前文請(qǐng)見(jiàn)：

My Shiro Sanada comes after 2199, where the “Sanada image” was remade

Interviewer: Since Sanada is featured as the narrator of the compilation, I would think that you yourself would have a strong attachment to him.

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Fukui: Hmm, I don’t know. If he and I were in close proximity, it would be a delicate relationship. (Laughs) We might have a good relationship in some strange way, but in any case I think he’s a completely different type of person from me.

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Interviewer: Then how do you perceive the character of Shiro Sanada?

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Fukui: I think there are as many images of him as there are fans, but to me I think the Shiro Sanada of the old series played a role as close as possible to Doreaemon. In the first Yamato series, we had a chance to see his background, but in the subsequent episodes his contradictory feelings about science never came up. He became like a handyman who provides “tools” and “wisdom” when we need them.

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Interviewer: It’s symbolized by the familiar phrase, “I wonder if this could happen.”

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Fukui: Even people who haven’t seen the work know that phrase. That’s how his character as a handyman was emphasized. It was 2199 that shed new light on his humanity. It took a very modern approach.

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Interviewer: As a fan, I was both surprised and convinced by the depiction of him as a person who has problems with interpersonal communication.

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Fukui: He joins the journey to Iscandar carrying a big “heartbreak” inside himself over Mamoru Kodai. Through the voyage, he confronts and overcomes his own emotional wounds. That process was very well depicted in 2199, wasn’t it? So my Shiro Sanada is the post-2199 Sanada. All my images of Sanada from before then were remade.

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Interviewer: In 2202, which you wrote, Sanada has a sense of distance from others and is more human than in 2199. The essence of this was his speech to the entire human race in the final episode.

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Fukui: That speech was also made that way because of how he was portrayed in 2199. That’s how it was born, wasn’t it? If someone other than Sanada had spoken, it would have sounded ordinary.

2199年之后的真田先生，形象被重新塑造的真田。

記者：既然真田是這部總集篇的敘述者，我想你自己也會(huì)對(duì)他有很深的感情。

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福井晴敏：嗯，我不知道。如果他和我很接近，那將是一種微妙的關(guān)系。（笑）我們可能在某種奇怪的方式下建立了良好的關(guān)系，但無(wú)論如何，我認(rèn)為他是一個(gè)與我完全不同的人。

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記者：那你是如何看待真田志郎這個(gè)角色的？

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福井晴敏：我想有多少他的粉絲就有多少他的形象，但對(duì)我來(lái)說(shuō)，我認(rèn)為老版系列的真田志郎扮演了一個(gè)非常接近哆啦A夢(mèng)的角色。在宇宙戰(zhàn)艦大和號(hào)的第一季中，我們有機(jī)會(huì)看到他的背景，但在隨后的幾集中，他對(duì)科學(xué)的矛盾感受從未被提及。他就像一個(gè)勤雜工，在我們需要的時(shí)候提供“工具”和智慧。

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記者：他的代表性語(yǔ)句是一個(gè)熟悉的短句，“我不知道這是否會(huì)發(fā)生?！?/p>

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福井晴敏：即使沒(méi)有看過(guò)這部作品的人也知道這句話。這就是他的雜工性格被強(qiáng)調(diào)的原因。直到（新作）2199里，他的人性才有了新的體現(xiàn)。并被采用了一種非?，F(xiàn)代的方法。

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記者：作為他的粉絲，我對(duì)他被描述成一個(gè)在人際交往方面有問(wèn)題的人感到既驚訝又信服。

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福井晴敏：他帶著內(nèi)心巨大的“心碎感”克服了古代守（注：男主古代進(jìn)的哥哥）的離去，踏上了前往伊斯坎達(dá)爾的旅程。在旅途中，他面對(duì)并克服了自己的情感創(chuàng)傷。這個(gè)過(guò)程在2199中被很好的描述出來(lái)，不是嗎？所以我所描繪的真田是2199后的真田。之前我對(duì)真田的所有印象都是被重置的。

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記者：在你所寫(xiě)的有關(guān)2202的文章里提到，真田有一種與他人之間的距離感，比2199更具有人情味。這句話的核心是他在最后一集對(duì)人類整體的講話。

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福井晴敏：那次演講也是因?yàn)樗?199的形象。它就是這樣誕生的，不是嗎？如果是真田以外的人來(lái)發(fā)表那次演講的話，聽(tīng)起來(lái)會(huì)很平淡無(wú)奇。

Interviewer: Certainly, only Sanada could make it sound so convincinFukui: That’s because of the humanity he acquired between 2199 and 2202. If another character had spoken, their background before the voyage would have gotten in the way. Don’t you think it would have been difficult to hear the straight story?

