Evangelion 1.0 Complete Records Collection

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Title	Evangelion: 1.0 You Are (Not) Alone Complete Records Collection
Original Publication Date	May 2008
Publisher	GAINAX, khara
Pages	512 + 298 +234
Dimensions	32.6 x 23.3 x 8.3 cm/4200g

The Evangelion 1.0: You Are (Not) Alone Complete Records Collection (ヱヴァンゲリヲン新劇場版：序 全記録全集)(ISBN 978-4-903713-17-5) (ISBN 978-4-905033-01-1)is a massive collection of material related to the first Rebuild movie. It consists of three books packed together in a cardboard box. The first book, hardcover and also in a hard slip cover, contains everything from interviews with staff to concept art and a breakdown of the movie cut by cut. The other two books are the storyboard for the movie split into A and B parts. It was re-released in 2012 with khara/Groundworks as publisher.

Contents

film

A breakdown of the entire movie cut by cut, with dialogue under some shots. From the khara logo all the way to the end trailer and credits. Music cue sheet and additional scenario also in this section.

archives

"Eva-01 on a 10m grid"

New logo designs, color palettes for the various characters, new character, Eva and angel designs, 3D models of various vehicles, buildings and other structures, layout pages, monitor display screens and generally a metric ton of stuff.

One of the most interesting parts in this section is that it shows Evangelion Unit 01 on a 10m grid along with a train car and a regular car. This finally gives Evas an official height of 80m from the ground to the top of the pylons, although this is assumed to apply to Rebuild only.

art

Concept paintings of the various scenes from the movie.

Kazuya Tsurumaki - Director (25/07/2007 & 05/12/2007)

Translated by Riki

Kazuya Tsurumaki

He supported the TV series as an assistant director with Masayuki. In the film version of "The End of Evangelion", he created the dynamic Evangelion Mass Production Units and Evangelion Unit-02 action. Kazuya Tsurumaki, who also worked on "FLCL" and "GunBuster2", created edgy and sharp images. In "1.0", the climax of "Operation Yakushima", what is the meaning behind the act of "REBUILD"? And what is the meaning of doing a new Eva?

If I'm going to participate in this project, I want it to make worthwhile.

Interviewer: According to Mr. Sadamoto, when he saw that you, who was the least likely to participate in the project, was taking part, he thought that something really special was going to happen. From your own point of view, what was the reason for your participation?

Tsurumaki: I was misunderstood at first, and ended up "participating" in the project before I understood exactly what was going on. When I first heard about the project, I was called by Anno, and I was thinking, "What, what?" He asked me out of the blue, "What would you like to work on next after GunBuster 2, Evangelion 2 or the new work of a very famous anime?" I was confused, but as I was giving my opinions on this and that, I came to the conclusion that "Eva 2" was the way to go. At that time, Anno's new work was supposed to be a completely different project from "Eva".

Interviewer: Is "Eva 2" something different from the "New Movie" that you're working on now?

Tsurumaki: I had assumed that Anno's next anime would be called "Evangelion 2". Even so, it's not a pure sequel, it's something as different as "First Gundam, Gundam 0079" and "MOBILE SUIT GUNDAM SEED". In short, the anime that Anno-san is going to make will all be titled "Evangelion".For example, a work like "The Gutsy Frog" would be called "The Gutsy Evangelion", and "Star of the Giants" would be called "Baseball Evangelion". It's a kind of branding, like "VAIO" for all Sony computers.

That's what he meant by "2". At that time, there was talk that if I wouldn't do it, he would assign it to someone else. Apparently, Mr. Anno wasn't going to officially direct the film, so it was okay to have a completely outsourced staff.

Interviewer: I see. There has been talk of a "G Evangelion" like the "Mobile Fighter G Gundam" in the Gundam series for a while, hasn't there?

Tsurumaki: Now that I think about it, there must have already been talk of a compilation at that time. But I just assumed that he was talking about "Evangelion 2" and listened to him. I told him, "If you're going to make Eva, you have to do it yourself, and if you're going to do anime again, I'll have to help you."

Interviewer: So there was a twist in the story, and it turned out that Anno's next project was a remake.

Tsurumaki: That's how it ended up (laughs). To be honest, if it hadn't been for the Evangelion remake, I think I would have felt more comfortable participating. That's my honest opinion. However, even if it was Evangelion, as long as Mr. Anno is going to do anime again, I think I should participate in that work, so I had mixed feelings about it.

Interviewer: Is "Eva" such a resistant existence?

Tsurumaki: Of course. I mean, I think, "Of course, everyone is resistant to it."

Interviewer: But as a result, it's not a remake, it's becoming something new called "REBUILD".

Tsurumaki: Yes. This "New Movie" is practically becoming "Evangelion 2". I don't know if Anno originally had this in mind, or if he just came to his senses during the script writing meetings. At first, it was just a compilation.

Interviewer: That's what everyone has been saying.

Tsurumaki: It's been a little over a decade since the TV anime ended, and for new fans who want to watch "Evangelion" now, it would be hard to rent all 26 TV episodes and the movie version at a video rental store. So if you're wondering, "What's the story behind Evangelion?", If you want to know what Evangelion is all about, you can rent it and watch the whole thing in about three to four hours on a holiday. If that's the way "Evangelion" is going to be developed in the future, it's better for business. Besides, it would be relatively easy to make. We were just saying, "Let's make it easy." At first, it was just a compilation.

Interviewer: In reality, though, you've come to a place that's far from easy at all.

Tsurumaki: According to the original plan, after "GunBuster2" was finished last summer, I completed one film every six months, and by the end of this year (2007), the trilogy was completed. It was supposed to be finished in a year and a half. I thought, "Well, that's not too hard, so it's okay." In the original plan, there must have been about a hundred new cuts for the first part, "1.0". The rest would be digitally edited. Even the 14 episodes of the TV series are not really a compilation, although they are a compilation in terms of pictures.

