From AR402004@BROWNVM.BROWN.EDU Tue Dec 6 13:14:24 1994 Return-Path: Received: from mx5.u.washington.edu by redms.cac.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.32 ) id AA23185; Tue, 6 Dec 94 13:14:23 -0800 Received: from brownvm.brown.edu by mx5.u.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.31 ) id AA07353; Tue, 6 Dec 94 13:14:14 -0800 Message-Id: <9412062114.AA07353@mx5.u.washington.edu> Received: from BROWNVM.BROWN.EDU by BROWNVM.brown.edu (IBM VM SMTP V2R2) with BSMTP id 8762; Tue, 06 Dec 94 16:13:28 EST Received: from BROWNVM (NJE origin AR402004@BROWNVM) by BROWNVM.BROWN.EDU (LMail V1.2a/1.8a) with BSMTP id 5472; Tue, 6 Dec 1994 16:13:18 -0500 Date: Tue, 06 Dec 94 15:59:40 EST From: Steven Feldman Subject: ANGEL SCRIPT To: "Mike Johnson, nausicaa listowner" X-Status: Status: O ANGEL SCRIPT Subject: 1.) ANGEL'S EGG synopsis (Bryan Wilkinson, December 22, 1991) L#00168 2.) ANGEL'S EGG script (Enrique Conty, October 8, 1992) L#00299 3.) ANGEL'S EGG timing file, in JACOsub (Fred Leggett, 1/5/93) ======================================================================== Subject: 1.) ANGEL'S EGG synopsis (Bryan Wilkinson, December 22, 1991) [this is the review as posted to the Miyazaki list; it was later printed in the July 1992 issue of Anime Hasshin's THE ROSE (#33, page 26).] Subject: Angel's Egg, a quick walk-thru. Date: Sun, 22 Dec 1991 13:40:00 CST Source: Hayao Miyazaki Discussion Group From: "Bryan C. Wilkinson" Pardon any errors, this is a direct-from-memory interpretation, and some of the order may be wrong. But the essential premise of the film should be clear enough. Snatches of this are remembered also from Miyako Graham's translation of a plot description released to Animage from the studio. Oshii Mamoru's Angel's Egg ------- --- Prologue: A Boy watches the Sun set into the Sea. The Sun is portrayed as mechanical-looking red orb-shaped piece of architecture emitting light from an eye-shaped window of stained glass. (This sun is metallic blue, yet the sky is red from its light.) The upper surface of the Sun is covered with statues. A great deal of steam, causing a siren-like pitch, vents off as it sinks below the water, and darkness begins to permeate the seascape. The Boy appears to be on the edge of his twenties, which edge is not cleat (a Man, then?). He bears a weapon on his shoulder in the shape of a crucifix, and sometimes bandages may be visible on his hands. Not a living soul does he see, nor does one see him. The Planetarium: A Girl awakens. Her bed is in the ruin of a planetarium, in the center of a damaged model of the Solar System. With her, under her blankets, is an Egg. She envelops the egg in her skirt, and hides it under her blouse, giving her the look of being pregnant, and hurries from her abode. The City of Fish: The Girl sets about the task of filling flasks with water. She first does this at a lake. The lake is fed by a stream, though, which leads her to an empty city. The city's architecture bears stone gargoyles in the image of Fish, as is the form of its fountains. Inside one house we peer at her from, a wheel can be seen, the kind used to steer old ships. She visits a house with many flasks, and inspects them carefully. The Arrival: A long, long line of organic (Fish-like?) looking tanks rumble into the city. They stop, and the Boy, with his weapon, emerges from one. They then continue and leave. The Girl is unsure of this new arrival, and runs away. She hides in a ruin, and checks the Egg. But the Boy has followed her, and questions her what she thinks is in it. The Girl doesn't trust him, and tries to leave. But he persists in following her and questioning her. He seems to already know things she doesn't. But all she responds with is "Who ARE you?" This he does not answer. (the next is probably a little jumbled) The Fish: As the two wander the city, a horde of faceless fishermen run through the city. We see--everywhere--the shadows of many great Fish (leviathans or the symbol of Christ?), on the streets, the buildings, everywhere. The pursuers try to harpoon the shadows, and their spears merely bounce off stone or shatter windows and lamps. The Opera House: In the ruin of a great