John UM
At the beginning of the interview, the interviewer threw out a somewhat thorny question, asking Inoue to see the sound of the animation excluded from the previous tenth anniversary of the movie magazine “The Shadow Painting”. .
Inoue himself only knows about this occasion in the news, but he doesn’t know the specific situation very much, but he still said very generously that anyone can directly say “because of hate animation, so don’t watch the animation”. There are people who like movies that can’t accept animation, and vice versa. People who don’t watch real movies are all things that are commonplace. However, Inoue still feels uncomfortable by seeing the theory that real shots have their superiority. .
Although the interviewer also knows that there is no real acting in the animation, he still thinks that there are performances in the animation that can match the performance of the real person. However, if the performance of the animated character is against the real acting, even the original artist at the level of Inoue is very unrecognizable. Whether it is painting the original painting as the original painter or as the original painting of the painting supervision and inspection, Inoue admitted that more than half of the situation was actually dumped in the work before the acting. Even when I was an original painter, I suddenly thought of “good acting”, for example, the problem of making a manuscript, and still can’t draw the original painting corresponding to the idea. .
It is very common for the illustrator to have a complex and colorful design and complex design. This has become a common occurrence in animation production, which is very strange in the well. In this state, it is necessary to make every effort to make a fine picture. As for the regulation of the action, there is no sparety. Inoue believes that the so-called animation is to realize the action of the impression in the brain through painting. For this reason, it is necessary to rationally configure the picture. However, most of the original paintings are not in the technical control, so they are tied to the stage before the acting. .
Inoue also has no meaning of thick and ancient, pointing out that not only is the current Japanese animation, but the past is the same. From the “White Snake” (1958), only a few people have crossed the technical obstacles, but it has come. As stated in “The Legend of the Mirror”, most of the Japanese animations are not forbearing, so Inoue believes that the original paintings that can’t draw real-life acting in Japanese animation account for 99%. .
Because there are too many practitioners in the industry who are not interested in drawing other cute animated characters, so they are considered to be “bad performance”. The most sincere thoughts of Inoue, who have been working for more than a decade, have the same ideas as others who continue to hone their skills as well. I have the confidence to say: “We can make the original painter who is not inferior to the real shot of real acting.” I can’t find such a person in the entire Japanese animation industry. However, inoue has seen many people who are not at that level but are quite confident. .
Then I went up to the real film, and he found that there were also directors who used animated lens language in real shots. For example, in Hitchcock’s film “Flock of Birds”, there is a scene in which a smoked man’s match falls to ignite the gasoline at his feet. .
When shooting the heroine with a horrified expression to witness the horrible lens, Hitchcock used four heroines to stand still. Although the heroine is still, but the passerby behind the heroine is sporty, so Inoue determined that this is Hitchcock deliberately let the heroine stand still. .
This scene reminds Inoue of the masterpiece of Gao Yixun’s masterpiece, The Great Adventure of the Sun Prince Hols. At the beginning of the animation, in the scene where Hols fought with the wolves, Hols was shocked and screamed after seeing the rope of the axe being cut. .
And the reaction Halls surprised the lens Hols is also static, just added a little traversal of the character layer. As the final production of the Dongying action, “The Great Adventure of the Sun Prince Hols”, the whole film has been very moving. The original painters Da Yu Kang Sheng and Hayao Miyazaki have the ability to move this lens, but Gao Yixun chose to stand still, and Inoue believes that this is also the result of Gao Yuxun’s consideration based on the performance of the show. .
Inoue further added that humans will not do extra moves when they are really scared. Just because it doesn’t move, the emotions that Halls is scared can be properly conveyed. The same is true of the heroine in The Birds. If you use a bad action, the feeling of surprise will not be shown. It is better to say that this kind of stiffness is a surprise, and a still picture is a better choice.
Then Inoue mentioned the production of another film, Shadow Warrior, which he saw on TV when he was young. Among them, when shooting a camera like a samurai who screamed and screamed up and down the stairs, director Akira Kurosawa was always dissatisfied with the performance of the actors and made the actors come back many times. With the continued shouting of Akira Kurosawa, the actors are becoming more and more incapable, the movements become clumsy, and Akira Kurosawa is getting more and more excited. .
