原地址：https://ourstarblazers.com/vault/515a/

譯者注：因?yàn)樵L談?dòng)涗泝?nèi)容過(guò)長(zhǎng)，因此接下來(lái)會(huì)拆分為數(shù)篇內(nèi)容發(fā)表，望讀者諒解。

人物名稱羅馬音對(duì)照：

Harutoshi Fukui——福井晴敏

Shiro Sanada——真田志郎，為舊版/新版宇宙戰(zhàn)艦大和號(hào)系列中的關(guān)鍵角色，新版的CV為大冢芳忠。

Harutoshi Fukui interview, Nov 2020

Issue 9 of the Star Blazers/Yamato Premium Fan Club magazine chose Shiro Sanada as the focus of several articles, timed to coincide with the approach and premiere of the Age of Yamato compilation film. Writer Harutoshi Fukui describes his take on the character, the role he plays in the compilation, and offers a tiny glimpse of what we have to look forward to in the next adventure.

福井晴敏的訪談，2020年11月

《Star Blazers》/《大和號(hào)高級(jí)粉絲俱樂(lè)部》雜志的第九期選擇了真田志郎作為幾篇文章的焦點(diǎn)，時(shí)間剛好與劇場(chǎng)版總集篇《大和號(hào)的時(shí)代》相吻合。作者福井晴敏描述了他對(duì)這個(gè)角色的理解以及他在編輯過(guò)程中所扮演的角色，并為我們提供了一個(gè)微小的機(jī)會(huì)讓我們得以窺見(jiàn)在下一次冒險(xiǎn)所期待的東西。

（譯者注：這里的“下一次冒險(xiǎn)”指的是2205）

The Age of Space Battleship Yamato, Selections from 2202AD

A talk with writer and supervisor Harutoshi Fukui

The new appeal of Shiro Sanada

The Age of Space Battleship Yamato will be screened in theaters January 2021, and of all the things that have been reported, the one that caught the interest of Yamato fans is that Shiro Sanada has been appointed as the narrator of the main story. As the remake series progresses, our “Mr. Sanada” has gained more and more presence. As the top batter of these special features that unravel Sanada’s appeal, let’s start with Harutoshi Fukui, who has been working on the series since 2202.

(Photos by Shinya Ohira)

《宇宙戰(zhàn)艦大和號(hào)的時(shí)代，西歷2202年的選擇》

與作者兼指導(dǎo)者福井晴敏的談話

真田志郎的新魅力

《宇宙戰(zhàn)艦大和號(hào)的時(shí)代》將于2021年1月在影院上映，在所有已經(jīng)報(bào)道過(guò)的事情中，讓大和號(hào)粉絲們感興趣的是真田志郎被任命為主要故事的敘述者。隨著重置系列的進(jìn)展，我們的“真田先生”已經(jīng)獲得越來(lái)越多的存在感。讓我們從自2202起就開(kāi)始研究這個(gè)系列的福井晴敏的開(kāi)始吧。

（圖片由Shinya Ohira提供）

Why only Shiro Sanada could be the “narrator” of the special compilation

Interviewer: Shiro Sanada is the subject of the special feature in this issue of the magazine, so the first thing I want to talk about is the compilation film about to be released, since Age of Yamato has a special relationship with him. He acts as the narrator in this work, which is an important role. Was it your idea?

?

Fukui: That’s right. No matter how you think about it, Shiro Sanada is the best choice to tell the story of Yamato, including the “prehistory.” So there was no objection to his appointment.

?

Interviewer: Certainly, there is no one else who can explain the whole story.

?

Fukui: The image of a “commentator” is widely established, and Sanada in particular has become a sincere and sarcastic character, especially in the remake series.

?

Interviewer: When I first heard about this casting, it reminded me of a science documentary program on Discovery Channel, hosted by William Shatner, known for his role as Captain Kirk in Star Trek.

?

Fukui: I don’t think it feels that showy. Even though he’s a storyteller, he’s in a TV program produced within the world of the story, and he’s interviewed as a person involved. He’s an officer wearing a proper military uniform, so it feels like he’s seriously answering questions and explaining things. It’s kind of a fake documentary, so to speak.

?

Interviewer: Like an NHK special? (Translator’s note: Japan’s equivalent to PBS.)

?

Fukui: It’s exactly like an NHK special produced around the year 2205. I was aiming for something like that with the title, Age of Yamato, Selections from 2202AD. (Laughs)

?

Interviewer: I see. (Laughs) What was your intent in taking the form of a fake documentary?

?