cathedral-like opera house, the two look at a damamged stain-glass window of a Fish. The Girl speaks of a Dream she had, where the Egg was in a Tree and inside the Egg was an Angel--or was it a great Bird? She's not sure. The Boy has suggested that one must break an Egg to know what it hides, and this thought is what scares the Girl the most. She knows where there is a picture of the Tree, and takes him to see. Fossil of an Angel: She takes him to a ruin, which seems to be a great skeleton. In the walls, the floor, and the stairs of the ruin are giant fossils of giant fish and birds. Lining the walls are hundreds of flasks, all filled with water. She takes him to a wall, and we see an old carving of a Tree. He is shocked. He has seen such a Tree before, but it was very long ago. He then relates a story, one of a great flood that was to last forty days and nights. She takes him up the stairs, and his surprise is even greater. Imbedded in the wall, like the famous fossil of the prehistoric bird archeopterex, is the skeleton of a winged humanoid. The Impregnation: Back at the planetarium, the Girl sleeps, and the Boy stares at the Egg. He reaches a decision, and raises his weapon above the Egg... The Girl awakens. The Egg is not with her, and the Boy is gone. She climbs out of bed and sees the floor. She screams. Before her, is a blasted open shell. As for INSIDE it... There was nothing inside the Egg. It is getting less dark. The fishermen stand still-- statues?--as the tide rises and the buildings begin to disappear beneath the water. The Girl flees from her home, and runs towards a large crack in the earth. She plunges from the cliff, and slowly falls (flies? floats?) towards a reflection (?) of herself. Then, she is drownning, and hundreds of bubbles erupt from her lungs. The bubbles rise to the surface... Simultaneously, Trees bearing bubble-like Eggs erupt from the ground's surface. Epilogue: The Boy watches again, as the Sun rises from the water (an Egg as well?). Among the statues, is one of the Girl. Feathers swirl around him in the air. He stands on the beach alone--never did he see a soul, nor did one see him. We then slowly, slowly pull away into the sky (a Heaven?), until most of the island becomes visble--the island is a great Ark, and it is without motion. Sorry if I screwed the order and such up a little, it's been a while since I've seen it. I remember bits of Miyako Graham's translated article, so that helped. Amendments and corrections are quite welcome, this was off the cuff. Brought to you by Bryan C. Wilkinson _ send e-mail to: /;/\|\|\|\|\|\/.| mbaron@chinet.chi.il.us |/ //|| _____________ \ /:/ | / __ _ \ /|\|\|\|\ / | _ ,.__/___ \ \ / \ `.\- - / / |_,- / | / : ______\ \/ / `|@) @) | |) / / | / [] : [_____/ \ / ( - \ / / | \___/ / / Long \ --' / \/V /____| /__/ Live GASP! ~----.' \-,-- / |\__/ / \ "An'ta dare?!" "Niya wa To-y no aijin dayo!" `----' \ ======================================================================== Subject: 2.) ANGEL'S EGG script (Enrique Conty, October 8, 1992) [Posted to the Hayao Miyazaki Discussion Group by Enrique Conty, 10/8/92] Subject: Angel's Egg Script Date: Thu, 8 Oct 1992 23:36:00 CDT Source: Hayao Miyazaki Discussion Group From: Enrique Conty Here it is, Mitch. Not that it will do you any good as far as understanding this film. :-) Share and Enjoy!!! ----------------------------------- cut here --------------------------- [WARRIOR watches the Eye sink into the waters.] ANGEL: Who... who are you? TITLE: Angel's Egg Directed by: Mamoru Oshii Character Designs by: Yoshitaka Amano Screenplay by: Mamoru Oshii [we see a day in the strange life of ANGEL] [WARRIOR gives Egg to ANGEL] W: Keep precious things inside you or you will lose them. W: What do you think is inside that egg? A: I can't tell you things like that... besides, I don't even know who you are. W: You have to break an egg if you are to know what's inside. A: Who are you?! [ANGEL runs away] A: Don't follow me! [later] A: The fish have come out. W: Fish? A: Even though they aren't anywhere, they chase after them. Even though there aren't any fish anywhere. [after the Fish hunt] A: Please... my egg... don't do anything to it... promise. [ANGEL