All language subtitles for Hideaki Anno - The Final Challenge of Evangelion (Pt.1)

Yes. Just a moment, please.

Good morning.

What time does Anno-san
usually arrive?

There’s not really a set time.

We see him now and then.

He doesn’t come that often.

Good luck.

Good morning!
Don’t mind us.

You won’t get a good shot here.

What time do you usually come?

Depends on the day.

Shall we get started?

About the proposal
for Unit 08’s controller,

please tell me what you think.

If it looks good, it’s OK with me.

Anno-san doesn’t open up in big groups.

He doesn’t like big meetings like that.

Most directors point
the way a bit more.

It’d be faster if he just told
us what he wants.

Is that the script?

Yeah, notes on the narrative line.

You write by hand?

Digital would be better,
but I prefer paper.

I rearrange these in blocks.

How long does it take
to finish a script?

It depends on the project.

How about for this project?

Hmm. How long has it been?

Eight years since I started, I guess.

Will this really be the
end of Evangelion?

Yes, this is the end.

The story will be over.

- Will you miss it?
- No.

I see.

- Will you come tomorrow?
- No, not tomorrow.

Take care.

He’s a mystery man.
A real mystery.

I wonder how many people
around him

really understand him.

One thing I do know:
if it’s not made by him,

it’s not Evangelion.

Shinji Ikari, I have something
to show you.

Multipurpose Humanoid Decisive Weapon
made by man.

Artificial Human Evangelion.

It is humankind’s final trump card.

Is this my father’s work?

Correct.

It’s been a long time.

Father…

Anno’s an eternal adolescent.

He’s almost 60 but hasn’t grown up.

There’s no way I’ll ever
be able to pilot this!

He wanted to become an adult,
but he missed the boat.

You always run away
from things you don’t like.

So what?

What’s wrong with that?

Just look at the character Shinji.

A stray sheep. That’s Anno.

And that’s what he creates.

That pain comes out in his work.

Young people relate
to that pain of living.

How about stir-fried pork?

Sounds good!

No, thanks.

I don’t eat pork.

Without pork, then.

Vegetables, egg, and tofu.

Is that OK, Anno-san?

Not all of it.

I’ll just take what I like.

I don’t care for shiitake.

I see. Too bad…

He’s very wary of unfamiliar things.

He wouldn’t eat zucchini at first.

I told him it’s a cross between
cucumber and squash.

I explained it carefully,

and noted that he can eat
cucumbers and likes squash.

I urged him not to be afraid.

I’m against power pole removal.

What?

The plan to get rid of them.

People don’t see their beauty.

You seem pretty worked up about it.

You have a lot of them in your work.

Yeah, everywhere.

Aesthetically, they’re self-sufficient.

All those hanging power lines
are great.

You’re getting so excited!

And now, I’d like to introduce
our special speaker.

Thank you for coming!

What kind of student were you
in middle and high school?

I was an excellent student
in middle school.

I got good grades.

Then in 8th grade I watched
Space Battleship Yamato.

I became a hardcore fan.

Most of my middle school
memories are lines from that.

Lines and music.

Can you still remember any lines?

If I started that,
our time would be used up.

Back then I thought it was
useless to memorize them.

But it’s very useful now in my work.

Should people have dreams?

It’s better than not having them.

Thank you.

Any other questions?

It’s your chance.

When will the final Eva
episode be released?

We’re making it now,
but I can’t say, yet.

Excuse me, sir.
Could I have your autograph?

Thank you!

- Sorry my question was so simple.
- No problem.

In middle and high school
I was told dreams are useless.

That was a painful time.

- Dreams have to be found.
- Thank you.

Dreams hit you unexpectedly.

- Thank you.
- Hang in there.

Ah, here it is.

- Good morning.
- Good morning.

Would that normally be
on temporary housing?

Something lightweight would be OK.

I wanted a little vertical texture.

- It looks fake.
- OK.

The power poles should
be more realistic.

They wouldn’t be here.

The power lines should
follow the streets.

Note down “power poles.”