Yoshiyuki Tomino was always good at that kind of thing, and I think Anno made episode 14 based on works like "Uso dancing in a hallucination" (*1) from "Mobile Suit Victory Gundam". It was a compilation, but not a compilation. Anno may have had something similar in mind from the beginning. For me, too, if I'm going to do something, it's worth doing it if it's similar but different. That's why I don't think I had any motivation from the beginning, but rather after I started making it, I found the value in making it.

(*1) You can watch the episode from here, https://www26.gogoanimes.tv/mobile-suit-victory-gundam-episode-45 or https://animeflix.eu.org/mobile-suit-victory-gundam-episode-45

Interviewer: I see. How do you divide up the actual directing work?

Tsurumaki: To put it simply, Masayuki directed the first half of Part A, and I directed the second half Part B. In total, Mr. Anno is looking after the film as the general director.

The reason I thought, "Even if it's a compilation, it's okay," is because I can do Operation Yakushima in the second half. In the TV series, everything after the storyboard for episode 6 was ordered by another company, and Gainax had no control over it. So I had some regrets that I wanted to do something more.

・・・

Working on remembering 'Eva's grammar'

Interviewer: Shinji Higuchi and Tomoki Kyoda drew the storyboards for the new film, right?

Tsurumaki: The storyboard itself had two parts, one from the TV series and a new part created by the two of them, and I was the one who put it all together in the end. Both Mr. Higuchi and Mr. Kyoda came up with different storyboards from the previous Eva series. We ordered new storyboards, so of course they thought, "There's no point in making it the same as before." I think it turned out to be an interesting storyboard in its own way. But when we got to the stage of putting it together, some people said, " It doesn't feel like Evangelion." So we went back to the old storyboards and checked the DVD, and while remembering the "Evangelion grammar" again, we tried to incorporate their storyboards into the Evangelion. That's what I did for a long time.

Interviewer: Mr. Higuchi was in charge of the storyboard for "Operation Yakushima," but where did Mr. Kyoda work on the storyboard?

Tsurumaki: He is mainly in charge of the storyboards for the new cuts, which are detailed as connections, and the conversations and human drama. Mr. Kyoda's work on "Rahxephon" and "Psalms of Planets Eureka seveN good night, sleep tight, young lovers" may be perceived by the public as being influenced by Evangelion, but when you look at the storyboards, they are quite different from Evangelion. I think it's inevitable, because things may have changed after "Eureka", and I myself have changed over the past ten years. So I decided to remember the grammar.

Interviewer: What exactly is this "grammar" that you speak of?

Tsurumaki: It's difficult to explain, but the easiest way to understand is the way the cuts are connected. For example, the rhythmic insertion of cuts in the flow. You can break up the cuts to make the flow more pleasant, or leave out cuts that should normally be included. There is also the difference in size between close-up and panoramic shots of the characters, and a peculiar stoicism. This stoicism is related to the fact that I dare not move the film. Originally, this was a directing method that I developed in order to distribute resources well so that the schedule and quality of the TV series would not collapse, and it is directly related to cost performance. After that, I went in the opposite direction, moving things around. This was the case with "Kare Kano" and "FLCL" as well. I dared to go back to "Evangelion" again.

I realized once again that if I don't pursue the finely honed sensibility of the images of that time, it won't become Evangelion.

Interviewer: When did you start working on the storyboards?

Tsurumaki: It was from October to the beginning of December last year (2006). Originally, I had planned to make a 90-minute film, but I had already increased the length of the film through storyboarding, and it ended up being almost a hundred and ten minutes long, which is like a massive work. I think I dropped it once more in the rough editing stage.

The original script was tightly written, but at the stage of finalizing the script and storyboarding, we started to say, "Let's include that scene," or "Let's include this scene," and it ended up looking like a collection of famous scenes. I'm trying to trim it down once more.

To put it more fundamentally, is it an event film to entertain the original Evangelion fans, or is it a film to attract new fans? If it's the former, then it's okay if it's a collection of famous scenes, even if it's a broken story. My mind was wavering from day to day as to which it was. One day I'd say, "Fans will be upset if we don't include that scene," but the next day I'd say, "No, no, no, it's just a collection of famous scenes." I spent a lot of time compiling the storyboards while dealing with such conflicts.

When I finally got the film together, I started to get the feeling that I should make it into a movie, so Anno cut it down and made it into a film.

Interviewer: What were some of the difficulties you had in putting the film together?

Tsurumaki: I think making a film means cutting off the branches and leaves and concentrating on the trunk. But since it's originally a TV show, there are many good branches, and those are the ones that I enjoy. In particular, the first six episodes are usually completed in two sets, so there are many branches and leaves attached to the three sets of stories as the trunk. But if you don't remove the branches and leaves, the story doesn't become a movie.

Also, at the screenplay stage, a new branch was introduced: the adult-like conversation between Ritsuko and Misato. I thought it would be a response to the childish side of the story. In the early days of TV, it was still a robot animation. But Evangelion as a whole left a serious impression in the latter half of the series. I think Anno is trying to adjust the balance by adding an adult perspective and bringing in the serious atmosphere of the latter half. However, in order to put it all together in the main body of the story, these are branches and leaves that are not necessary.

Interviewer: Overall, it seems like the fourth episode where Shinji wanders was omitted.

Tsurumaki: That's a scene that was omitted in the initial script, but we were able to bring it back. In particular, Anno-san has been adding a lot of interesting urban scenery to the film, especially with the CGI buildings. In this way, the situation where Shinji wanders around is necessary to show the vastness of the terrain around TOKYO-3, and to give a sense of life through the monorail transportation. So I took it all back, and then cut down the parts that were too much, leaving only the necessary parts.

