Sinnesspiel (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
sinnesspiel) wrote2013-01-20 05:54 pm
sinnesspiel) wrote2013-01-20 05:54 pm
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Conqueror of Shamballa Script Notes - Part C
Notes from the script in the Shamballa Scenario Book, which has the film's script. I'm just picking out excerpts of the side notes I thought were interesting and/or may be useful to people discussing the series, roleplaying, etc.; those that I am skipping are historical facts that one could look up in far more detail if they had interest, things already assumed to be known by most English speakers (that racism or delusional beliefs were a thing espoused at the time and not necessarily the views or beliefs of any directors making period pieces, that the picture of everyone with Haskin's bomb is fiction rather than history, Fritz's film and personal history, etc.) or references back to the series that I think all fans will know without reading it here (Who Envy is in relation to Hohenheim, etc.)
Prototype script notes are on other posts with the prototype tag.
Feedback, questions, comments and discussion welcome!
I've kept my personal sentiments out of translations and I think it's clear when it's my statement rather than a translation. Quotes are direct translations, other times I don't feel like coming up with a good way to match the words exactly in the text and summarize the content. Note that the writers tend to put 'I think' and 'probably' in their own written text; that's normal in Japanese even on things about which they are the authority. That's not MY sentiment being written as a quote.
While Fritz Lang is a real person living in reality, there's a note musing that he seems to put more value in dreams and fantasy worlds in fiction than in the real one. This is first shown in how absorbed he feels in his movie sets and how he seems most at home there. From someone who values dreams more than reality like Fritz Lang, the line "Which is the dream and which is reality?" throws Ed for a loop, as he's been caught up in the particulars of reality and dreams.
They thought about having some bits of the series' fictional technology also be in the photo of the bomb and other collected goods, such as Archer's parts, but working in how it got there would take screentime. There was mention of Einstein's relativity and how the wonky timeline could be involved, but that's not really how that works.
They considered never actually showing any cut of Hitler and just using a silhouette since he's ubiquitous enough and not really a proper character in the story, but decided to show him after all for this scene. At the point when Hitler is shown with Eckart, Hitler is intending to and succeeding forward without any plans to use the Occult resources of the Thule Society. Eckart says she wants to support Hitler, but what is really happening is that she would like the Nazi's support to get to the other world. The scene was meant to show their differing expectations.
"Alfons's sickness is lung cancer. He got it because he breathed in damaging gasses every day." (I've seen arguments about this a few places throughout the net and I personally thought it was TB along with about everybody I've ever spoken about it to, so if anyone needs to cite this, it's footnote 1 on page 105 of the Shamballa Scenario Book. )
Alfons tells Ed he has no right to say anything about him wanting to leave proof he lived. "In truth, more important than Germany, more important than Ed's world, the rocket is, more than anything to Alfons, simply proof that he had lived. He wants to impress upon Ed that he really lives here, even while Ed himself lives here as if he's in a dream."
There's a comment that the scene where Noah comes into Ed's room and presses their foreheads together would probably make fans wail. They had her fully dressed, but they did consider having her come in in a nightgown too.
Scene: Winry and Sceizka, at the graveyard, meeting again.
To Winry and Sciezka, Al is someone erratic and perilous whom they need to protect. Since he's lost his memory, he doesn't remember all he's been through from his journey and everything he learned, after all. He's not got anything on his mind but simply wanting to meet his brother, excessively. "Granted, Ed used to be that way, previously. "
Ed asks for White Sausage. "White Sausage is a Munich specialty. Since everybody eats it together with their morning beer, it usually sells out before noon. That's why Ed asks if there's still any left."
For the line where Wrath is encouraging Al to sacrifice him, there's this wonderful note: "Here we have a scene that showcases the difference between Al and Wrath's feelings. Wrath is saying that there's no need for Al to sacrifice himself and furthermore that this is all Wrath thinks he CAN do for him. The Elric brothers are, in a way, the children of the mother figure Izumi. While Wrath is protecting them as his own brothers in a way, he may also be thinking that with this, he wants to take back his own mother."
There's a note that by 'hard to kill' it's indicating Hohenheim is good at hanging on and not dying since he's been through so much in so many years in so many bodies with so many souls. (NOT a translation note, but my own added clarification as a translator: since his body doesn't necessarily age or whither, while it can still weather, through all those years, he's got some very strong durability for an occultist bookish scientist.)
Alfons tells Ed he wants him to go. "Alfons doesn't have anything else on his mind other than that he finished his rocket and the sentiment that he can send Ed home. He's telling Ed to look at reality. After all, he hates seeing Ed so listless and idle. Ed keeps saying 'I might be able to return home, if I can just find out how' and Alfons is, after all, able to show him that how."
Alfons tells Ed not to forget him. "Because Ed and Alfons have a special relationship, this line doesn't mean to remember that he existed. It's a message to those who can't affirm the world they live in, that Alfons wants--- that those who feel how short their lives are want to convey. No matter where we are, the place we're born into or the place we make a living is ours. For someone to refuse to even recognize that place of his is very irritating to Alfons."