The width of the stairs…

A fire tower wouldn’t be there.

Let’s put this pole here.

Forklifts can’t place it so far back.

Put it closer to the tracks.

No use filming me.

Everything will look the same.

An angled shot will get the whole set.

Take it from across there.

Why are you using a miniature
set this time?

Hmm.

I guess because my
imagination is limited.

It’s important to see it physically.

I don’t have that in my head.

A miniature set stimulates ideas.

You can see if something’s off,
both sensually and logically,

and tell right away if
something’s missing.

It’s hard to do that
just in your head.

It’s a waste to film me entering!

Good morning.

We’ve done the corrections
from last time.

These are close.

The toilets would be together.

This isn’t right.
Let’s put it here.

Let’s exchange these positions.

This should do it.

- Thank you.
- Thank you.

It looks real when you crouch down.

Yes, it’s quite dense.

I don’t want too much empty space.

I think that finally does it.

The more you look,
the more problems you see.

Thanks, this time for real.

Second thanks.

I understand completely.

Third thanks.

Thank you!

Can a power pole be that close?

I guess so…

It’s too crowded here.

Fourth thanks.

My legs are shaky.

Get one thing right, and
other things bother you.

That’s it.

What number is it?

Fifth thanks?

Thank you!

We’re not done until you say so.

I brought sketch pads.

Won’t a long shot show
the monster castle?

If we go straight forward toward it…

Hello!

There’s a spot in back.

Anywhere is OK.

I’m still tired from yesterday.

- Your legs?
- Legs and hips.

And shoulders.

I used muscles I don’t usually use.

I could hardly get up today.

We’re just working quietly.
It’s not that interesting.

What are you doing today?

Nothing much. I’m just here
if someone has questions.

Did you get what I sent you?

Yes, here they are.

This is the one sent last, right?

This might be a chance
to share your image.

Can’t tell yet.

Shall we do it later?

Yeah, I need more time.

We have lots of ideas for Unit 02.
Shall we go ahead?

I don’t know yet.

Let’s do what we can.

Swing it by the leg joints…

Too rough?

No, rough is good.

I dreamed I saw our Eva in a theater.

There were lots of scenes
I didn’t know.

It was amazing!

Unit 02 and Unit 01 were
speeding in the clouds.

Then they came out on a giant kite.

I thought, Anno-san’s messed it up!

I wouldn’t use a kite.

No use filming me. It’s boring.

- See you later.
- Thank you!

We all put out ideas
but get no response.

We don’t get a “yes,”
we don’t get a “no.”

That’s how it goes.

Yes, with Evangelion.

Does he even look at the ideas?

Sure. He says, “I know it’s not this.”

But when we ask why not,

there’s no answer one way
or the other.

It’s hard to know what to do.

I bet it’s the same for him.

He wants ideas, but all he
knows is what doesn’t work.

We’re all struggling.

At times like this,

his responses aren’t always the best.

Good point.

Absolutely!

It’s a waste of time to ask.

It leads to a dead end.

It leaves us nowhere.

Good morning!

Did you film outside?

That’s next.

Heavy rain is coming.

Sounds like it’ll get even heavier.

Take it at its heaviest.

Use it as an insert.

Such a downpour.

A really violent storm.

You should go out there and film it.

At its peak.

It’s not just food.
He’s very particular.

About his work and everything else.

He doesn’t want things he
dislikes mixed into his work.

The things he rejects

lie like corpses all around.

Then they’re resurrected
into the right answer.

So we have to piece things
together, each time.

He creates what he wants
no matter what.

Even if it cracks friendships,

he won’t settle for less.

Anno-san is tough on people.

He only wants what’s best for the work.

That makes him extraordinary.

Sensors up high are good.

I’ll introduce the actors.

Shinji is played by Anna Mizuno.

Hello, everyone!

Shinji, why are you sitting in a corner?

Come sit here.

Let’s try different angle shots.

That’s all we’ll need.

Bringing the camera in
makes a great shot.

The angle is key.

Sorry I’m late.

Can you get the bottle and both faces?

