st century, Aesap. I had this in the plot from the start, but I took quite a roundabout path to reach the ending. That's the point about this work that I find myself reconsidering.
--Why is that?
Tomino: I think that's the pitfall of fantasy material. Normally, you would have to think about how to express the content that I just described as fantasy. However, the scenario was pulled in a direction of "assumed fantasy" which isn't quite the same. By "assumed," I'm referring to the usual "fantasy material" found in comics and manga, which is usually based on an assumption that a fantasy world can be depicted with elements such as conventional story devices and elaborate self-made rules. This is a problem that's not exclusive to The Wings of Rean, but also common to several comic and anime works, and it doesn't allow the depiction of a drama's main storyline. In this context, if the The Wings of Rean can be viewed despite its imperfection, it's probably because Sakomizu was positioned as a man who lived in the realities of the past.
>>14470992
--Could you elaborate a little more on the non-"assumed" fantasy?
Tomino: In the beginning, the archetype for fantasy was born from the strange places within the darkness of a forest. But with the progress of civilazation, forests were lost. And as man lost something deep inside, fantasy emerged to fill that need. People need to treat some form of imagined scenery as real. Otherwise, it becomes very difficult to face their everday lives. That's the purpose of fantasy. The foundation for fantasy isn't based on the rules of sorcery and the lifestlyes of fairies.
--In the second as well as the sixth episode, the scenery of Kustanga Hill is depicted. Viewing those scenes , I was reminded of a similar mood wherein monks would comfort people with the statement that, "You can rest easy because paradise awaits you when you die"
Tomino: That is exactly it. Taking the point into consideration, I feel I wasn't too far off twenty years ago in my intuition when I set Byston Well as the homeland of souls, a world created by emotions deeply rooted in the heart. If I had more cleverly combined the idea of Byston Well with Sakomizu who has no choice but to face the 21st century, the fantasy would have been more straightforward. But that turned out to be a very complicated story.
--Did you want to make it more simple?
Tomino: That''s right. If it's entertainment, it has to be enjoyable. For that purpose, simplicity is a prerequisite.
>>14470993
--But if the entertainment is simple, don't you stand to lose some of the contemporary nature of the story? In this day and age, it's difficult enough to create a simple story in which evil falls and everybody lives happily ever after.
Tomino: That's a different problem from simplicity. The basic structure of poetic justice is fine. The problem is whether you can take a simple scheme and depict evil as not just evil. In the case of Sakomizu, there's a sense of realism within the fiction with him being a former kamikaze pilot, setting up a reality that allows Aesap--and even more fictional character--to stand against him.
--But depicting that kind of evil is difficult.
Tomino: Putting it another way, it's better if you can depict an absoulute evil that satisfies everybody. But in such case, evil due to insanity is not acceptable. Evil isn't a simple sickness, nor is it a person who's lost his or her grip on reality. For example Natsuo Kirino's Grotesque (published by Bungeishunju) is liberally sprinkled with "evil." If evil is depicted at that level, that alone becomes entertainment.
>>14470997
How to Create a Universe within a Story
-- You mentioned having both the beginning and the ending of the story in mind at the outset of the series. As a director starting up a project, what's the first thing you consider? I believe there are several approaches, including character, story, and the world itself.
Tomino: The absoulute beginning starts with a very popular image. If the theme is robots, then it's something like a sci-fi visual, or in the case of Byston Well or Aura Battler Dunbine, it started with "it's a fantasy. I want a lot of bare-skinned ladies with wings." (laughs) But that alone won't do it. Anyone will realize right away that, "You can't attract viewers with nudity alone." On the other hand, so long as it's an anime made in Japan, there's a strong awareness that the main character must be Japanese. But for my generation, there's also a strong feeling that an Asian character inappropriate to the world of sci-fi and fantasy. A Western-stlye fantasy world, a Japanese main character, winged ladies....once I have all these elements laid out, I attempt to visualize a representative scene, and finally start struggling to create the specific setup for the story. There are other things to consider as well. For example, action scenes are an absoulute necessity. This isn't motivated by merchandising or anything of that nature, but because inside me I believe the battle action is the only subject suitable for a major motion picture. On this subject, director Gisaburo Sugii--who like myself comes from Mushi Production--often asks me why I always have so much combat...but for me, I feel that when it comes to having something worth showing, dancing and combat are your only choices.
