Ok, Darren and FOX have really pissed me off enough to suggest

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DJZ    投稿数: 329
Note that no one at Kon's Tone, Madhouse or NTV endorses what I'm about to say. So I'm willing to have this post removed if it causes problems. But if anyone thinks the same way as me, I would highly suggest plastering every poster, column, and theatrical stand in Japan featuring Black Swan with posters and promotional art for Perfect Blue. Unfortunately, you don't have the convenience of a group of mangaka willing to back you up like Tezuka-san after the Lion King, so guerilla art is the only way to go. I would also suggest nothing adhesive, please.

This is your turf, and that asshole's walking through it like he doesn't owe you a thing, right after you've been through a tsunami and quake, and the loss of a beloved animator and family man. If it wasn't for Kon and your country, he'd be a nobody right now, and you know it. This isn't just about compensation and credit, but about pride and self-respect. So don't go letting yourselves get ripped off twice in less than 20 years without a fight. Not at least until these pricks do the honorable thing and give him his due. Satoshi Kon, Banzai!

Believe me, you can make them look bad. I already got one of their flunkies @foxsearclight to indirectly admit that they ripped Kon-san off. When I asked him/her to give Kon-san some credit on the Swan DVD/Blu-ray, they told me, "Dude... Let it go." They could've just kept quiet, but I finally got to them, and they slipped up. So you can do the same, too. 'Cus if you get enough attention with Haruhi dances, you can get do the same with Perfect Blue. Don't let the corporate weasels win.

これが承認されていません。しかし、誰もが同意すれば、私には、次のことをお勧め:パーフェクトブルーのチラシをプレイスすべてのポスターやスタンドにブラックスワンの. 避けて接着剤でお願いします。誰もがあなたがたわごとを与える場合,ちょうどそれがオリジナルのフィルムですそれらを教えてください。さらに、あなたは秋葉原のオタクは、実際に戻って、業界に何かを与えることになる。

From http://Woman.infoseek.co.jp:



また、肉体に異物を取り入れてメタモルフォーゼするニナの姿は、ダーレン監督の創作の原点である塚本晋也監督のカルト作「TOKYO FIST 東京フィスト」のヒロイン(藤井かほり)のイメージを、明らかに色濃く受け継いでもいるだろう。

Oh, and for the record, we did get Tokyo Fist in the U.S., too.


@minowa_ just posted a NSFW blog entry comparing the two films.

One reviewer at Cinematoday.jp apparently liked it less knowing about PB.

Similarities noted at news.walkerplus.com.

Not really fond of this hater at Yahoo.co.jp's review, but they did say some nice things about Kon-san's movie.

I mean, seriously, some of your fellow countrymen and women are on @blackswan_jp 's account and acting like Darren did all the work and came up with the ideas, because they've never seen or heard of Perfect Blue. Can you genuinely live with that?

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DJZ    投稿数: 329
So according to @eigacom and @blackswan_jp, his movie already grossed 100 million yen. It's made almost $300 million outside of Japan. You still fine with your cut now?

白鳥は、円の多くを取得しています。これは、日本国外でより多くのお金を持っている。あなたはまだあなたがそれを支払って得たものに満足していますか?あなたがほとんど支払われる嬉しい?と仮定すると、すべての報酬をもらって。あなたは今敏の作品を配って好きですか? しかし、彼は利益。だけして、Darren利益。先生は92に住んでいた場合でも、ダーレンは、今敏より多くのお金を行っています。その恩知らずはまだ今敏と日本snubs。彼は映画の中でナタリーポートマンの踊りについて嘘をついた。サラレーンは、ほとんどの作業を行った。ダレンとナタリーは詐欺されており、彼らはそれを知っている。皮肉なことに、それがパラノイアエージェントのこれらの物語のいずれかのほとんどのようなものだ。


Kon-san got omitted again! But at least some of Japan got some credit. From an interview with Aronofsky at [url="http://search.japantimes.co.jp/cgi-bin/ff20110513r1.html]Japan Times[/url]:

We liked Darren Aronofsky when he was the scrappy young filmmaker from Brooklyn (via Harvard) who financed his debut, "Pi," in 1998 with $100-loans from friends and relatives, and relied on promotion that consisted of tagging Tokyo's streets with the film's logo.

We liked him when he cited photos by Nobuyoshi Araki and Hiromix as an influence on the look of his downbeat junkie flick "Requiem For A Dream" (2000), and also the sheer insanity of making a film with something like 3,000 cuts.

