Sinnesspiel (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
sinnesspiel) wrote2013-03-28 04:17 pm
sinnesspiel) wrote2013-03-28 04:17 pm
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Conqueror of Shamballa Script Notes - Part D, Epilogue
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 thoughtwere interesting. Note that parts of the "final cut" script aren't in fact in the final print! I translate these while at work when I don't havethe movie playing in front of me to check scene by scene, and I'd been feeling out cut scenes from the prototype based on what was in theprototype but not the written final cut script.
Maybe one day I'll watch the movie with the script in hand and note any cut parts or details from the final script, too. For now I'll include thefinal script's written ending since there's a good note about it and I think it helps see what the staff were going for in some of the ideas theyhad even if they weren't implimented.
That said, I've kept my personal sentiments out of translations. Quotes are ALWAYS direct translations, other times I don't feel like comingup with a good way to match the words exactly in the text and summarize the content so I won't put it in quotes but I'll still be going for a kindof indirect quote if that makes sense. On those I put 'they' as in the staff, whereas it says 'I' or 'we' originally. This isn't my introspection ontotheir work. Note that the writers tend to put 'I think' and 'probably' in their own written text; that's normal in Japanese even on things aboutwhich they are the authority. That's not MY sentiment being written as a quote.
Maybe one day I'll watch the movie with the script in hand and note any cut parts or details from the final script, too. For now I'll include thefinal script's written ending since there's a good note about it and I think it helps see what the staff were going for in some of the ideas theyhad even if they weren't implimented.
That said, I've kept my personal sentiments out of translations. Quotes are ALWAYS direct translations, other times I don't feel like comingup with a good way to match the words exactly in the text and summarize the content so I won't put it in quotes but I'll still be going for a kindof indirect quote if that makes sense. On those I put 'they' as in the staff, whereas it says 'I' or 'we' originally. This isn't my introspection ontotheir work. Note that the writers tend to put 'I think' and 'probably' in their own written text; that's normal in Japanese even on things aboutwhich they are the authority. That's not MY sentiment being written as a quote.
Prototype script notes are on the Prototype posts.
When Ed asks Al if he opened the gate, he's not particularly accusing him. After all, it wouldn't have really been a problem if not for Eckartand co. on the other side. With no ill intent, he had just wanted to open the Gate and did so, but the end result could be called sin. It makes ita question of whether the one who committed the act is responsible or whether they're not responsible. And it becomes a story of whetherone accepts it as their responsibility or not, beyond whether it actually is or not. That was a key point within the series, and it's also centralagain here.
Winry actually only brought the automail with her this time because she had a feeling that Al's actions were going to be related to bringingEd back to Central, though she let that be believed without contesting Sciezka's statement, to which the prior and this note were appended."It's not as if she normally goes carrying it around everywhere. But it is at least true she made it in case the day ever came when he returned.She might not have been as sure as Al was that he would return, but it does show she believed in her heart that Ed was still alivesomewhere."
In the final WRITTEN script (and the prototype), after Armstrong runs off, Roy asks Hawkeye if she's coming with him. She replies: "A foolishquestion." Regarding the "foolish question: exchange: "We had to revise this exchange between Roy and Hawkeye so many times. They'requite stiff and distant, but it should still warrant a smile. It's that kind of line." The final cut came out to the "We have been waiting." line asseen in the movie.
Originally Roy came onto the scene with a cane (mentioned in the prototype script's graveyard scene, also seen at the end of the series).There's also a note about it, though it was entirely cut from the final cut:
Roy's injuries, besides his eye being gouged, weren't utterly crippling, but he was in fact completely pierced, so it was thought he wouldindeed need to show some prognostic symptoms. They decided to show him using a cane rather than crutches, and the writer felt that thecane becoming a permanent fixture in his attire wouldn't be unusual at all. But it would get in the way of finger snapping, he was told. So inthe end his cane was cut entirely because it would confuse people or be otherwise unnecessary.
Ed deciding to abandon the Alchemical world and telling Al to make sure the gate shuts so it can never be opened again is to show acontrast between he and Eckart. While she can't accept other ways of living or even other living things, Ed can't deny that any world he's livingin is 'his' world anymore. The contrast and the meaning of defeating her was key.
"It's difficult to say say whether Ed's decision was necessarily all that hard on Winry or... She, in her own way, has passed these two years byby training and completing Ed's new automail. In being able to give that to him she has moved on from him, I think. I wanted her to developan identity beyond her brothers, so I tried to develop it thusly. "
Hughes taking the action he does against the mosnter Eckart "has countless meanings but, of course one of them has to be 'for Noah'ssake'. His final act brings out his humanity and a return to being able to feel his human emotions again for the audience. At least as far asemotions are involved, this is the 'correct' choice, and this character has returned to the point where he can do the right thing.
"This time Ed and Al's ending is living on together in the real world. This isn't just for Ed and Al and the cast, the people watching must alsoreturn to THIS real world and think of whether they've gained anything, they must go on living in the real world, which I hoped to denote"
While the wagon scene still exists, Alfons's funeral got moved to the closing scene, and it was a little different:
Ed looks at his mechanical hand. In that hand, he begins to tap a stick making a subtle sound. It's like music. At last, other Roma also beginplaying their instruments. They sing. Children's smiles return. Ed and Noah, as well as Al dance and stretch their hands to the sky. Itappears to be a burial service for Alfons.