>>14471005
--How do you go about deciding the settings?
Tomino: For instance, I try to think of "a world in which a Japanese person can hug a Western-style fairy without it looking strange to the eye." Or perhaps, what stort of Japanese character wouldn't look strange doing that? If I ignore those points, it would be like making the same mistake as a movie in which stylized special effects shots are unthinkingly matched with ordinary sequences.
One thing that became a hint was Goethe's Faust. That was not fully created by Goethe, but was apparently based on folklore from various religions, which he later rewrote. Creation is gathering the memory of regions like that. From there, I realized that Kojiki, the oldest written record of Japan, was an ideal backbone for imagining a world that wouldn't be strange for a Japanese to exist in. In short, I thought it would be alright to express a Koijiki-style world as a manifestation of Western fantasy.
--So that's how you decided on the Byston Well world. That means that with respect to Show Zama, the main character of Aura Battler Dunbine, you intentionally created a world that could validate his existence, right?
Tomino: There was that. Although that was the case, when I look at the finished film, I feel that it didn't quite work because it was too ordinary. Instead, the "simple is best" approach of Sakomizu and his suicide attack which I wrote in the novel version of The Wings of Rean is more memorable. In the first place, I'd planned to include another different setting for Show, but i wasn't able to put it in. I also have the feeling that, because it was a robot anime, it was correct not to include it...
>>14446421
>But the reason I won't do that now is because after I cleared sixty, I came to thank I should be guided by the opinions of the younger generation.
No matter what this guy did so far, he certainly didn't lose touch with reality.
>>14471009
--What was the setting?
Tomino: It was the idea that he was of mixed breed, drawing bloodlines from both the northern and southern regions of Japan. I wanted to touch upon the idea that the Japanese are not of a single ethnic origin.
--Thinking in those terms, it would seem that the idea of a marginal individual going to Byston Well has been inherited to the character of Aesap.
Tomino: Well, it could be seen like that, but Aesap has Anglo-Saxon blood. They can't be unconditionally referred to as the same. For me, it was important to deal with the ethnic combination of the Japanese. That's why I'm somewhat uncomfortable with the current setting. (laughs)
The Main Character Making a Horizontal Axis Vertical
--From what you've said, it would seem that the fictional world starts with an image, and rapidly becomes concrete after gaining a main character.
Tomino: What I always remember when thinking of a main character is Raskolnikov from Dostoyevsky's Crime and Punishment. The point is that a writer can put so many symbolic elements into a single main character. I think that a main character should be like this, although that's a difficult feat in itself.
Then, from there, is the task of what could be described as turning the horizontal axis in a vertical one. Up to this point the thought process that extended horizontally changes direction in what is called a story. The point of intersection where horizontal and vertical axes meet is the main character. When the horizontal axis is switched to vertical, most of the details, such as memorable visuals and things that i'd consider doing, won't fit into the context. People involved in anime and manga oftern err at this point, because they dwell too much on their initial images. Actually, I make that mistake on occasion. But when you have a clear-cut course of events, and attempt to maintain a look that's in keeping with a current entertainment, you shouldn't be able to include such abstract particulars
--So even in the vertical axis of the story, that means your thoughts center on the main character.
Tomino:That's where I have one bad habit. I don't really have a clear idea as to what kind of person that character is at the outset. The same holds true whether it's Amuro or Kamille. With Aesap, although I can visualize the last scene, I have no clear vision as to what the approach I'll take to arrive there. If I could have seen that at the outset, perhaps the sequence at the end after Lyukus vanishes migh've been different.
--I see
Tomino: In the episode, he is shouting Lyukus's name. Let's say, instead of that scene, there's a different one in which Lyukus vanishes. Then Aesap, wanting to meet her and believing that the Wings of Rean will extend from his feet, takes a major leap! And the motion freezes...It could've gone that way. It might have a more worldwide appeal than the current lyrical ending. Geez, why did I have to come up with this after I finished making it (laughs)
>>14471030
--The characters seem to still be moving in your head even after the final episode. By the way, as a general theory, what do you focus on when setting up main characters?
Tomino: You might be surprised to hear that I focus on wording. I've been thinking that I want to create a masterpiece. Something that will be appreciated ten or twenty years from now. However, I don't appear to have the talent for that. But even so, as long as I stand in the position of a director, I must cling to that, otherwise there will be nobody left who will say something like that. That's why it's important to create something that is not based on my preferences at this particular time.