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Interviewer: That may be so. However, if we listen to the words of Sanada, who gained humanity through the two voyages, we’re better able to hear what he has to say.

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Fukui: That’s the difference between him and the Shiro Sanada of the old series. In the past, he was portrayed as an already-established character. He’s a handyman, but he also genuinely cares for Kodai, and behaves as a “big brother,” doesn’t he?

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Interviewer: There’s even the line in Farewell to Yamato where he says, “I’ve thought of you as a younger brother.”

記者：當(dāng)然，只有真田能做到讓它聽(tīng)起來(lái)如此令人信服。

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福井晴敏：那是因?yàn)樗?199到2202之間所獲得的人性。如果是另一個(gè)角色來(lái)開(kāi)口，那么他們?cè)谄鸷角暗谋尘熬蜁?huì)成為某種障礙。你不覺(jué)得要聽(tīng)實(shí)話很困難嗎？

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記者：可能吧。然而，如果我們聆聽(tīng)真田的話，他通過(guò)兩次航行獲得了人性，我們就能更好地聽(tīng)到他想要說(shuō)的東西。

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福井晴敏：這就是他與老版系列的真田志郎的不同之處。在過(guò)去，他被描繪成一個(gè)已經(jīng)確立的角色：他是一個(gè)勤雜工，但他也真正關(guān)心古代進(jìn)，表現(xiàn)得像個(gè)“大哥”，不是嗎？

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記者：在《再見(jiàn)了宇宙戰(zhàn)艦大和號(hào)》中，他甚至有一句臺(tái)詞是這樣說(shuō)的：“我已經(jīng)把你當(dāng)成我的弟弟了。”

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福井晴敏：但在2199里的真田哪怕是倒過(guò)來(lái)也不會(huì)這么說(shuō)，因?yàn)樗静粫?huì)這么想。

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記者：他與老版有一個(gè)共同點(diǎn)，那就是他是艦橋組員里是個(gè)可靠的長(zhǎng)者。他沉著冷靜，帶領(lǐng)著艦橋成員。

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福井晴敏：這在重置的系列里也有驚人的不同。他做事都是靠自己，如果他認(rèn)為自己是對(duì)的，他就會(huì)這么做。劇情得以發(fā)展下來(lái)。

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記者：是的，確實(shí)如此。

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福井晴敏：事實(shí)上，在這個(gè)故事中，真田犯的錯(cuò)誤比任何人都多。他在2199里所面臨過(guò)的最重大的事件是第13集《異次元之狼》，這個(gè)在故事里并沒(méi)有真正提到。他在如何處理應(yīng)對(duì)次元潛艇的問(wèn)題上與古代進(jìn)發(fā)生了沖突。

Interviewer: It’s a scene of disagreement between Sanada, who respects rational judgment, and Kodai, who wants to act based on his intuition.

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Fukui: At that time, they lost a lot of people on the crew as a result of Sanada’s final decision. That would have been a big deal for Sanada. For the rest of his life, he’ll have to carry the weight of the lives lost because of his own decision.

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Interviewer: I see.

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Fukui: That’s why, for Sanada, the theme of the voyage in 2202 is “redemption.” We discussed it in the early stages and tried to depict the subtleties of that.

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Interviewer: If that’s the case, then Age of Yamato is also a compilation for the character of Shiro Sanada.

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Fukui: There is no doubt that we were able to go through this 2-hour work together because of his presence. That’s why the Shiro Sanada of the remake series is an important person for me.

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記者：這是尊重理性判斷的真田與希望憑直覺(jué)行事的古代之間的分歧。

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福井晴敏：當(dāng)時(shí)由于真田的最后決定，他們失去了很多船員。這對(duì)真田來(lái)說(shuō)可是件大事。在他的余生里，他將不得不承擔(dān)起因?yàn)樗约旱臎Q定而失去的生命的重?fù)?dān)。

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記者：我明白了。

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福井晴敏：這就是為什么對(duì)真田來(lái)說(shuō)，2202的航行的主題是“救贖”。我們?cè)谠缙陔A段就討論過(guò)這個(gè)問(wèn)題，并試圖闡述其中的微妙之處。

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記者：如果是這樣的話，那么《大和號(hào)的時(shí)代》也是對(duì)真田志郎這個(gè)角色的總集篇。

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福井晴敏：毫無(wú)疑問(wèn)，因?yàn)樗拇嬖?，我們能夠一起完成這兩小時(shí)的工作。這就是為什么重置版系列的真田志郎對(duì)我來(lái)說(shuō)很重要。

（點(diǎn)頭）

（未完待續(xù)）