As Noah screams for Ed, being left behind in a world with no place for her and doomed to be shuffled out yet again, Ed's feelings are completely different. As he goes back to the world he was born into, a part of him wonders how he should face it again.
Part C was pretty short! I'll probably merge D and the epilogue together since the epilogue is two measly pages.
Thanks for reading!
Prototype script notes are on other posts with the prototype tag.
Feedback, questions, comments and discussion welcome!
I've kept my personal sentiments out of translations and I think it's clear when it's my statement rather than a translation. Quotes are direct translations, other times I don't feel like coming up with a good way to match the words exactly in the text and summarize the content. Note that the writers tend to put 'I think' and 'probably' in their own written text; that's normal in Japanese even on things about which they are the authority. That's not MY sentiment being written as a quote.
While Fritz Lang is a real person living in reality, there's a note musing that he seems to put more value in dreams and fantasy worlds in fiction than in the real one. This is first shown in how absorbed he feels in his movie sets and how he seems most at home there. From someone who values dreams more than reality like Fritz Lang, the line "Which is the dream and which is reality?" throws Ed for a loop, as he's been caught up in the particulars of reality and dreams.
They thought about having some bits of the series' fictional technology also be in the photo of the bomb and other collected goods, such as Archer's parts, but working in how it got there would take screentime. There was mention of Einstein's relativity and how the wonky timeline could be involved, but that's not really how that works.
They considered never actually showing any cut of Hitler and just using a silhouette since he's ubiquitous enough and not really a proper character in the story, but decided to show him after all for this scene. At the point when Hitler is shown with Eckart, Hitler is intending to and succeeding forward without any plans to use the Occult resources of the Thule Society. Eckart says she wants to support Hitler, but what is really happening is that she would like the Nazi's support to get to the other world. The scene was meant to show their differing expectations.
"Alfons's sickness is lung cancer. He got it because he breathed in damaging gasses every day." (I've seen arguments about this a few places throughout the net and I personally thought it was TB along with about everybody I've ever spoken about it to, so if anyone needs to cite this, it's footnote 1 on page 105 of the Shamballa Scenario Book. )
Alfons tells Ed he has no right to say anything about him wanting to leave proof he lived. "In truth, more important than Germany, more important than Ed's world, the rocket is, more than anything to Alfons, simply proof that he had lived. He wants to impress upon Ed that he really lives here, even while Ed himself lives here as if he's in a dream."
There's a comment that the scene where Noah comes into Ed's room and presses their foreheads together would probably make fans wail. They had her fully dressed, but they did consider having her come in in a nightgown too.
Scene: Winry and Sceizka, at the graveyard, meeting again.
To Winry and Sciezka, Al is someone erratic and perilous whom they need to protect. Since he's lost his memory, he doesn't remember all he's been through from his journey and everything he learned, after all. He's not got anything on his mind but simply wanting to meet his brother, excessively. "Granted, Ed used to be that way, previously. "
Ed asks for White Sausage. "White Sausage is a Munich specialty. Since everybody eats it together with their morning beer, it usually sells out before noon. That's why Ed asks if there's still any left."
For the line where Wrath is encouraging Al to sacrifice him, there's this wonderful note: "Here we have a scene that showcases the difference between Al and Wrath's feelings. Wrath is saying that there's no need for Al to sacrifice himself and furthermore that this is all Wrath thinks he CAN do for him. The Elric brothers are, in a way, the children of the mother figure Izumi. While Wrath is protecting them as his own brothers in a way, he may also be thinking that with this, he wants to take back his own mother."
There's a note that by 'hard to kill' it's indicating Hohenheim is good at hanging on and not dying since he's been through so much in so many years in so many bodies with so many souls. (NOT a translation note, but my own added clarification as a translator: since his body doesn't necessarily age or whither, while it can still weather, through all those years, he's got some very strong durability for an occultist bookish scientist.)
Alfons tells Ed he wants him to go. "Alfons doesn't have anything else on his mind other than that he finished his rocket and the sentiment that he can send Ed home. He's telling Ed to look at reality. After all, he hates seeing Ed so listless and idle. Ed keeps saying 'I might be able to return home, if I can just find out how' and Alfons is, after all, able to show him that how."
Alfons tells Ed not to forget him. "Because Ed and Alfons have a special relationship, this line doesn't mean to remember that he existed. It's a message to those who can't affirm the world they live in, that Alfons wants--- that those who feel how short their lives are want to convey. No matter where we are, the place we're born into or the place we make a living is ours. For someone to refuse to even recognize that place of his is very irritating to Alfons."
As Noah screams for Ed, being left behind in a world with no place for her and doomed to be shuffled out yet again, Ed's feelings are completely different. As he goes back to the world he was born into, a part of him wonders how he should face it again.
Part C was pretty short! I'll probably merge D and the epilogue together since the epilogue is two measly pages.
Thanks for reading!