Wording is similar in that I try not to use fashionable words that are likely to be obsolete in three years, and I also mostly avoid what's termed as rough, "bad" words. On a slightly different note, I have a tendency not to use dialects to make a character stand out.
What's important here is logic. The use of rough words denote an evil character; modern jargon means a younger character;and polite words equal a good character--these are all nothing more than symbols. Even if the wording is polite, if each one is depicted with their own respective logic, they can be portrayed as individual characters.
>>14471035
A while, I was at loss during the dubbing dessions of Space Runaway Ideon. No matter what kind of performance the voice actor gave, the main character Cosmo just didn't stand out. A young member of my staff realized that I was troubled and suggested, "why not add (a common, manly expression like) - da ze! at the tail end of the dialogue?" This angered me. The use of wording to create the image of a hero is not equivalent to portraying the character.
I previously raised the example of Raskolnikov, but what is required is certainly symbolism or structure. If that is contained in the dialogue in the form of logic, the character there should naturally come to be seen as the main character. That is a very vital aspect. If done correctly, no matter how soft the words are, the character will definitely appear to be a hero.
Being weak in terms of symbolism and logic, Cosmo certainly was a character I struggled with. After creating Amuro and Char in Mobile Suit Gundam, I couldn't refer back to the main characters from pre-Gundam robot series, nor did I have an endless store of ideas. Having taken those points into consideration, I believe Mr Tomonori Kogawa put forth the idea of curly hair. I remember when he said, "this is the only choice, right?" to which I nodded and replied, "that's right."
>>14471035
The Logic of Evil
--Having said that, the logic of the villains in your works seem to stand out more than that of the main character. Is this intentional?
Tomino: I think there are two reasons for that one. One is due to the reason I stated before. In trying to keep the wording clean while depicting evil, I had to thoughly think through the logic for the evil side. From there I realized that the logic for evil doesn't exist, but that evil is the failure to acomplish what was intended as good.
The other reason is not due to dramatization, but because there are elements within myself that are closer to the side of the villain than to the main character. For example, I often think that to reduce the needlessly increased volume of humanity, we should rid the world of a hundred million people. But there's a definite gap between thinking it and actually killing off people. The difference that fills this gap is rage. Rage can kill people. Rage makes on think that you can take over a country. When there's an incident, the general reaction is, "I can't believe that gentle person would do something like that." That reaction is false. instead, you should think, "when a gentle person becomes enraged, that person is bound to step over the edge." The majority of what is called evil is actually something like that.
A person maintaining his or her own logic becomes enraged, and accordingly kills people, or tried to take over a country. During such occurences, many people line up, using that person as a front. That is what makes an "evil organization." Once such an organization comes into existence, it doesn't necessarily move to the will of the central figure, and some may move under the rationale that they are defending that organization.
>>14471041
--Hearing that, it becomes easier to understand the raison d'etre of the opposition's side in a Tomino work.
Tomino: However, making a movie with just the logic of "evil" is too cold. So long as it's a major motion picture, it has to be kind to people's sensibilities. That's precisely why you need the side of the main character.
--That means that, while the existence of the "evil" side is logically structured, the main character's side, conversely, it fitted into the work more in line with the requirements of the story, right? That doesn't mean that the main character is there to refute the logic of evil.
Tomino: That's right. After all, I don't want my logic to be refuted. (laughs)
--(Laughs) Keeping those thoughts in mind, let's return to The Wings of Rean once again, and take a look at the existence of Sakomizu. Sakomizu has lost himself in his rage, correct?
Tomino: That's right. But if Sakomizu is enraged, then i think it would have been better to make him a character who rages even more and strikes out at the era called the 21st century. My feelings didn't go that far because I was drawn by the world of Byston Well. I have a few regrets regarding the scene in which he rides the Ouka replica in the second episode, which makes me wonder if I could have portrayed the struggle between Aesap and Sakomizu rather than making it a scene of dialogue.
>>14471045
--On the other hand, what about Aesap?