Interviewer: I also felt that overall, Shinji's feelings were slightly positive.

Tsurumaki: That's a difficult part. In a normal story, the protagonist grows up and ends up winning, but Shinji seems to be positioned as a character who never grows up. However, if you look at the TV series closely, you can see several milestones in Shinji's growth that you wouldn't mind seeing as the final episode. I think that's episode 6 and episode 19. The end of episode 19 goes in a different direction, but if they win against Angel and declare, "This is the last episode!", I think that would have made for a really good robot anime.

When you think about it, it's not that Shinji hasn't grown up. It's just that there's an even tougher development waiting for him, and he repeatedly worries and gets lost. The final "growth" was not portrayed clearly, especially in the last episode of the previous movie, so Shinji was perceived as a very spoiled character.

We haven't decided on the ending for this (1.0) yet, but it seems that there is a plan to make it a happy ending, so I thought it might be better to make it a more straightforward story of growth from the beginning. In the storyboard I submitted to Mr. Anno before the final draft, I had drawn a clear picture of growth. But Mr. Anno changed the nuance a bit. Maybe he thought that was too much.

If you look at "1.0" as a stand-alone movie, I wanted it to be a story about Shinji growing up, winning, and ending on a happy note. I tried to make it look like a normal movie.

Interviewer: I'm sure the audience will be highly satisfied with this movie, including the way it fits together.

Tsurumaki:I think it will definitely be easier to watch. Of course, people who like Shinji as a useless person might be repulsed, but I do think that if it's Shinji up to episode 6 on TV, it's not surprising that this would happen.

・・・

We can go further and explore the nuances of color with digital photography.

Interviewer: I'd like to ask you about the making of the film, but did you participate in the location scouting?

Tsurumaki: Mr. Anno has started to do location scouting more often, and a small group of us would go out on a quick trip just for a certain cut. I participated in about two or three of them, especially the ones in Hakone. We took aerial shots around Lake Ashinoko with a helicopter. I also went to the Keiyo substation in Chiba. I'm very reluctant to go out, so before I go there, I sometimes think, "I just need pictures," but it's fun to go there. Anno-san is so happy to be there that he flies all over the place. I even thought, "For Anno-san, this is more of a purpose than a location hunting trip." (laughs) I didn't participate, but I also went to the Miyagase Dam.

Interviewer: Mr. Tsurumaki, do you take a lot of photos when you are out on location?

Tsurumaki: Of course, location scouting is like going out to take pictures. But in my case, rather than using what I took as material, the photos are just clues to help me recall the atmosphere, and the slope and expanse of a place are things that you can't understand unless you go there. But once you've been there, you'll have to worry about how to visualize it, and whether you'll be able to capture it properly.

For example, in the previous TV series, we went to Hakone to do location scouting before the series started. At that time, I thought, "The ridges of the mountains are really high. Normally, when you draw buildings and then draw mountain ridges and horizons in the open spaces between the buildings, you would draw them low, but in Hakone, they are surprisingly high. That's because the geographical features are more like a basin. I thought I knew this when I drew it, but as I worked on it for a long time, I started to forget it (laughs). I was glad that I was able to remember it once again.

Interviewer: Some of the scenery that you scouted on location, such as telephone poles and buildings, were drawn in celluloid.

Tsurumaki: To begin with, Mr. Anno told me that he wanted to draw the poles and buildings in celluloid because they were characters. There are only two types of anime drawings: those with outlines and those without. Celluloid drawings have outlines, but backgrounds do not. From Anno's point of view, characters should be drawn as if they have outlines, while other things don't have to have outlines, in other words, they should be done with background art. That's why not only telephone poles, but also vending machines and public telephones are all cells, which in Anno's opinion are characters.

He was very particular about the outlines, and wanted to use cells for the buildings from the time of the TV series. However, with the technology of the time, if you drew it in celluloid, it wouldn't really blend in with the background, so I think they gave up on the idea because it would have been too difficult in terms of quality. One of the advantages of using CGI is that you can create a building with outlines that blend in with the background. I thought it would be better that way, too.

Interviewer: Including that, digital technology has been introduced in "Eva" this time, how do you deal with it?

Tsurumaki: For me, shooting digitally is much more important than 3D-CGI. I've been saying this since "GunBuster2", but the fact that I can create images that depict light using digital photography is huge. With celluloid, it was almost impossible to do that, and even though there were techniques such as incident light and transmitted light, they could only be used in a limited way. Now, with digital filming, we can depict the light itself, which I think is a huge step forward.

The glowing green parts of EVA-01 TEST TYPE in the night battle scene of episode 2 were supposed to look like that, but we couldn't do it in the celluloid era. To be more exact, we could do it if we tried, but it required a lot of work and cost. This has been dramatically reduced by digitalization. Even back then, there were ways to do things like multiple exposures and special effects like brushes, but the effects were not as good as the time and effort required.

Thanks to the use of digital technology, there are more colors to choose from and I can tweak them during the shooting process without having to use any safe colors. In the days of celluloid, you had to compromise to a certain extent. For example, if you wanted to draw a skirt with a bit of skin showing on the sides, you had to make the area skin tone, otherwise it wouldn't look like skin. Even if the scene is lit with red lights, the skin part has to be painted symbolically as skin tone, otherwise it won't look like skin. So there was a lot of compromise to ignore the light and keep the skin tone. However, with digital photography and digital coloring, we can go further and explore the nuances of skin tone in red light.

In that sense, who the director of photography is is just as important as the art director or the animation director in the digital world. Eventually, people will say, "I watch this anime just to see the work of this director of photography." With the advent of digital technology, shooting has the potential to grow to that level. I think that the dynamic character portrayal in "Gurren Lagann," which Gainax is currently working on, is a big part of the work, but I'm just as impressed with the hard work of the shooting as with the drawing. I think it's worth watching "Gurren Lagann" just to see that light.