Inoue as an animator understands Akira Kurosawa’s actions. In his opinion, Akira Kurosawa should have a perfect movement in his mind, because Akira Kurosawa, who has no similar acting skills, has to let the actors return again and again. But letting others reproduce the impressions in their own minds is impossible. I am afraid that it is impossible to make a real movie. It is not a daily event to convert the thoughts in the brain into pictures at the animation production site. .
However, if you have a highly skilled supervisor, or if the supervision of drawing can directly correct the unsatisfactory original painting, you can control the movement and acting. Inoue believes that in terms of “control”, animation is still slightly better than real-life movies. At this point in the acting, it is absolutely impossible for the film director to make the picture he wants to be more accurate than the animation, because the actors’ performances in the real shot and the images containing the elements of the Solo are all controlled. Living is also impossible. Although using CG may be possible, it will make people feel unnatural. .
Although Inoue also recognizes the value of “real acting”, but from the perspective of the film director, how satisfied are the directors with the actors’ movements and acting skills? In fact, there are also films that are the product of the director’s compromise, and the fact that the film is a far cry from the director’s ideal. In the movie of Akira Kurosawa’s later years, the actors’ movements were awkward and stiff, and Inoue speculated that this was probably the result of too many actors being told by Akira Kurosawa. .
The interviewer likens this to an original painter who is not in a technical position. Inoue agrees with this statement and believes that Akira and Hitchcock, who are clear-minded, should feel very good when making movies. Not free. On the contrary, the American director Eastwood shot all over again, just like knowing that the actors’ movements are uncontrollable and deliberate. .
Leave a good thing like an animation. Only a bad place can’t be done. One shot and another remake can’t be close to the best effect. It’s just an illusion that you can get a good shot with ten shots, so I’m very much in agreement with Eastwood’s photography practice. .
After chatting about the difference between animation and real shot, the interviewer turned the topic to the animated “Wolf JIN-ROH” and called it an experimental work dedicated to the study of the performance. Inoue completely denied this claim, because in the production of human wolves, the improvement of the original paintings that are not so good and the original paintings that deviate from the expression of intentions to the level that can be called commodities have been exhausted. The original painting, which was not bad, was further corrected to get close to the desired effect. This situation has not been encountered in the original artist’s career in the well, and certainly will not be there in the future. .
Since the wolf is not, then the letter to the peach? Since it was a waste of most of the time to make the level of production as good as possible in the production of “The Letter to the Peach”, it was only in the well that the “Letter to Peach” was just trying to get through the storm. .
If you reduce the number of animations, and then combine the elites of Honda, Ishiguro, and Binzhou Yingxi, and only do middle-length animations, you may be able to make the in-depth “completely pursuing animations of ideal paintings”. . But the reality is ruthless. Inoue has been working as an original artist for 37 years. So far, I have not produced an animation that makes me feel perfect. I also laughed in a joking tone and said that I might die with this dream. .
But Inoue is not desperate because he can’t make perfect animations, because animation is already the most likely image technology to get close to what he wants. This is the biggest reason he puts all his animation into himself. Even if you have not actually reached the ideal shore, as long as you move toward that goal, it is theoretically not an impossible task.
If you have a picture in your head and the strongest person with superb technology, you may be able to do it. For example, the animation of Hayao Miyazaki and Takahata. Miyazaki not only draws the original paintings himself, but also has a fast hand speed. He can repair many of the original paintings of others, so he can get as close as possible to his ideals. However, even Miyazaki, Inoue does not think that Hayao Miyazaki can convert his ideas into animations, but Miyazaki has indeed produced “Three Thousand Miles of Mothers”, “Future Boy Conan” and “My Neighbor Totoro”. “Works with high purity of Hayao Miyazaki.” .
However, the purity of the work is also a double-edged sword. There are shortcomings that make it easy to make the work become a product of supervising personal preferences, but as long as it is enough, people can definitely make a wonderful story. Pursuing the dream of “making high-purity works”, I feel that I am doing the same thing as Hayao Miyazaki. .
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Source: The album of the album, the secret treasure, the preparation number, the オールタイム・ベスト・アニメーション