輝ける未来
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輝ける未来
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投稿日時 2009/4/9 20:41 | 最終変更
かんらからから
私は、「かつて夢見た近未来」と聞いた時にふと楳図かずお先生の「漂流教室」でのワンシーンを思い出したので紹介させてください。
主人公達は延々と続く砂漠のなかに未来館と呼ばれる建物wo
を見つけました。
入り口には美人なロボットがいて、いかに未来が素晴らしいか説明をしてくれます。しかし、主人公たちがいる未来は生物が死に絶え、地獄絵図の様相です。
しかし、ロボットは説明をやめずに未来について喋り続けます。
あきれた一人がロボットに触れた瞬間にロボットは壊れ、凶暴化し、主人公達に襲い掛かってくる。
「夢見る機械」がどのような作品になるか楽しみです。
「ウォーリー」のような作品で無い事だけは薄々感じます（笑）
主人公達は延々と続く砂漠のなかに未来館と呼ばれる建物wo
を見つけました。
入り口には美人なロボットがいて、いかに未来が素晴らしいか説明をしてくれます。しかし、主人公たちがいる未来は生物が死に絶え、地獄絵図の様相です。
しかし、ロボットは説明をやめずに未来について喋り続けます。
あきれた一人がロボットに触れた瞬間にロボットは壊れ、凶暴化し、主人公達に襲い掛かってくる。
「夢見る機械」がどのような作品になるか楽しみです。
「ウォーリー」のような作品で無い事だけは薄々感じます（笑）
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DJZ
投稿数: 329
I actually didn't like Wall-E much, and I'm not sure how Pixar is received in Japan. I know it does as well as any other children's films over there, but the actual style does not seem to have (thankfully) displaced anime yet. I don't mind CG when it enhances the story, but most of the productions here are simply an excuse to tout the CG. That's also partly why I like certain recent live-action Asian stuff more than its American counterparts. They don't seem to forget that the physical and charismatic performances of the actors are still central to the appeal of the movie, not just the background noise. [The fact that Miike's Yatterman beat down a Hollywood machine-produced DB seems to support that argument.]
Oh, yes, "Machine that Dreams". I'm curious about it, too. Whatever you do, though, Kon-san, please try not to make the mistake of other directors primarily known for adult work by trying to have it both ways and thus destroying the youth appeal of the source material. By having it both ways, I mean that they tend to focus too much on adult situations, in order to come off more "realistic"; but then they also try to talk down to the viewer, because that's what they think sells to that alternative audience. But this just results in the diluting of the fantasy take on the concept. The only examples I can think up off the top of my head are Kevin Smith's Jersey Girl and the Wachowskis' Speed Racer, and probably Spike Jonze's Where the Wild Things Are.
[I'm also going to hate adding him to the bonfire, but Mamoru Oshii's Sky Crawlers. Really wanted to love it, but it just seemed like he couldn't decide when to be existential and when to take a break, and I often felt like he was trying to place too much importance in every scene at the expense of character development and story progression. Though I've been told that might have been the point, as it was a commentary on Akiba otaku. But it felt more like an attempt to appeal to a different generation of fandom while not actually attempting a different approach to his directorial style. This might sound kind of weird, but I think a good reference point for your approach would be Miike's Zebraman and/or Yokai Wars.]
BTW, Drifting Classroom did get released here, but Umezu is sort of niche, so it didn't take off well. They're trying again with Cat-Eyed Boy, but I'm not sure if it'll get anywhere.
Oh, yes, "Machine that Dreams". I'm curious about it, too. Whatever you do, though, Kon-san, please try not to make the mistake of other directors primarily known for adult work by trying to have it both ways and thus destroying the youth appeal of the source material. By having it both ways, I mean that they tend to focus too much on adult situations, in order to come off more "realistic"; but then they also try to talk down to the viewer, because that's what they think sells to that alternative audience. But this just results in the diluting of the fantasy take on the concept. The only examples I can think up off the top of my head are Kevin Smith's Jersey Girl and the Wachowskis' Speed Racer, and probably Spike Jonze's Where the Wild Things Are.
[I'm also going to hate adding him to the bonfire, but Mamoru Oshii's Sky Crawlers. Really wanted to love it, but it just seemed like he couldn't decide when to be existential and when to take a break, and I often felt like he was trying to place too much importance in every scene at the expense of character development and story progression. Though I've been told that might have been the point, as it was a commentary on Akiba otaku. But it felt more like an attempt to appeal to a different generation of fandom while not actually attempting a different approach to his directorial style. This might sound kind of weird, but I think a good reference point for your approach would be Miike's Zebraman and/or Yokai Wars.]
BTW, Drifting Classroom did get released here, but Umezu is sort of niche, so it didn't take off well. They're trying again with Cat-Eyed Boy, but I'm not sure if it'll get anywhere.
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