leads WARRIOR into a building] A: This way. [In front of a stylized basrelief of a Tree.] W: I've seen a tree like this somewhere... when was it? So long ago that I've forgotten... under a sky where the clouds made sounds as they moved. The black horizon swelled and from it grew a huge tree. It sucked the life from the ground and its pulsing branches reached up, as if to grasp something... the giant bird sleeping within an egg. A: What happened to the bird? Where is it? W: He's still there, still dreaming. A: Dreaming? What kind of dream does the bird dream? W: What's in the egg? You still cannot tell me? [ANGEL leads WARRIOR up a staircase lined with Water bottles] W: Since when have you been here? As many days as there are bottles? W: I too have forgotten where I'm from... Maybe I didn't know from the beginning where I am going. A: Will you be going away? [WARRIOR starts quoting] W: "I will blot out man whom I have created from the face of the ground, man and beast and creeping things and birds of the air, for I am sorry that I have made them. I will send rain upon the earth forty days and forty nights, and every living thing that I have made I will blot out from the face of the ground. And after seven days the waters of the flood came upon the earth. On that day all the fountains of the great deep burst forth, and the windows of the heavens were opened. And rain fell upon the earth forty days and forty nights. The ark floated on the face of the waters, and all flesh died that moved upon the earth. Birds, cattle, beasts, all swarming creatures that swarm upon the earth, and every man. Only Noah was left, and those that were with him in the ark. Then he sent forth a dove from him, to see if the waters had subsided from the face of the ground. Then he waited another seven days, and sent forth the dove, and she did not return to him any more." W: Where did the bird land? Or maybe it weakened and was swallowed by the waters, no one could know. So the people waited for her return, and waited and grew tired of waiting. They forgot they had released the bird, even forgot there was a bird and a world sunken under water. They forgot where they had come from, how long they had been there, and where they were going so long ago that the animals have turned to stone. The bird I saw, I can't even remember where or when, it was so long ago. Perhaps it was a dream. Maybe you and I and the fish exist only in the memory of a person who is gone. Maybe no one really exists and it is only raining outside. Maybe the bird never existed at all. A: It exists. It's here. [ANGEL leads WARRIOR around] A: It's here. It's here. [WARRIOR encounters the fossilized Bird] A: I found it, it's already turned to stone, it's in here. I'm going to hatch it and put it back. It's the bird I found. W: I know that. I thought so. [ANGEL is listening to the Egg] W: Can you hear something? A: I can hear it. The sound of soft breathing. W: That's your breathing. A: I can hear the sound of wings. It must be dreaming of flying in the sky. W: That's just the sound of the wind outside. [ANGEL talks to the Egg] A: Very soon... right now you're in here dreaming but soon I will show you... very soon... so you must stay here now. It doesn't rain here... where it's warm. [WARRIOR puts ANGEL in Bed] A: Who are you? W: Who are you? [rest of movie, climax, and conclusion] E n r i q u e C o n t y jester@ihlpl.att.com ----------------------------------- cut here ---------------------------- Subject: Angel's egg X-Topic: Entry #2351 of LISTS.NAUSICAA Date: Fri, 9 Oct 1992 02:48:00 CDT Reply-To: Hayao Miyazaki Discussion Group From: "(Bryan C. Wilkinson)" Uh, Conty, don't you think you should give credit to Sue and maybe the NSA, since that's who you owe this script to...? --bry ======================================================================== Subject: 3.) ANGEL'S EGG timing file, in JACOsub (Fred Leggett, 1/5/93) [NOTE: I don't know how to uncompress compressed files or how to convert a Z file to plain text, so I would *really* appreciate it if anyone who *does* know how to do these things e-mailed me with a copy of this timing file uncompressed, in plain text--so that I can store *that* here instead of the compressed Z file below. -- Steven Feldman (11/1/94)] From: bilver!vicstoy!fleggett@peora.sdc.ccur.com (Fred Leggett) Message-Id: <9301050658.AA09841@vicstoy> Subject: Timing script for "Egg of the Angel" To: ar402004@brownvm.brown.edu (Steven Feldman) Date: Tue, 5 Jan 93 1:58:00 EST X-Mailer: ELM [version 2.3 PL11] Steven, Here's the timing script for "Egg of the Angel" in JACOsub (.js) format. Hope you like it. 