Interviewer: So you're saying that anime is still evolving. That's great to hear.

Tsurumaki: Even if it's something that the shooting team is working hard on at the moment, the art director may come up with another suggestion like, "We'll draw all the light here," or the drawing team may say, "We want to express the texture of the skin better, so we'll draw the highlights of the skin in a separate cell and add something different to it. For example, I want to draw the highlights of the skin in a different cell, and then add something different to it." I think that borderlessness will continue to grow.

Interviewer: In the field of effects, they've already started to use different cells for shooting and processing.

Tsurumaki: Yes, that's right. Just as animators Hisashi Ezura and Mitsuo Iso originally did, I expect that the kind of shooting processing that can only be done by drawing artists by creating different materials will continue to develop. The way Mr. Emura processes the flames and the reflections on the surface of the water are things that can only be done by someone with a very high level of knowledge in the art of drawing. Then there's Makoto Shinkai. I feel that the ability to express the atmosphere of Mr. Shinkai's works has reached a considerable level, including the fact that he takes care of everything until the end.

On the other hand, in general, when you think about the animation industry, it is still difficult to decide how far to go in filming, and we are still in the trial and error stage. This is because it is difficult to determine how far to go in filming, how to make it better, and how to make it worse.

Interviewer: It's true that you can change the color of the art, the paint, and the texture of the special effects in any way you like.

Tsurumaki: That's right. I don't think it's been more than ten years since the industry went completely digital, but the TV industry is finally starting to establish a standard that says, "It's okay to shoot up to this level," and I don't think there are many works yet that are being made with a proactive stance instead of taking it easy. Of course, there are examples of theatrical films such as "BLOOD" and "INNOCENCE". It's just my personal intention, but I'd like to gradually pursue the filming aspect of "Rebuild of Evangelion", and by the time the final work is completed, I'd like it to be recognized by the world as "this is filming animation". Of course, this will require the involvement of the director of photography, Toru Fukushi.

・・・

Narrowing down by color instead of special effects

Interviewer:

You've been adding cell staining to "Eva" for a long time, and it's very distinctive. I think the special effects have changed since it went digital. What do you think about that?

Tsurumaki: Since the time of the first Gainax work, "Royal Space Force: The Wings of Honnêamise", staff members who are not specialists in special effects, such as Mr. Anno and Shoichi Masuo, have been directly smudging the cels with markers. I think this is one of the characteristics of Gainax's works, and it helps to create a unique world view.

However, with the introduction of digital technology, the cels are no longer an object, so it's harder to do. If you try to do it yourself, you have to be able to use the image processing software as if it were your own hands and feet to achieve the same thing. I had to decide what to do with the special effects again this time. If I didn't do that, I wondered if it would still be Evangelion.

This time, Shoichi Masuo did a great job, and I'm impressed by how well some of the digitalization was done, but I'm not sure how the parts where not much work was done will look. However, for that reason, for example, the advances in photography I mentioned earlier, or the increased number of colors that can be used to specify colors, can be pursued more than in the cell, so if we can make up for that, maybe we don't need to make those changes in the first place. Maybe I don't need to add texture special effects to every cut like I used to, but I can create more of a sense of presence with just the cell colors.

As you can see from the interview with Kazuko Kikuchi, this time Anno was standing next to Kikuchi all the time, working endlessly on color specifications. That's what happens when you do digital work.It was the same for me when I was working on FLCL. I'd be standing next to the color designer all the time, and I'd want to adjust the colors in every cut.

This must be Anno's first time making a digital animation. When he was working on "Re: Cutie Honey", he was in the position of a general director, so he didn't have much hands-on experience. This time, when he tried it for the first time, I think he was already enjoying the digital process.

With celluloid, I had to adjust the color of the shadows for each cut and reinforce them with special effects in order to bring out the texture. When I see something that has just come out of the painting, I think, "Hmm, that's not good enough." and then I add a touch. And it's not the special effects experts who do that, but the director or director who uses markers to smudge it. But I can only work on it in the direction of making it darker. The same thing can be done by adding shadows and lightening in the color specification stage to tighten up the image. Just by doing that, I think the finished image will be completely different.

Interviewer: Kikuchi said that it was also difficult to specify the colors to replace the celluloid paints with digital ones.

Tsurumaki: If you want to bring the colors together in a more sophisticated way, there are already many examples of this. The style of making the image look high quality by suppressing the saturation and brightness to make it look austere has been established. But Anno doesn't go in that direction. He wants to use flashy colors, but not look cheap. In order to do that, I think there are not enough samples yet. We have to create our own, with Kikuchi at the lead.

・・・

The highlight is the drawing of EVA

Interviewer: If there is a highlight that you would recommend, could you introduce it?

Tsurumaki: I'd have to say the climax, "Operation Yakushima". The cut where Takeshi Honda draws the EVA-01 TEST TYPE holding the positron cannon and then pulls it back would normally have been done with 3DCG, but he dared to stick to drawing. It was a cut that even Honda had a lot of trouble with, so I think I should have thought of something else to do with it. But I also thought that if we used 3D, the screen would definitely be boring. I wonder why that is.

Interviewer: According to Honda's analysis, it was because there was nothing unexpected. By drawing by hand, there is always some false information in the picture, which he thinks is unexpected.

Tsurumaki: I expect that the 3D parts will gradually increase as the middle and latter parts of the story progress. I think the challenge will be to eliminate the "natural movement" from the 3D action, as Honda said.

The staff of this CGI project knew this very well, and they would make suggestions like, "Wouldn't it be better to use drawings for this?" For some reason, the simpler the cut, the more likely it is to happen.