Fukui: This special compilation is a companion work to Yamato 2205, The New Voyage. It’s the part that corresponds to a “review” you would see before watching 2205. I was particularly conscious of the former Yamato fans who haven’t had a chance to see the remakes yet. What content would they need to connect with 2205? As a result of that thinking, I came up with a special compilation that allows you to understand the world of the remakes in about two hours. On the other hand, using Shiro Sanada os the narrator, we were able to create a fake documentary that re-examines the worldview and message of the remake, and I think it’s a work that can be enjoyed by the core fan base, like those who subscribe to the Yamato magazine.

為什么只有真田志郎可以成為這一特殊總集篇的“敘述者”。

記者：真田志郎是本期雜志特刊的主題，所以我首先想要談的事即將上映的總集篇電影，因?yàn)檫@部《大和號(hào)的時(shí)代》與他有著特殊的關(guān)系。他在這部作品里扮演敘述者的角色，這是一個(gè)很重要的角色。這是你的主意嗎？

?

福井晴敏：沒(méi)錯(cuò)。無(wú)論你怎么想，真田志郎都是講述包括“編年史前”在內(nèi)的大和號(hào)故事的最佳人選。所以對(duì)于這一點(diǎn)是毋庸置疑的。

?

記者：當(dāng)然，沒(méi)有其他人能解釋這個(gè)故事。

?

福井晴敏：“解說(shuō)員”的形象已經(jīng)廣為人知，尤其是在重置系列里，真田已經(jīng)成為了一個(gè)真誠(chéng)而諷刺的角色。

?

記者：當(dāng)我第一次聽(tīng)說(shuō)這個(gè)這個(gè)演員陣容時(shí)，他讓我想起了探索頻道里由威廉·夏特納主持的一個(gè)科學(xué)紀(jì)錄片節(jié)目，而他以在《星際迷航》扮演柯克船長(zhǎng)而聞名。

福井晴敏：我不認(rèn)為他讓人感覺(jué)那么浮夸。雖然他是一個(gè)講故事的人，但他是在一個(gè)電視節(jié)目里制作了這個(gè)故事的世界并作為一個(gè)相關(guān)人員接受采訪。他是一名穿著得體的軍官，所以感覺(jué)他在認(rèn)真回答問(wèn)題并解釋東西?？梢哉f(shuō)，這是一部偽紀(jì)錄片。

?

記者：比如NHK的特輯？（譯者注：在日本相當(dāng)于PBS）

（個(gè)人注：NHK指日本廣播協(xié)會(huì)，PBS指美國(guó)公共電視網(wǎng)）

?

福井晴敏：這和NHK制作的2205特輯節(jié)目一模一樣。我的目標(biāo)是從2202年開(kāi)始的《大和號(hào)的時(shí)代》（笑）。

?

記者：我明白了（笑），你打算以偽紀(jì)錄片的形式制作這部總集篇的意圖是什么？

?

福井晴敏：這個(gè)總集篇是《宇宙戰(zhàn)艦大和號(hào)2205》的配套作品。這部分內(nèi)容相當(dāng)于你在觀看2205前所看到的“評(píng)論”。我特別注意到那些還沒(méi)有機(jī)會(huì)看到重置版的前大和號(hào)粉絲，他們需要什么內(nèi)容才能聯(lián)系到2205？基于這種想法，我構(gòu)思出了一個(gè)總集篇，讓你能在兩個(gè)小時(shí)內(nèi)就能了解重置版的世界觀。另一方面，通過(guò)敘述者真田志郎，我們能夠創(chuàng)造一個(gè)偽紀(jì)錄片，重新審視重置版的世界觀和信息，我認(rèn)為這是一個(gè)可以被比如那些訂閱大和號(hào)雜志那樣的核心粉絲群所欣賞的作品。

Many highlights, including new footage! A work that goes beyond the limits of a compilation

Interviewer: Are there any new parts to the film other than the TV program in which Sanada appears?

?

Fukui: One of the highlights in terms of new scenes is the “Second Naval Battle of Mars.” It’s a scene that has been talked about in the story so far, but hasn’t been depicted on screen. To be honest, it took a lot of time and effort and “it wasn’t supposed to be this hard!” (Laughs) Kia Asamiya drew the storyboard, and even the staff thinks it’s amazing. In addition, you can’t miss the Apollo launch scene. At first we thought about using tone-rendering to make anime based on real-world recorded images, but when we actually tested it, it looked too different. In the end, we took advantage of the drawing team’s encouraging words, “We can draw something like this,” and they completed this amazing image as well.

?

?

?

Interviewer: When the premiere date was announced, you commented that it starts, “From zero, not from one.” Why did you choose the Apollo Project as the starting point of your retrospective?

?