As for the note on it:
"I talked with Director Mizushima about this ending. "I didn't write any part where Ed acknowledges Alfons's death after he returned, so I wantto have Noah's dancing included because it has the nuance of sending off that Alfons" In the end we made so many minute adjustmentsand fixes. I really wanted the movie to be something that could stick with you. So, the final cut is still not quite final. The moment I put Alfons'sdeath into the script, it was the same as deciding absolutely that Ed and Al would be returning to the real world, I suppose."
When Ed asks Al if he opened the gate, he's not particularly accusing him. After all, it wouldn't have really been a problem if not for Eckartand co. on the other side. With no ill intent, he had just wanted to open the Gate and did so, but the end result could be called sin. It makes ita question of whether the one who committed the act is responsible or whether they're not responsible. And it becomes a story of whetherone accepts it as their responsibility or not, beyond whether it actually is or not. That was a key point within the series, and it's also centralagain here.
Winry actually only brought the automail with her this time because she had a feeling that Al's actions were going to be related to bringingEd back to Central, though she let that be believed without contesting Sciezka's statement, to which the prior and this note were appended."It's not as if she normally goes carrying it around everywhere. But it is at least true she made it in case the day ever came when he returned.She might not have been as sure as Al was that he would return, but it does show she believed in her heart that Ed was still alivesomewhere."
In the final WRITTEN script (and the prototype), after Armstrong runs off, Roy asks Hawkeye if she's coming with him. She replies: "A foolishquestion." Regarding the "foolish question: exchange: "We had to revise this exchange between Roy and Hawkeye so many times. They'requite stiff and distant, but it should still warrant a smile. It's that kind of line." The final cut came out to the "We have been waiting." line asseen in the movie.
Originally Roy came onto the scene with a cane (mentioned in the prototype script's graveyard scene, also seen at the end of the series).There's also a note about it, though it was entirely cut from the final cut:
Roy's injuries, besides his eye being gouged, weren't utterly crippling, but he was in fact completely pierced, so it was thought he wouldindeed need to show some prognostic symptoms. They decided to show him using a cane rather than crutches, and the writer felt that thecane becoming a permanent fixture in his attire wouldn't be unusual at all. But it would get in the way of finger snapping, he was told. So inthe end his cane was cut entirely because it would confuse people or be otherwise unnecessary.
Ed deciding to abandon the Alchemical world and telling Al to make sure the gate shuts so it can never be opened again is to show acontrast between he and Eckart. While she can't accept other ways of living or even other living things, Ed can't deny that any world he's livingin is 'his' world anymore. The contrast and the meaning of defeating her was key.
"It's difficult to say say whether Ed's decision was necessarily all that hard on Winry or... She, in her own way, has passed these two years byby training and completing Ed's new automail. In being able to give that to him she has moved on from him, I think. I wanted her to developan identity beyond her brothers, so I tried to develop it thusly. "
Hughes taking the action he does against the mosnter Eckart "has countless meanings but, of course one of them has to be 'for Noah'ssake'. His final act brings out his humanity and a return to being able to feel his human emotions again for the audience. At least as far asemotions are involved, this is the 'correct' choice, and this character has returned to the point where he can do the right thing.
"This time Ed and Al's ending is living on together in the real world. This isn't just for Ed and Al and the cast, the people watching must alsoreturn to THIS real world and think of whether they've gained anything, they must go on living in the real world, which I hoped to denote"
While the wagon scene still exists, Alfons's funeral got moved to the closing scene, and it was a little different:
Ed looks at his mechanical hand. In that hand, he begins to tap a stick making a subtle sound. It's like music. At last, other Roma also beginplaying their instruments. They sing. Children's smiles return. Ed and Noah, as well as Al dance and stretch their hands to the sky. Itappears to be a burial service for Alfons.
As for the note on it:
"I talked with Director Mizushima about this ending. "I didn't write any part where Ed acknowledges Alfons's death after he returned, so I wantto have Noah's dancing included because it has the nuance of sending off that Alfons" In the end we made so many minute adjustmentsand fixes. I really wanted the movie to be something that could stick with you. So, the final cut is still not quite final. The moment I put Alfons'sdeath into the script, it was the same as deciding absolutely that Ed and Al would be returning to the real world, I suppose."
Taisa with a cane
After the last battle with King Bradley.
Taisa got shot in the eye by Archer,
while holding Selim Bradley's corpse.
I wonder how badly the wound was.
Was it that bad as to affect Taisa's brain,
so that he needed a cane to balance?
Do you happen to have the Mizushima Hagaren Scenario Book 4?
I was wondering if it had covered the details of Taisa's injury.
I wonder how long has Taisa been injured till the Shamabala incident.
Would the wound's after affect be still that bad,
so that Taisa needed a cane?
I bet Hawkeye Chuui would not have let Taisa out of hospital,
if Taisa were to be not able to balance like that.
(Might have been me and not Chuui lol)
On the other hand,
I was thinking in a world with Automail commonly used.
If the anime staff members could create some kind of balancing tool not relating to real world handicap tools.
Like a boot set on mechanical thing for balance of the feet.
Not so as to be bulky and ugly.
Or prevent agile movement and Yubi Pacchin. ( I am not good with imagining things lol)
Would this work? lol