On the other hand, the sixth Angel is relatively easy to make use of being 3D, in fact, being 3D is an advantage, so I'm glad I did this.

Interviewer: When I first read Shinji Higuchi's storyboards, I was surprised at how good they were.

Tsurumaki: I don't really understand Higuchi's storyboards . As for the drawings, they are drawn somewhat by momentum. In the section that instructed the characters' movements and actions, he wrote something like, "Transform into a shape that is incomprehensible to those who live in three dimensions" (laughs). "How can you draw a transformation that is incomprehensible to human vision?" That kind of thing. He just throws it over here and leaves it there. I'm seriously struggling.

Interviewer: Well, that's how you got your image, and I have the impression that you've been using CGI quite actively, including in EVA-01 TEST TYPE.

Tsurumaki: There are some cuts that are easily recognizable as 3D, such as the EVA train, and surprisingly, EVA-01 TEST TYPE is also 3D. Now that I'm getting pretty good at 3DCG expression, I'd like to go even further. Nowadays, even the most trivial scenes are done with drawings, which consumes the rare animators who draw robots. I'd rather leave more and more of the work to CGI, so that I can rely on the drawings when I really need them.

Interviewer: At the end of the trailer, the part where EVA walks to the front, was that drawn by Honda?

Tsurumaki: I'm very proud of him. The movements of the hands and the body are slightly out of sync, and it's well controlled to create a strange atmosphere. Trying to create that kind of subtlety with today's 3DCG seems to be quite a challenge. However, in the end, the movements are created by human beings, so if there are animators who can come up with such movements and express them in 3DCG, I believe that this will change in a big way.

Interviewer: In this episode, there are some surprising images such as the ocean being red, and Zele and Kaworu being on the moon. Can you give us some comments on this, if you don't mind?

Tsurumaki: When I originally decided to participate in the compilation, I was trying to secure my own motivation through different thematic approaches. Then Anno told me that I could change the story and settings, and I thought that if I could do that much, I could do it. I thought, I can make it as the Eva of today, not the Eva of ten years ago.

The story has already been told to the end, so just saying "this time there's a happy ending" wouldn't be enough of a performance, would it? It would be no different from any other anime if the story was just "fought hard and won," even though we went to the trouble of portraying Shinji's refusal to stand up in that situation. I'm trying to create a kind of balance between the best parts of the story, so that people who have seen the previous Evangelion series can enjoy it, and newcomers can be inspired to watch the previous Evangelion series.

However, this is just my intention, and I won't know how it will turn out until I actually make it. That kind of unexpectedness and outrageousness for the creator is also an important element of Evangelion.

Interviewer: I think there will be more new works in the future, such as the second and third ones. What do you think about that?

Tsurumaki: This time, we are working at a new studio called Khara, and all the staff except for the main one are new, so there are always difficulties. I am very grateful to the new staff, especially the digital staff, who came in. I'd like to be more proactive in bringing in new staff from the middle part onward.

・・・

Balance with the overall impression of Eva

Interviewer: Since you were still working on the film before, I'd like to ask you some additional questions, including your impressions of the finished film. First of all, how do you feel about the finished film frankly?

Tsurumaki: Immediately after the film was completed, I thought, "How did it get done?" In July and August, I was so occupied with just finishing it that I had no idea what kind of evaluation it would get. But as the first film in a trilogy, I think it has cleared a difficult hurdle. I'm glad I did it.

Interviewer: Last time, you said that you were honestly negative about the idea of doing another "Eva" film at first.

Tsurumaki: I've completely cleared that up. After all, when you're making something, you're making something that needs to be made. I guess the experience of "GunBuster 2" has helped me a lot. This is the first sequel to a famous anime in over a decade, and it's also a remake, so I have the impression that we were doing it for the Rebuild of Evangelion.

I was rather nervous just before the release of the film, wondering if the fans would approve of it. The movie business is still a gamble, even in this day and age. You can't just make what you want to make and think it's OK. Especially this time, we were in a situation where we were feeling more closely the risk of gambling with "Khara Inc". For Rebuild of Evangelion, like GunBuster 2, we had a clear goal in mind, and we aimed to create a way to get to that goal. I feel that it was good in a double sense.

Interviewer: The end part of the film was all new, so it was a very passionate film.

Tsurumaki: On the other hand, I felt sorry for Masayuki, who directed the A part. In terms of resources, we would have to focus most of our efforts on the second half of the new work, so the first half would have to be how we would compete with the remaining parts. However, I was able to do the part in episodes 5 and 6 where I wanted to redo "Operation Yakushima" once again, so I was able to achieve my personal goal, and I'm really glad that it was accepted as interesting.

Interviewer: There was a time when I was worried that people would think it was just a compilation until just before it was released. Were you worried about that?

Tsurumaki: I was rather afraid of the reaction of the fans since we have already seen "DEATH & REBIRTH" and "The End of Evangelion". This is a work that has already depicted the end of the world, and I think that fans will feel very half-hearted and uncomfortable if they are forced to watch episodes 1 through 6, which still have a school romantic comedy flavor to them. After this, there will be a middle part and a second part, and I want to say to myself, "That's the end of the first part, so it can't be helped," but the overall impression of "Eva" has already been established, so it's impossible to avoid the feeling of being half-hearted. It was difficult until the end to decide where to go with it. I had to decide if I should build on the impression I had from the last episode or if I should start from the beginning. In the end, I decided to make it more serious than the TV version.

Interviewer: So you didn't have such problems when you started the TV series?

Tsurumaki: In the beginning, we wanted to make a well-done robot animation, and it was intended to be like "Sailor Moon", which Anno liked at the time, and we didn't know what was going to happen in the end while it was on air. Up to the first six episodes of the TV series, you can feel the unique taste of the early days. I tried not to use any of the parts that I had discarded during the making of the TV version of Eva.