...What's striking is that Aronofsky has a major hit on his hands without having compromised his style in any way....

...Aronofsky has since faced the rather ironic situation that having made a film about a double who tries to sabotage a star's career, real life has wound up in a similar place. Portman's dance double, Sarah Lane, contends that she — not the film's star — danced most of the scenes.

Aronofsky can laugh at the irony, but quickly got serious: "When you have a lot of success, you suddenly get people who try to clamor for credit that really don't deserve it. The double made a minimal contribution to the film and was rewarded very handsomely, and then basically realized, hey, this could mean a lot for my career, so she went out there and said a lot of very untrue things. The problem is, the news agencies enjoyed the controversy and tried to make a story out of it."

The original script for "Black Swan," by Andres Heinz, wasn't even about ballet, but Aronofsky was keen to take it in that direction. The director cites his sister's ballet lessons when he was growing up, calling it "kind of the background noise of my youth." Adapting the script took some time — the director was talking to Portman about the project nearly a decade ago — and getting some inside help from the ballet world also proved challenging....

Nina's descent into paranoia (and repressed sexuality) clearly betrays an influence from Roman Polanski's 1965 classic, "Repulsion"; Aronofsky confirmed that "Polanski's films have taught me so much. I think he's the first master of subjective filmmaking; he was able to get into the head of a character, and use the camera and sound and effects to bring the interior of a character out onto the screen. I definitely studied his work."...

....Aronofsky noted that "we were also playing with the mirror scare shot, which is one of the biggest cliches in horror, and how we could use digital effects to take it to another level. We knew we needed mirrors because the film was really about reflection and doubles and so on."

When asked about his own personal favorite cinematic scare shot, Aronofsky cites M. Night Shyamalan's "The Sixth Sense" (1999), noting "I remember going to a mid-afternoon screening in Times Square on the opening weekend of 'The Sixth Sense,' and people were just screaming — I barely heard half the movie."

When it comes to horror, though, Aronofsky is left cold by all the torture-porn stuff. "I can't say I'm a huge horror fan — I'm not a gore fan by any means — but a good jolt to the system is always a lot of fun. We didn't even want to use the term horror, because we felt people would be scared away, think it's a gore film. So we called it a 'psychological thriller.' But the great horror films can just scare you without making your stomach sick. Although I can't say my films are totally devoid of that! (Laughs.)"

そのfuckerに対して訴訟を取りなさい! スー彼のお尻! 彼はそれを求めています。私は弁護士ではない。

Oh, and my man @tomomachi came through once again. Thanks to @mikawayashin for the link.
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DJZ    投稿数: 329
From the Japanese Wikipedia entry for Terminator:


From the Disturbia Wikipedia:


Shouldn't you at least fight for credit, if nothing else?


Even the guy who wrote the screenplay for The Ring got credit for the remake on IMDB.



So I showed a the @tomomachi link to @ToshikoTashiro
and this is what he had to say:



Ok, I don't see this in the Japanese media, either, so if anyone wants to port it over to the Japanese Wikipedia, you'll have to go here.

From <a href="http://en.wikipedia.org/wiki/Sarah_Lane_(dancer)">Sarah Lane's entry</a>:

Lane served as a "dance double" for Natalie Portman in the 2010 film Black Swan, a psychological thriller about ballet dancers in New York City.[2] In a March 3 blog entry for Dance Magazine, editor-in-chief Wendy Perron asked: "Do people really believe that it takes only one year to make a ballerina? We know that Natalie Portman studied ballet as a kid and had a year of intensive training for the film, but that doesn’t add up to being a ballerina. However, it seems that many people believe that Portman did her own dancing in Black Swan."


More here[/ur].

Lane's last response [url=http://en.wikipedia.org/wiki/Black_Swan_dance_double_controversy#Lane_20.2F20_interview]here