It’s OK for the camera to move.

It’s hard with Kensuke there.

He said it’s OK for the camera to move.

Never mind me. Shoot them.

It’s difficult.

Can we move on?

Not yet. Just a bit more.

We need a good frontal long shot.

Even just a face.

We need at least one good shot.

We hardly have anything that’s usable.

We might have too much material.

But that’s what Anno-san wants.

Some of it looks like it
was taken by accident.

What’s wrong with that?

It’s good to have lots to work with.

Do you ever want to do it yourself?

Not really.

It’s better for me to
delegate it to others.

I’ll do it if something’s missing.

Otherwise, I’d wind up
doing it all myself.

That would limit the outcome.

I want to express myself
by external means.

It might be the antithesis
of a bloated ego.

Animation is a lump of pure ego.

Why do you think that?

That’s a secret.

- A secret?
- Yes.

I thought that was the most important.

That’s why it’s secret.

OK.

Anno-san always wants to delegate.

But he can’t.

In the end, he redoes everything.

It’s only by constantly revising things

that he can be satisfied with
what he makes.

My abs hurt!

The moment he knows what
he wants, he becomes a creator.

OK. Thank you!

Thanks for coming.

Thanks for taking the time.

We heard you might be
uneasy with our filming.

We’d like to talk directly and
see if we can resolve it.

I know you’ve only got one camera,

supplemented by an action cam
once in a while.

I feel that you’re taking
unneeded footage of me.

I shouldn’t be the center of focus.

I’m the director and producer,

but I get others to do the
actual onsite work.

Their bafflement is what’s interesting.

I know the amazing things
they’re doing.

The struggles of those around
me should be the focus.

We’ve taken a lot of that footage, too.

Those struggles are being captured.

- Not enough.
- No?

No need to show me talking.
Narration can do that.

Show the staff’s reactions.

Hayao Miyazaki plays along on camera.

That doesn’t work with me.

I’d like to see you make
something different.

I want your program to be appealing.

Then my work will look appealing, too.

- Have you filmed the editing room?
- Not yet.

Better do it today.

I don’t get it.

Tears?

Am I crying?

Is this loneliness?

Cuts with Shinji in it...

Any more of them?

It’s incomprehensible.

I hate this.
Can’t we do something?

We can’t submit this.

Shall we mark it and say
it’s not working?

Shouldn’t we just cut it?

We’ve been doing this for decades.

We’re stuck in a routine,
myself included.

Routines have the strength
of repetition.

It’s very unlikely to generate
something new.

If we make this Eva the old way,

it’ll just be an extension of
the 3 previous ones.

Same old, same old.

It almost certainly won’t be new.

That’s unacceptable.

You’ve seen your staff’s simulation.

What do you think?

There’s a lot of work to do.

Will you do it yourself?

Yeah, because there’s no time.

You’ll build on the good parts?

Hmm. I don’t know.

I might redo it from scratch.

Shall we start at the top?

The top? Understood.

This, 37.

37, 39, 43.

It’s boring.
What can we do?

It’s too ordinary.

Is it OK? It’s not weird?

I think it’s all right.

You’re an editor too, right?

- Why don’t you lend a hand?
- No, no!

If you have any ideas,
let me know.

Too ordinary.

Which is better?

The edgy one.

The edgy one, huh?

It’s so ordinary.

That’s not necessarily bad.

Go with ordinary…?

Help me out here, Kubota-san!

I wish I could…

All this material, but
not enough angles.

- Shots with sashimi?
- Yes.

Why did you agree to do
this documentary?

Well, it’s good for sales.

I knew you’d say that.

If I’m too mysterious I’ll be isolated.

I need to excite people’s interest.

It’s hard to feel optimistic these days.

Nowadays people don’t like the unknown.

If you made a documentary
about yourself,

what would it be like?

Hmm. I wonder.

Documentaries actually don’t exist.

Only usable footage gets used.

At that point, it becomes a fiction
we call a “documentary.”

Just one more.

Excuse me!

And tea, too.

Your staff is in quite an uproar.

Can’t be helped.

