• Two kinds of title logos were created forTHE END OF EVANGELION”. One is the logo used on the poster and advance tickets, and the other is the hand-written logo used as the title in the movie, which follows the style of the title used inREBIRTH”. The latter title logo is also the one used on the cover of this pamphlet.

• Episode 25′ “Airis based on the original episode 25 script which was completed during production of the TV series. Due to production time limits and other problems, this script was not used and the TV episode 25 “Owaru sekai (The Ending World)” instead became a drama which unfolded within an inner universe like episode 26. Dans ce sens, episode 25could be considered a return to the originally intended contents. In contrast, episode 26adds much more story and dramatic content to TV episode 26, thus deepening the theme.

• This movie was created as the remake of the last two TV episodes, so the TV episode format is followed, with each episode having its own subtitle and eyecatch scenes.

• The animation production company for this movie, PRODUCTION I.G, is known for having produced anime movies such asPatLabor 2 the Movie” et “Ghost in the Shell”. PRODUCTION I.G’s impressive production and editing efforts made this movie a high qualitytheatrical film”.

• The director of episode 25′ “Airis Kazuya Tsurumaki, who served as deputy director of the TV series. Although the script was written by Chief Director Hideaki Anno, all work from the direction onward was entrusted to Director Tsurumaki. Although Masayuki, who also served as deputy director of the TV series, is listed in the story board credits, and Shinji Higuchi is listed in the script and story board credits, they essentially followed the lead of Director Tsurumaki.

• Chief Director Anno personally undertook the direction of episode 26′ “Magokoro wo, kimi ni”. À cause de ça, the movie bears a strong imprint of his individual taste. Kiichi Jime and Shinji Higuchi also helped with the story boards for this episode.

• Masayuki, who served as deputy director of the TV series and director of the movieDEATH”, participated in a number of capacities on this movie including story boards, original pictures and as visual water artist. The depiction of water is considered the most difficult of all animation work, and Masayuki served as art director of all natural depiction of water and waves. For this reason, he was given the title ofvisual water artist”. He also drew the original pictures for the promotional posters of this movie.

• There were two art directors for episode 25and three for episode 26′. In episode 25′, Kazuya Kouse of PRODUTION I.G served as art director for scenes centering on characters, and Yuu Honda served as art director for mecha scenes. Kazuya Kouse is an animator known for cinema productions such asPatLabor 2 the Movie” et “Ghost in the Shell”, and he worked twice as art director in the TV series. Yuu Honda was the main art director for the TV series, as well as the animator for the opening sequence.

• The art directors for episode 26were Shunji Suzuki, Teishi Hiramatsu and Hideaki Anno. Shunji Suzuki and Teishi Hiramatsu served as the art directors for each scene, while Hideaki Anno handled the art direction for mecha scenes and cuts centering on special effects.

• Some real-life shots were used to depict the inner universe of Shinji in episode 26′, and a team called theSpecial Production Teamwas formed to film these shots. Hideaki Anno also wrote the script and served as chief director for these parts, with Shinji Higuchi participating in the role of special effects director. “Special effects directorin this context means directing the filming of special effects. The actual filming proceeded with Hideaki Anno and Shinji Higuchi mutually discussing their ideas and opinions of each shot.

• Although computer graphics (CG) were widely used in the Evangelion TV series, these were all processed in a flat (2-dimensional) manner such as computer screens. Dans “THE END OF EVANGELION”, CG which provided a broad spatial (3-dimensional) sense were introduced. The core of the CG production was Omnibus Japan, which had also handled the CG in such works asPatLabor 2 the Movie” et “Ghost in the Shell”. Most of the CG scenes are found after the start of the Instrumentality Project (HCP) in episode 26′, and include the cut where giant crosses spread to cover the entire surface of the Earth and the cut with an infinite number of Reis swimming around, etc. Omnibus Japan also attempted the processing of transmitted light in this movie, which is considered difficult for CG. Analog processing was also performed on these CG scenes using filters like those used for normal filming in order to create a visual feeling similar to other cuts. The staff names scrolling in a helix was also a CG effect done by Omnibus Japan.

• PRODUCTION I.G also handled a number of CG cuts. One of these is the cut where the nine giant Eva transport aircraft carrying the Eva series first appear on the screen in episode 25′. This cut where nine giant aircraft seen overlapping one another from a bird-eye’s view each slide in a different direction would be virtually impossible using conventional anime camera work, but can be done with CG. L' “Eirin” (Eiga Rinri Kitei Kanri Iinkai = Motion Picture Code of Ethics Committee) mark is also CG done by PRODUCTION I.G, so it is also billed as 3D animator in the telop. Computer screens and similar CG were all produced by GAINAX in-house like for the TV series. This is billed as 2D digital works in the telop.

• About one quarter of the episode 25part which repeats the content shown inREBIRTH”, released in the spring as the first part of the conclusion, was filmed again or otherwise remade to improve the quality.

• The effective use of classical music in the Evangelion TV series and the movieDEATHreleased in the spring made quite an impression. This movie used two classical pieces: “Air on G” et “Jesus bliebt meine Freundeby J.S.Bach.
Ce “Air on Gversion was arranged and newly recorded by Sagisu Shiro. It is used in the part where the second half of the battle between Eva-02 and the Eva series mass production models is shown intermixed with the confrontation between Gendou and Ritsuko. The English notation forAir on G” est “Air”, and the title of episode 25′ “Airis also taken from this piece. “Jesus bliebt meine Freundeis from a recompilation of an existing source, and is used in the part with the real-life shots in episode 26′.

• Two songs were written forTHE END OF EVANGELION”, both of which were produced by the team of Hideaki Anno and Shiro Sagisu. The first isTHANATOSIF I CAN’T BE YOURS”, which plays after the end of episode 25′. This is the vocal version of the BGMTHANATOS (E-13)” used in TV episode 19 “A Man’s Battle”. The vocalist is LOREN and the lyrics are by MASH, with composition and arrangement by Shiro Sagisu. Incidemment, THANATOS is the god of death in Greek mythology, and this word is also used to signify thedeath impulsein psychoanalysis., the producer of PRODUCTION I.G. Chief Director Hideaki Anno wanted the children’s songs heard in the background of the sandbox scene in episode 26to sound as close to real-life as possible, so Producer Ishikawa and his team went to this kindergarten and recorded these songs.

• The other song is the insert songKomm, süsser Todused in episode 26′. The lyrics are the English translation of words composed by Chief Director Anno. The title is German, meaning “Viens, Sweet Death”. The vocalist is Arianne, and composition and arrangement are by Shiro Sagisu.

• A total of 18 BGM pieces were newly composed and recorded. Special effort was made for the recording of the BGM used in this movie in order to greater reflect the wishes of Chief Director Anno. Plus loin, new tracks were also selected for the part which repeats the contents shown inREBIRTH”.

• The ending telop includes the item: “Special Thanks/Akishima Municipal Haishima Kindergarten”. This the kindergarten attended by the daughter of Mitsuhisa Ishikawa

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