Interviewer: Is that what led to the evaluation after the screening that the story had become more mature?

Tsurumaki: I think it was more mature in the script stage. On the contrary, there were some things that we took back a bit. For example, the TV scenes of Misato drinking beer in her apartment are still left, but the depiction of Misato as a childlike adult and in a fun atmosphere is gradually lost. I thought that would make Misato look too much like a boring adult, like a serious teacher, so I tried to incorporate comical acting into the strategy meeting scenes.

As for the scene where Shinji is taken in front of Lilith, it is a depiction of Misato being an adult, so on the contrary, I try not to show her childishness too much. The situation itself had a serious feel to it, and Misato's impressions from the second half of the TV anime were still fresh in her mind, so it tended to get more serious. I remembered that Misato was softer and cuter than the character I had talked about with Sadamoto and Anno during the planning process. I was careful to draw her as a fun person as possible.

Interviewer: Shinji also seems to have changed a little more positively.

Tsurumaki: Shinji is going through the same process as in episodes 5 and 6 of the TV series, so I don't think he's going to change that much. In the TV series, when Misato came to pick him up in episode 4, Shinji just said "I'm home", but he didn't clearly express his intention to ride the EVA. In the next episode, Episode 5, he starts with the atmosphere of "It's natural that I'm already going to ride it", so it might be a difference that he once again expressed his decision in words.

I think that if Misato had shown a different attitude in episode 4, Shinji's reaction would have been different. If she had told Shinji everything she knew, like in 1.0, and then acted like an adult and said, "You decide," Shinji might have responded with a firm attitude. So the difference this time is not that I've changed the character's personality, but it's more like a virtual war story(*1), or "if only I had made this decision here".

• 1) Refers to a genre of entertainment works that depict "IF" in historical fact (mostly World War II).

Interviewer: Since Central Dogma depicts people interacting with each other hand in hand, it was a kind of surprise to me.

Tsurumaki: That was a play that came out of my thinking about how to depict the differences I just mentioned in a straightforward and impressive way. In the TV version of "Eva," there is very little depiction of holding hands or touching each other. This was partly for directorial purposes, to avoid depicting the relationship as a common one, but also because it was too much work to draw. As a result, the number of scenes where the characters are talking apart from each other increased, and it became an established style of direction, and in the end we ended up with a worldview that said, "In this world, communication is incomplete". But this time, we're portraying things in such a way that we're going in as far as we can, so I thought this would be the most impressive if we put skin to skin.

As a fan of "Eva" from before, this may have been a surprise.

・・・

Describing the urban landscape and creating a zoom out image

Interviewer: Did you feel the reaction of the audience watching the film on the screen?

Tsurumaki: Actually, I only know the reaction at the preview screening, but I was pleasantly surprised to feel that the atmosphere in the audience clearly changed when the sixth Angel first transforms. I was actually worried that people would think that the good qualities of Ramiel from the TV anime had been lost, so I was worried more than I should have been. I asked Shinji Higuchi if he was okay with that image, and he said he was, so I was relieved to hear that. The script for episodes one through six of the TV anime series was originally very well written. So if I could do the elements of the first six episodes properly, it could be made into a movie. I knew that, so I thought that even though it would inevitably leave an impression of a compilation, if I could draw a completely new scene at the end, I could say, "This is the movie."

Interviewer: I was reminded of how good it is to watch mecha battle anime on the screen.

Tsurumaki: I was more conscious of the screen than I was with the TV animation, and I was conscious of the sense of scale in the battle scenes. Originally, "Eva" was about the extremes of zooming in and zooming out, but this time, especially for the new scenes, I was interested in seeing how far I could move the camera away from the subject and create a picture that captured a wider image.

Interviewer: In the film, the buildings and Lake Ashinoko in TOKYO-3 are composed in a way that I've never seen before in a storyboard. Is that because you made a zoomed-out image in the layout stage?

Tsurumaki: Some of the cuts were drastically changed from the storyboard, while others were subtly zoomed out little by little. I made adjustments as I worked on them. Originally, both Masayuki and I like to zoom in. I thought it would be more like "Eva" if I used the extremes to bring the camera closer to the characters for the shots where the camera lens is closer to them, and further away for the shots where the camera is further away so that the whole scene is captured.

The reason why we were able to create the zoom out image was because we had the resources to do so. As the second half of the TV anime progressed, the depiction of TOKYO-3 as a stage was gradually lost, and the depiction of the city came to rely on the impressions of the first half. But in reality, I wanted to depict the city each time if I could afford it.

The scene in episode 4 where Shinji runs away from home and rides the monorail was also initially cut from the script. However, it makes TOKYO-3 look different without it, so I brought it back. I think it's working well. In the middle and second parts of the story, I would like to keep as much of the surrounding descriptions as possible as we move to the climax. Since the camera tends to focus on the main subject of the drama and situation, the rest of the story tends to be left out. But I want to make sure that doesn't happen.

Interviewer: In the vicinity, the people of NERV and Ichii also appeared, and that was also impressive.

Tsurumaki: That's also a description that I gave up on for the TV animation, considering the priority of the workload. As a result, it ended up giving the impression of an uninhabited city. Since it's a fake capital city, there are only a few people compared to the scale of the city, but I wanted to preserve the convenience stores and the people on their way to school as much as possible.