I’ll do it myself from now on.

What overwork will do
to my body and spirit

is all beside the point.

Top priority goes to making
something interesting.

Harden your heart…?

It’s already hardened, in that sense.

Let’s take a short break.

We have a meal prepared.

I’ll buy it myself.
Don’t worry about me.

Hmm. Not right.

Nope. All wrong.

What’ll I do?

It’s too ordinary and boring.

Is it the angle? I can’t tell anymore.

He thinks if he were in the audience,

he wouldn’t be satisfied at all.

He wants to make something
that would please himself.

It’s the same when he’s home.

Once he fixates on what he wants,
nothing else matters.

He’s amazing and I have
great respect for him.

But then he tells silly lies.

I ask him, what did you
have for lunch?

He says “noodles,”
but I know it was pizza.

It’s obvious.

He tries to get away with
things like that.

He thinks he’s so cute
that I’ll forgive him.

But I don’t let him off so easy.

Just show tunnels for
the wandering scene.

Going in, half-view, close up.

Just a series of those.

Different tunnels?

Yeah. Different tunnels.

Let’s start here.

Right in the middle of a tunnel.

Let’s see how it works.

It feels like he’s come a long way.

Just showing the tunnels.

Let’s do it that way.

Time for a break.

An ordinary approach
leads to ordinary cuts.

That’s not necessarily bad, but…

It’s a lot of work for boring results.

That kind of “good enough” attitude

just doesn’t do it for me.

What should we do?

What would Rei Ayanami do?

You’re not Ayanami-san, right?

Eat this tasteless food, idiot!

I’m back.

Whew! It’s way too long.

You think?

I don’t want to see all those
cuts of Shinji being depressed.

Enough’s enough!

I finally saw the last one!
I’m shaking!

We saw it, didn’t we?

Have you seen previews like this before?

No, never before.

This is our first time.

This surprised me when I came to khara.

Staff watching the preview
and sharing opinions.

Any interesting opinions?

In principle, I’ll consider
all of them.

Some have an opposite view,
so I’m not getting through.

No use keeping things
that don’t get through.

We should cut places that
aren’t understood.

People with fresh eyes
have a direct response.

I want to honor that.

“Too much explanation at the beginning”

“Reasonable, but too preachy”
“Not enough words”

“It seemed weird when Shinji suddenly yelled out”
“I don’t understand the intent”

I think I need to rewrite Part A.

The script isn’t good enough.

I want to do it over.
Start from scratch.

I thought I accurately rendered
the ups and downs

of getting out of depression.

But it didn’t get through at all.

I put everything I had into this.

But I was unable to
convey it to others.

I thought I’d done my best.

Now I see I have to do better.

Anno-san, I heard
you’re doing a rewrite.

Will you lock yourself away?

I don’t really know.

I’ll go somewhere to focus on it.

We’re way behind schedule.

We can take just this scene
from Part A

and do it as planned.

It’s gotten interesting for you, eh?

This is really no joke.

Not from a production standpoint.

What will he do?

Oh, it’s always like this.

It is?

It’s the final Eva project.

We don’t want regrets.

None of us wants that.

Anno-san jerks you around
but you still work with him.

Why is that?

Hmm. Good question!

Now that you mention it,
it’s hard to say.

I guess it’s because this job
lets me freely do what I love.

Other places have strict plans,
for better or worse.

They demand nothing more.

Where was the objection?

Here, I know we’ll make
something uniquely interesting.

Otherwise, I would probably quit.

But this’ll be something
no one’s ever seen.

That’s my biggest reason for staying.

A normal director would use this angle.

It’s boring.

Boring.

Boring.

Work supremacism.

I push and push to see
how far the work can go.

It’s not my personal desire
that matters.

It’s my desire to make the work
as interesting as possible.

The work is at the center, not me.

What’s best for the work?
That’s the question.

The work outweighs my own life.

I’m willing to die if
it completes the work.

I get paid for this.
I have to please the audience.

I’m not doing it to please myself.

It’s the least I can do for
fans who pay to see it.