Tomino: In terms of Sakomizu versus Aesap, the part I didn't want to disregard was the state of the final episode. When Sakomizu says humanity will suffocate if they turn the Kanto Plains into concrete, Aesap replies that thanks to that they didn't have to invade Manchuria. I wanted to value the good side of Aesap's mdernity and rationality. And on top of that, have Sakomizu respond to Aesap's logic with a phrase that has momentum like, "In which case, can ten billion people live on Earth's surface like this?" If it
went that far, then I think the existence of both of them would have become even more well defined.
--In the early stages of planning, as a director, what aspects do you think makes Aesap the main character?
Tomino: That was because he was completely of mixed origin. And I though it would be interesting that this character could have the name Suzuki. I felt those elements alone would become a foundation for the story. If I could bring that to the forefront of the story, then... talking about it likes this, I think it would have been even more interesting if this was filmed once again as a live-action feature. That way, the interesting element of Aesap--a character of mixed origin--using a Japanese name would have been much more apparent. That particular aspect was difficult to bring out in anime.
>>14471048
Accomplishments Made Possible by The Wings of Rean
--Up until now, you've talked about regrets. On the other hand, there are also many accomplishments in this work called The Wings of Rean, right?
Tomino: First, I'm glad I was given the opportunity to create this kind of story. I especially feel that I handled rather well the episodes surroding the Pacific War within the context of this genre called robot or mecha anime.
--Actually, I thought that was a sense that could only come from you since you're from a generation that was close to the war.
Tomino: No, it's the opposite. There should be people in my generation who are against using the Pacific War in such a way.
Actually, in director Kihachi Okamoto's Dokuritsu Gurentai (1959), he filmed a thrilling war movie that was rare in Japan, and I recall that it met with that kind of opposition. When I was a student, I was well aware of the opposition and went to the theater, saw the movie, and was convinced. I felt, "This is a movie, and it's allowed." Because there was a general feeling that if an antiwar movie wanted to get its message across, it wasn't necessary to show the war, I was even more overwhelmed with the comfortable sensation that "movies were back."
>>14471050
Bearing that in mind, if I were to talk about the depiction of war in The Wings of Rean, it would be a mistake to treat the war as imagined scenery in a work like this. The backdrop of the Pacific War forms the foundation for the character called Sakomizu. That had to be depicted correctly, because that's what the reality of the drama is, and that can't be cut awway just because the work is anime. Even if I felt there was a resistance from the younger generation, it is something that we of my generation must do.
In that context, I feel that with The Wings of Rean, I created for the fire time something that could be considered a calling card for my generation that says, "what do you think about the existence of a work like this?" It was my intention to touch on that era in this manner.
Going back to where we started, I think doing that in The Wings of Rean made it a realistic story and not a selfish fantasy.
--Thank you very much
---------------------------
Pastebin: http://pastebin.com/bs4ftEAw
THANK YOU!
>>14471041
>From there I realized that the logic for evil doesn't exist, but that evil is the failure to acomplish what was intended as good.
So the meme "Zeon was right" is not so much of a meme?
>>14471232
As they say, the road to Hell is paved with good intentions.
>>14471238
That is what Nazis said!
>>14471041
>we should rid the world of a hundred million people
They don't call him "Kill 'em all" for nothing.
>>14471232
Nah, it means that Zeon had some good ideas but they did everything wrong.
>>14471232
I somewhat regret not using a colony drop as the image
>>14446408
>talks about naming his characters
Characters like Kitty Kitten? Seriously, what the fuck?
>>14472049
That name was probably chosen more for how it sounds. Their voices don't straight-up say "kitty Kitten", they say "Keechee-keechen" quickly.
Plus it's cute.
![(G_P) Wings of Rean 01(x264)(2FF1B855).mkv_snapshot_21.57_[2016.07.09_22.39.42].jpg](https://i.imgur.com/ANBCtJ6.jpg "(G_P) Wings of Rean 01(x264)(2FF1B855).mkv_snapshot_21.57_[2016.07.09_22.39.42].jpg")
I finished the first episode. It was strange, but it wasn't totally incomprehensible. In fact, I think the first episode of King Gainer was more difficult to piece together.
>>14474263
The biggest problem is that we don't actually get to see very much of the fantasy world.
Was hoping to see a few more comments on Part 3. Oh well.
>>14471030
>I don't really have a clear idea as to what kind of person that character is at the outset. The same holds true whether it's Amuro or Kamille. With Aesap, although I can visualize the last scene, I have no clear vision as to what the approach I'll take to arrive there.