At first, I was a little reluctant to depict the crowds watching over Operation Yakushima because I thought it wouldn't be very "Eva" like. However, Hidenori Matsubara advised me that I needed more scenes like this. As for the people of NERV who were repairing the power system just before the second shot, I thought it would be better to show the hardships of the people who were working at the furthest point from the center of the organization. In that sense, I thought it was just as important as the scene where Ayanami is smiling, so I asked Sadamoto to draw it for me. In the TV anime series, it would be a still image or a pan around, but this time, I put a lot of importance on it. I think people think Sadamoto is good at drawing pretty girls, but he's also good at drawing old men in Royal Space Force: The Wings of Honnêamise, so I think it was a good choice.

Interviewer: That cut seems to have made an impression on Shinji Higuchi. It seems that those troops are thought to have been wiped out.

Tsurumaki: Shinji Higuchi's storyboard said something like, "If we don't do something, we'll die, but don't we have to have the escape scene?" So, in the completed film, I put in an announcement saying, "Everyone has evacuated," so everyone is safe. I hope everyone will check the DVD for peace of mind.

・・・

In search of a new balance between drawing and CGI

Interviewer: By the way, from a production standpoint, I think it was an all-out battle at the end.

Tsurumaki: We were in such a critical situation that there was no way we could make it in time. If we had made a mistake somewhere, we would have been unsuccessful. I think we were lucky in any case. Since each department proceeded independently, it was only at the very end that we could see for sure whether we were on the right track.

Interviewer: Do you mean mistakes at a level that you can tell because you are the person in charge?

Tsurumaki: No matter how you make a film, there will always be things that you feel you should have done differently, and there will always be complaints. But that's not the same thing as completing a film.

Also, Anno is very good at presenting alternative ideas at the last minute, and showing them in a dramatic way without compromising the quality. People who obsessively create things often panic when they find themselves in such a situation, but Anno is calm and steady. But that doesn't mean that he gives up on everything. He has high ideals, but in the end he has a way of being OK with dropping them to a certain degree. Well, he may not be thinking that deeply (laughs).

Interviewer: I see. So that's one of the secrets of getting the work done in time. Moreover, the finished work was applauded. That's a rare thing in anime.

Tsurumaki: My impression is that it was like an event for fans to gather, like "Star Wars". It's true that Sadamoto's manga has been serialized in shonen magazines for a long time, and people in junior high and high school may have gone to see it because they felt that their favorite manga had finally become an animated feature film.

Interviewer: So, you've had a hit, and there is more to come. How do you feel about it now?

Tsurumaki: For ":1.0", I had a pretty clear idea of what I needed to do, so it was easy to work on, but for ":2.0", it's a lot of work. In fact, it's already become quite a challenge (laughs). But I keep thinking back to how it was when I was working on the TV animation.

Interviewer: Do you have any vision of what you would like to do next?

Tsurumaki: I'd like to develop the use of digital more, and the fact that I was able to get quite into making the TOKYO-3 building in 3D was a great achievement, so I have a desire to try to fill in that direction. Anno's concept is to "use 3DCG like a miniature", but I think there are more possibilities there. If you try to pursue something more realistic, the difficulty level rises considerably, but if you can do it in a "model special effects-like" way, you can do something more interesting. It was a valuable discovery to me that 3DCG in this direction was a good match for Anno's direction.

With tokusatsu, you only need to place a few miniature buildings in front of the camera, and if you control the angle of view, you can suddenly create an atmosphere. It would be a lot of work to try to create an entire cityscape using CGI, but instead, if you use the methodology of special effects to set up CGI buildings, you can efficiently create an atmosphere.

Thinking of it as a miniature means concentrating only on what you want to show off, and I think that's how you can bring out the fetish aspects of CGI. I have the impression that CGI tends to diminish the fetish, so I think it would be great to bring that out. I don't have much essence of special effects, but Anno and Masayuki are special effects geeks (laughs).

Interviewer: Finally, is there anything you would like to mention in ":1.0"?

Tsurumaki: As an animator, I can't help but pay attention to the drawings. Then again, I think Takeshi Honda is really good at it. The cut where the EVA collapses, which was used in the trailer, you can feel its mass, or the EVA's hip movement in the cut where it tears apart the A.T. field, both are great.

It's completely different from the original drawings for the TV animation. When I first saw Honda's original drawings for "Nadia," I was amazed at what a great guy he was, but now that I've worked with him for the first time in a long time, it's not just "he's as good as ever," but he's really good. At the same time, I'm impressed by his craftsman-like workmanship as he silently continues to draw.

Interviewer: It's great to see that he's always making progress.

Tsurumaki: However, in "Eva", the production was made in such a way that the skill of the drawing was not noticeable. It's made to look like an ordinary action scene, but it's actually a lot of work in the drawing. There are many cuts like that. The acting itself is generally simple, but on the other hand, there are always demands for highly difficult drawings. If they don't get it right, the cuts are no good. Once they get it right, the movements are natural, so now the drawings don't look as hard. Next time, I'd like to make a direction that makes the drawings stand out and reward their work.

Interviewer: After the second film, there will be more new works, and I think there will be more opportunities to show off EVA.

Tsurumaki: The second half of the film that I was in charge of was all cuts where EVA didn't move much, so next time I'd like to have a long talk with Honda and create a scene that will be a highlight.

・・・

PROFILE

Director: Kazuya Tsurumaki

Born in Niigata Prefecture in 1966.

After working at Studio Giants, joined GAINAX as an animator from ["Nadia, The Secret of Blue Water" (1990). First directed the LD-BOX video bonus "Nadia Omake Gekijo"(*1) for the same work.

His first directorial work was "GunBuster! New Science Lecture"(*2), a video bonus included in the 1994 LD-BOX "GunBuster! Welcome back BOX".

In "Neon Genesis Evangelion", he was the assistant director of the TV series, the director and director of the theatrical version of "Rebirth", and the director and director of "Air".

After that, he worked on the original video animation "FLCL" (2000), which became the topic of much attention for its innovative direction.

Following this, he was the original creator and director of the original video animation "GunBuster2!"