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M+]]6FNM/>-;\:RQ-T1(I!C/"5_K;].K:)1-<0:)=5OE'=(EZIBQ_L:&W#1:8 MI8H+1)BE<<"!HR$*R0@+M][@[][WNSHIU.]*2LQ9O4VXMG%P-Q:P 4W9=J\$ M^#;AM!"PVP% R7V0E+><^<][19((H2EY?E"@$Y<&_X8VD_YZIH(](K.O%$8X MS 2KA],!S:Q^0U3[EXX%N[K(#"1<-2> E>I;^25^%WW-?5$R*B$"3EMA&,S: M]%3K*'9@EKA97FS$W!<[PH+W.%@O)+;W?+7D@+#/)A)K%SRPYSYR.6FOAU;C MBZ":R8GP*5A1>@%>U:W1?Z74TIC80Q/*,\-.?.ZM(,L<^!)_Y8=;-F<83E+H M#26);AX*\!/'C' )8/3+X"'9US/UZ+;B[XT;D 3EX M;6H6R[J(_':^-!*G9IJ=,<>ML151^1T)0MMQR;D;?.7=!P@V49I]L0V@"NBD M$,/^'QTD+^U@:2#!@*,1\>L]H?N+<0:-#S[N.Z[F3"IU>25PTU1+24>8-RM[ MJB:)4$_YL8=Z5:"2=2Y GM9D06Q>>.&7?KA')VTE.7%0-5PFD7]S$RYRY96 M(8M#UL'B570P [#R#>,@>_D^6DGTN4BR9:F:30$ 3\WP&YS^7X_?CFBT\J./ M"W,%!'XA08G3X_JZ'S@K@[4)BJ/V22OX)]AU&+?_:,2;D37FN"8(_)]$8)6? MJS]G4\)]6_83.!DBHC Y;1@":8TPX,G[0 M5'R7.NIYM!O6FI"O_G1K=WM(@X(,E2!,M8ZE,*ON>K@X-[!AJETHCQ=161 D M]<2D4*I(\)G+7M_BL+: LZ=06 [/&)?8C#QS_B]I+WN5@)U/"C24+27H_Q\I MOZF,'NI0,%P7 ]-Q/[,J>H331UWU,>4?7Z0O)) 7%X"[K6X^J,;LO"KJ_>:N M<=Y6(D"[!3)1]D0-OOS[%>?D )S8$3663:7M:+W+NYAIMIBF5113[;N<&H'KTGN8_+V)46O@IY.(5@Z51779,?;N9XG;9UMBZ[U M]G75X34NR)H9T)D&7^A.P8^A1[77A/N*+N.H>\3QH\)V[370\/-PR+KS7<\4 M0GHB\4"6KWGX?%9)@M/F,F"=NU,;>DJ"S4O7O5-D-Z-)$MR"VS?#//GQ$=,I H$8IM_" '&Z<1$[8!%;W7L4W:N#&A08\1&4.,*77LTQJ=<1+A,[LI /GQ end -- Fred Leggett - fred.leggett@oau.org - fleggett@vicstoy.oau.org : fleggett@vicstoy.UUCP - ...!{peora,ge-dab,tous,tarpit}!bilver!vicstoy!fleggett vicstoy Unix, Orlando, Florida ======================================================================== Subject: 5.) ROBOT CARNIVAL script (Ron Azuma, January 17, 1990?) ORIGINAL TRANSLATOR: Anonymous TRANSCRIPTION & POLISHING: Ron Azuma Robot Carnival script v 1.00 Robot Carnival is a collection of eight short animated films by different people. About the only thing that links them together is that each film has at least one robot in it. The films vary from comedy to fast-paced action to philosophical drama, so there's something for everyone. Also, all but two of the films lack a voice track, so Robot Carnival is a good film to introduce people to Japanese animation. And in one of those films, half of the dialogue is in English! This script includes detailed descriptions of the two segments with voice tracks. So without further ado, here are the descriptions of the films: ============================ Robot Carnival Opening Title ============================ A kid sees a poster fly by, which sends him into shock. He warns the villagers, who hole themselves up in their homes or flee for their lives. In the distance, something huge approaches... (Incidentally, the kid's speech is just gibberish.) ====================== Franken's New Creation ====================== A scientist tries to bring life to his creation, which this time is a robot instead of a green-skinned cadaver! ======= Deprive ======= Evil troops take girl from her robot/cyborg friend. Robot fights to rescue girl. There's nothing deep to this one - it's a fast paced action video! ======== Presence ======== Unlike Deprive, Presence tries to deliver a message. Sometimes, robots can become too real... [In this world, human-appearing robots are commonplace. The film opens with a bunch of schoolkids attacking a teacher robot, knocking off his head and kicking it high into the sky...] [In a house, a man enjoys his soup and sees his daughter say goodbye. As the man drives off to work, he thinks about his wife.] Man: "My wife is an aggressive career woman. I sometimes sense great ambition inside her." Man: "She is active, takes initiative, and is someone you can rely on. She almost works better than I do!" Man: "My collegues think I'm a feminist. I admit it to myself, but with others it's different." <1> [At a lake, the man picks up and throws a screw. A