Fukui: The starting points for talking about the history of humanity’s journey to the world of Space Battleship Yamato are “space” and “battleship” [war], so those are two options, right? In this case, I think “space” is the more suitable choice. The people living in the world of Yamato encounter intelligent life forms one after another, which were previously thought to exist only on Earth, and humans change through their relationships with them, despite the turmoil. The beginning of that history is the Apollo Project, which was the first decision to travel to space, wasn’t it?

?

Interviewer: When I hear you say that, this seems to be more than just a compilation, and it has a grand theme. As the one in charge of composition, supervision, and scriptwriting, I’m sure you must have had a lot of work to do.

?

Fukui: Actually, my impression this time is that I didn’t have to do that much work. The most difficult part of composing the story was handled by Yuka Minikawa (screenplay) and Junichiro Tamamori (concept advisor). They put together the history that leads to 2205. It was not only a matter of reconciling the timelines of the old and new series, but also parts that weren’t outlined in Yamato history. For example, when did the migration to Mars begin? They thought about it in detail down to the date level. Honestly, I just used the ideas they came up with. I’m sure they’ll resent me for saying this. (Laughs)

包括新的鏡頭在內(nèi)的許多亮點(diǎn)！超越總集篇的作品。

記者：除了真田志郎出現(xiàn)的鏡頭外，這部電影還有什么新的部分嗎？

?

福井晴敏：新場(chǎng)景的亮點(diǎn)之一是“第二次火星海戰(zhàn)”，到目前為止，這個(gè)場(chǎng)景在故事中被討論過(guò)，但還沒(méi)有被搬上熒幕。說(shuō)實(shí)話，這花了我很多時(shí)間和經(jīng)歷，而且“不應(yīng)該這么難”?。ㄐΓ㎏ia Asamiya*繪制了故事板，甚至連員工都認(rèn)為它很了不起。此外，你不能錯(cuò)過(guò)阿波羅發(fā)射現(xiàn)場(chǎng)。一開(kāi)始我們想用色調(diào)渲染來(lái)制作基于真是世界紀(jì)錄圖像的動(dòng)畫，但當(dāng)我們真正測(cè)試它時(shí)，它看起來(lái)太不一樣了。最后，我們借助繪畫團(tuán)隊(duì)的鼓勵(lì)“我們可以畫出這樣的東西”，他們也完成了這幅令人驚嘆的圖像。

*：百度了一下這位是麻宮騎亞。

?

記者：當(dāng)宣布首映日期的時(shí)候，你說(shuō)過(guò)它會(huì)“從零開(kāi)始，而不是從一而終”。你為什么選擇阿波羅項(xiàng)目作為回顧的起點(diǎn)？

?

福井晴敏：談?wù)撚钪鎽?zhàn)艦大和號(hào)里的人類歷史旅程的起點(diǎn)是“太空”和戰(zhàn)艦（戰(zhàn)爭(zhēng)），所以這是兩個(gè)選項(xiàng)，對(duì)嗎？在這種情況下，我認(rèn)為“太空”是更合適的選擇。生活在大和號(hào)世界觀的人們不斷遭遇到一種又一種的智慧生命形式，而這些智慧生命形式以前被認(rèn)為只會(huì)存在地球上，而人類通過(guò)與他們的接觸而發(fā)生改變——盡管有些混亂。而這段歷史的開(kāi)始是阿波羅計(jì)劃，因?yàn)樗堑谝粋€(gè)決定發(fā)起太空旅行的，不是嗎？

?

記者：當(dāng)我聽(tīng)到你這么說(shuō)的時(shí)候，這似乎不僅僅是一個(gè)總集篇，它有一個(gè)宏大的主題。作為一個(gè)負(fù)責(zé)寫作、監(jiān)督和編劇的人，我相信你一定有很多工作要做。

?

福井晴敏：實(shí)際上，我這次的印象是，我不需要做那么多的工作。創(chuàng)作這個(gè)故事最難的部分是由Yuka Minikawa（劇本）*和玉盛順一郎Junichiro Tamamori（概念顧問(wèn)）**處理的。他們匯集了通往2205的歷史。這不僅是一個(gè)新舊系列時(shí)間線的協(xié)調(diào)問(wèn)題，也是大和號(hào)歷史中沒(méi)有概述的部分。例如，人類是什么時(shí)候開(kāi)始向火星移民的？他們?cè)敿?xì)地考慮了這個(gè)問(wèn)題，甚至到了為此約會(huì)的程度。說(shuō)實(shí)話，我只是用了他們想出的點(diǎn)子。我肯定他們會(huì)恨我這么說(shuō)的。（笑）

*：未查出此人是誰(shuí)

**：新版宇宙戰(zhàn)艦大和號(hào)系列的機(jī)設(shè)人員，在之前的采訪里他表示2205將會(huì)回歸2199的風(fēng)格。

未完待續(xù)