Hideaki Anno - Director in Chief (17/12/2007)

Translated by Rikki
Written by Ryusuke Hikawa

Our interview concludes with General Director Hideaki Anno. In this interview, I would like to ask him about his vision and wishes for the grand project "Evangelion Again", which was a surprise to everyone. We hope that you will be able to feel the enthusiasm and ambition of this project in this very long interview, which lasted over four hours in total.

I wanted to make Eva one of the important contents supporting the industry. -ANNO, Hideaki

I think you were able to make "1.0" into a fulfilling film in a fairly short period of time. In this interview, we'll talk about how you were able to achieve that and check what Director Anno's goal is from various perspectives. First of all, please tell us when you decided on this project and if there was any reason for it.

ANNO: Well, let's see. I don't know when I first decided to work on... I think it was probably October of 2005 when I decided to do Rebuild of Evangelion. The earliest date I can find in my Word notes is November 10th.

What did you write in that note?

ANNO: I wrote a lot of things. The main thing was that I was aiming to make Eva into a Gundam, or a classic. One of the ideas was to create a new series under the title of Evangelion as part 2. My ideal was to create "G-Evangelion".

Do you mean a work that turns over the very concept of Eva, like G Gundam did in the past?

ANNO: Yes. Gundam did quite well with "G". It had a breakthrough with "W", but went downhill a bit with "X". Then "S" was the big breakthrough, and it continued. That's the ideal scenario (laughs). Before that, there was "V" though.

So the note was not about the content of your work, but rather about your business concept.

ANNO: That's right. It's not so much about business as it is about the future of the animation industry. I don't like to call anime "content," but when I think about business, this term is less misleading than calling it a product, so I call it "content" here. When you think of animation as content rather than a product, I think that animation content other than kids' content is currently on the point of not progressing well.

In terms of kids' works, there is a full range of content such as "Anpanman," "Doraemon," "Pocket Monsters," and "Crayon Shin-chan." The products are constantly being updated, and I think they're working well. Many of the works have already been running for more than ten years and still seem to be doing well in the future. I think this line will continue. However, when I think about it as my concept of animation, I worry about the fact that there is only "Gundam" at the moment.

That's an issue I've been thinking about myself. I worry that there are so few character goods that span a long period of time.

ANNO: Right. I wondered what would happen to the anime industry if it continued to have only "Gundam". Even in tokusatsu, which is said to be an industry that is losing ground to newcomers, there are "Kamen Rider", "Ultraman", and "Super Sentai" to support it. This has been going on for thirty or forty years. The great thing about "Super Sentai" in particular is that it has been renewed every year without stopping. This is not the case with "Ultraman" and "Kamen Rider," but in the end they have become a steady line that continues to this day.

The tokusatsu industry is supported by these three, but the anime industry I'm involved in has only one support, which is Gundam. "Space Battleship Yamato," which was intended to be a steady line a long time ago, has not been able to be realized due to various reasons.

The only other anime that I can think of that can be made into a steady line is "Macross".

ANNO: Macross is doing well, but it hasn't yet reached the point where it is accepted by the general public. Ghibli anime is also becoming more popular, but I feel like I'm watching Disney anime, so it's hard to say it's a steady line. After all, Gundam is the anime goods that office workers can put on their desks at work. If it's a Gundam mobile suit, even if others see it, they can just think, "He likes Gundam." It's not just for nerds, it's an anime that's approved by the general public. That's the great thing about that work.

There aren't many other anime goods that you can put on your desk at work. That's why I want there to be as many contents other than Gundam that support the animation industry in a different category than Ghibli, or Hayao Miyazaki now. That's one of my main motivations. Eva is an anime goods that you can barely put on your desk at work. So, I want the new "Evangelion" to continue ten or twenty years from now. I hope that young people, not me, will be able to do it one after another on their own.

I see. So the desire to develop "Eva" into something like that was a major motivation for you before "Rebuild of Evangelion", wasn't it?

ANNO: That's right. I hope that Eva can help as one of the contents that support the entire anime industry. If there was anything else, anything would have been fine, but objectively speaking, "Evangelion" has the highest potential. It's a work that you can go ahead with as you like without worrying about the original rights or other troublesome circumstances.

(to be continued)

advertising

Contains various posters as well as the two trailers broken down cut by cut.

the other

Contains pic of all the other promotional stuff: movie tickets and pamphlets, OST and DVD covers, Doritos packs, UCC coffee cans and other stuff.

scenario

Contains the 42 page script.

(Numbers-kun translates a deleted scene involving Kaworu.)

poster

A foldout poster of Rei drawn up by Sadamoto

List of Official Publications

General: Newtype Film Books | Newtype 100% Collection | Movie Pamphlets | Eva Fan Club | Evangelion Chronicle

Production: Neon Genesis Evangelion Proposal | Evangelion Original | Storyboard Collections | Concept Design Collections

Sore o Nasumono: NGE Concept Design Works | Groundwork of Evangelion

Art Books: Der Mond | Die Sterne | Carmine | 2015: The Last Year of Ryohji Kaji | Photo Files (Adam & Eve) | Evangelion Chronicle Illustrations

Other: E-Mono | Evangelion RPG: The Nerv White Paper | Evangelion RPG: Angelic Advent | End of Evangelion: Boku to iu Shingou | It's A Miraculous Win| | All About Kaworu Nagisa: A Child of the Evangelion | Schizo/Parano

Rebuild of Evangelion

General: Movie Pamphlets | Groundwork of Evangelion | Evangelion the New Movies: Storyboards | Eva Extra

Eva 1.0: Evangelion 1.0: Entry File 1 | Evangelion 1.0 Complete Records Collection

Eva 2.0: Evangelion 2.0 Complete Records Collection