Does anyone think this always happens in his anime?
>>14476797
Well, I need to finish the show before I can read all these spoilers.
More gundam madness
>>14479300
What is that?
>>14477204
Post your thoughts when you're done.
>>14471030
those beautiful artwork
>>14479300
Tomino the madman
>>14480902
What does that say?
>>14481529
He doesn't even know Japanese, shitstain.
What is the point of posting a random scan in Nip without saying jack shit about what it is?
>>14483750
he's proud he's knows Japanese obviously
On a somewhat related note to Wings of Rean, why do people say Garzey's Wing is awful when it's really not?
Looking at a lot of posts and seeing people say it's confusing really confuses me when it's the simplest thing Tomino has directed. It's the easiest one to follow with probably the smallest cast, too.
I thought it was cool how the protag split into two when he entered the fantasy world to create a dual narrative. Having the earth version of himself researching gunpowder so fantasy-him could make use of it was clever. Also dinosaurs and shit.
By the way, the Wings of Rean booklets have an interview with the original character designer and mecha designer if anyone is interested in those.
Thanks, OP. Reading Tomino interviews is always fascinating, he's one of the few anime directors who seems to have something to say.
>>14476900
>someone dislikes a bad show
>hurr durr autistic rant hurr durr shitposing
Why are you so salty?
>>14446408
I'd really like to know what Tomino thinks of other Gundam anime.
Like, the new stuff. What does he think of IBO, Reco or hell Unicorn
>>14486973
I'm sure he hates IBO if he's seen it
>>14486973
He thinks he scored a 15/100 for the G-reco script. There was a leaked panel with Fukuda where he revealed that Tomino flipped his shit when he found out Banrise was making SEED from Fukuda, since he tried to kill it with Turn A. His thoughts on IBO and Unicorn would be very interesting.
>>14486973
There's an interview where he gets a little pedantic about 0080, but remember this was the first gundam entry that he wasn't at the helm of, so some salt is understandable
>>14488197
Link?
>>14488197
COLONIES' SKIES AREN'T BLUE
>>14487015
So, Fukuda confirmed for true saviour of Gundam?
>>14488197
The wikipedia page
>Yoshiyuki Tomino, who was not involved in the show's production, was interviewed for the Newtype magazine April 1989 issue, after the release of the first episode. He praised the director's effort to make the show realistic and focused on things other than Mobile Suit battles. He also commented on two glitches, one being the portrayal of a blue sky in the colony rather than the other side of the cylinder, which is only about 6.4 km away; and the children being out during a wartime alert. Tomino thought that school resuming with combat in such close proximity was unrealistic, when a more sensible response should have been to close the school immediately and guide the children to shelters.
Found this cool interview with the bald wizard form a couple years back, figured I'd share.
https://www.youtube.com/watch?v=t-FrsS-zWhU
>>14446768
Wings of Rean's main problem was touched on in the interview - it feels like it's about half the length it needed to be, it should have been 12/13 normal episodes.
>>14494637
Given the rumors about Garzey's Wing having its budget slashed, that might have some truth to it. Will Sunrise actually give him all the money/ep count he needs for a fantasy project this time?
>>14494904
Garzey's Wing doesn't really share the problems Wings of Rean has. Garzey's problem is that it's too simple for a Tomino anime. No idea why people say it makes no sense.
>>14494944
Not enough people bother to watch the sub and just laugh at CPM's clumsiest dub instead, apparently.
>>14495240
It's really sad that people blame Tomino for the faults in the dub. It's not even badly directed and has some cool ideas. I'd like to see how different the novels are.
>>14481661
>he
>>14494904
I don't think sunrise is involve with his new project
https://www.youtube.com/watch?v=0hXr3iNmGvQ
thread's theme
>>14495454
What's his new project?
>>14469613
FUCKING THIS. Shit curly font, shit translation that makes the Tomino dialogue even more awkward, and Macek decided to be creative with the name translations.When it finally gets Blu Rays it deserves a full resub just like Ideon.
>>14496663
When we get Xabungle BDs.
>>14447141
Based
>>14471041
>the logic for evil doesn't exist, but that evil is the failure to acomplish what was intended as good.
That's deep, man.
https://www.youtube.com/watch?v=gDJn8cMIeYk
Random Tomino.
>>14495454
I'd assume that means less money but also less corporate meddling(??)