In an April 15 interview with Elizabeth Vargas for ABC's 20/20, Lane stated: "I didn't really specify anything in my contract about getting onscreen credit or anything ... I didn't do the movie to get fame or recognition or anything." [28] She added, "I'm not speaking because I feel like I should be heralded .... I'm speaking because [the filmmakers] are completely lying about the amount of dancing Natalie did in the movie. When those incorrect things are coming out, and they threaten the entire principle of ballet, then I feel like I need to say something." When Vargas asked if it is possible that both interpretations of the "math" can be correct, Lane responded: "It's possible, like I said, if you're counting the close-ups of her face as actual dancing shots. But I don't call close-ups of her face actual dancing."[29][30][31] 20/20 also asked Black Swan editor Andy Weisblum for his take on the math. He responded that "there are about 35 shots that are full body shots in the movie. Of those 35 shots, 12 are Natalie, and then the rest are Sarah. But over the overall film, Natalie did a lot more than that. I mean, she did most of the other shots. It was sometimes hard for me to tell the difference as the editor, it was so close."[30] Lane further reiterated the point that prior to the Oscar ceremony, she gave an interview with Glamour for an article titled The Real Black Swan. After this interview, a Black Swan producer contacted her: "He asked if I would please not do any more interviews until after the Oscars because it was bad for Natalie's image ... They were trying to create this image, this facade, really, that Natalie had done something extraordinary. Something that is pretty much impossible ... to become a professional ballerina in a year and half." Lane also emphasized that her criticism was not directed at Portman's acting: "I think she is a really beautiful actress ... I loved working with her. And she was really focused on her character every day. I definitely think she deserves all the credit that she got with the Oscar."[30][31]

ABC社の20分の20にして、Elizabeth Vargasさんと4月15日のインタビューで、レーンは述べた:"私は実際に画面に表示されるクレジットか何かを得て...私は映画をしなかったの名声や認識または取得しようとして私の契約には何も指定されていない何か。" [28]は、彼女は私は完全にナタリーは映画の中でいた踊りの量について嘘をついている[映画]をので、私が話している....予告する必要がありますように感じるので、私は話していないよ"と付け加えた。場合はそれらを正しく私は何かを言う必要があるようなものが出てきている、彼らはバレエの全体の原則を脅かす、私は感じています。" Vargasさんは、"数学"の両方の解釈が正しいことができる可能性がある場合メッセージが表示されたら、レーンは答えた:"私が言ったように、実際のダンスショットとして彼女の顔のクローズアップをカウントしている場合には、可能性がありますしかし私は着る。彼女の顔、実際のダンスのtコールクローズアップ"[29] [30] [31] 20/20、数学を取る彼のブラックスワンエディタアンディWeisblumを求めた。彼は映画の中で全身ショットです約35ショットがある"と回答している。これらの35打のうち、12は、ナタリーは、され、残りのサラはしかし、全体的な膜上に、ナタリーはそれ以上多くのでしたです。私の言いたいこと、彼女は他のショットのほとんどは私はエディタとしての違いを見分けるには、そのように閉じていたのも大変だった"と話した。[30]レーンは、さらにその前にオスカー授賞式にポイントを繰り返し、彼女はグラマーとのインタビューを与えた記事のリアルブラックスワンという。このインタビューの後、ブラックスワンプロデューサーが彼女に連絡:"私は、それがナタリーのイメージ悪かったから...彼らは本当に、このイメージは、このファサードを作成しようとしていたオスカーが終わるまで、これ以上のインタビューを行うことが喜ぶならば、彼は尋ねた。ナタリーは何か特別な。何かほとんど不可能です行っていたが...一年半でプロバレリーナになる。"レーンはまた彼女の批判は、ポートマンの演技に向けていないことを強調した:"私は彼女は本当に美しい女優です...私は彼女と一緒に作業をしましたと思いますそして、彼女は本当に毎日彼女のキャラクターに集中していた私は間違いなく彼女はすべての信用に値すると思います。彼女はオスカーとなったことを確認します。"[30] [31]

So they're ripping off at least two talented artists, not just one.


It looks like it's already made $6.1 million in Japan. That's about 100 times what you got paid for it, if I recall. Again, you have to give away Perfect Blue to even hope to make $6,000 from it on DVD. Are you happy with that arrangement?

それは既に日本で$ 6100000できているように見えます。それはです思い返してみると何が、そのための報酬をもらって約100倍。しかし、あなたもパーフェクトブルーを販売することはできません。あなたはそれを配っている。あなたはこの契約に満足していますか?そのお金は、映画に資金を供給することができます。そのお金は、それに広い分布を与えることができる。と暴露。マシンドリームできるようにする。あなたは上にねじ込まれているどれほどひどく理解していないか?
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DJZ    投稿数: 329
From entertainment.gather.com:

To be a little surreal, Japan has an affinity for the tortured female psyche. Does Black Swan contribute to a geisha fetish? Portman certainly portrays sensitivity as a hindrance to the feminine drive.

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DJZ    投稿数: 329
So I sent the tomomachi link to @smapken, and this is what he(she?) had to say:

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