clock flies by.] Man: "You scared me!" Clock: "It's 12:40. Return to your work." Man: "Ok, ok." [The Man walks down a path.] Man: "I have a secret." [The Man goes into a workshop and sees a girl robot sitting on a desk.] Man: "Of course, this is a secret for my family." [He brings some tools.] Man: "I never had the love of a mother. I understand why I needed to get married so badly... I desperately wanted femininity in my wife (?)" [He touches the girl robot. One gets the sense that he is not entirely happy with being married to a wife who is an aggressive career woman.] [As the man walks down the street, he sees some people leaving a bar. Various robot body parts are left dumped in a nearby trash can.] [Back in the workshop, the girl robot starts moving.] Girl: "I don't have a name." Man: "Meow." (?) Girl: "I think I want to fall in love." Man: "What are you saying? I don't remember programming such a word into you!" Girl: "You are lonely, aren't you?" Man: "What happened to you?" Girl: "I could hear and I could feel." "You are still a little boy, aren't you?" [Man picks up flying saucer toy.] Man: "I'm surprised that you recognize your own consciousness." [Girl jumps on desk.] Man: "Huh?" Girl: "Don't be surprised." Man: "You shouldn't step into my life." (?) Girl: "Why do I exist?" "I'd like to be closer to you." Man: "Does a machine feel pain?" "There are no robot 'groupies'!" "Does a machine have a personality?" Girl: "But I know myself very well." "I want to experience lots of love, by my own choice!" Girl: "Hm. You are wearing a cynical smile." [As the man walks away, the girl robot grabs him. Surprised, he throws her against a wall. As she bleeds, he grabs a wrench...] [Now many years in the future, he sits in a chair outside a house. His now grown-up daughter and grandaughter approach.] Man: "Are you leaving already?" Daughter: "Yes, father. Next time, three of us will come. Please take care of my mother. (To grandaughter) Now say goodbye to grandpa." Granddaughter: "See you next time, grandpa! Next time, please make me a toy." Man: "Be careful on the way home." Granddaughter: "Bye bye!" [The wind starts to blow. Suddenly, the man sees a vision of the girl robot.] Girl: "I was waiting for a prince..." Man: (Sadly) "I couldn't be your protector." <2> [The vision disappears. The Man returns to the workshop to view the long-decayed body...] [Now even further in the future, the man is again sitting outside the house. The wind starts blowing.] Wife: "Grandpa, grandpa, the wind is starting to blow [so you should come inside]." Wife: "Ok grandpa, you're not a little boy anymore, so you should listen to what I say!" Wife: "Grandpa?" [The girl and the man walk off together and vanish. A toy angel hovers in front of the camera.] Notes: <1> Apparently in Japanese, "feminist" can mean either a person who promotes equal rights for women, or it can mean an effeminate man. <2> Literally, "I couldn't be your 'long-legged Uncle.'" If anyone knows the story that this comes from, please let me know! =============== Starlight Angel =============== In the future, Tokyo Disneyland is still "the Happiest place in the World!" Especially for a "robot" who falls in love with one of the visitors... ===== Cloud ===== A lonely robot walks by as the sky fills with different types of clouds. Not much of a plot, but it is beautiful to watch... ======================================================================= Extraordinary Meiji machine stories: A story of a Western man attacking <1> ======================================================================= Set in the early Meiji period (around 1830 or 1840?), this film is a hilarious spoof of Japanese 'giant robot' films! The villain speaks English, and the Japanese defenders speak Japanese. Therefore, this script will only summarize the villain's lines... The cast of this film is: American ------- John Jack Orkafin(?) The evil scientist villain Japanese -------- Sankichi The leader with the headband Yayoi The girl Fukuda The kid with the glasses Daimaru The big guy who works the engine Genjiro The thin guy who steers the machine To make this easier to follow, I will label their parts as: Villain, Leader, Girl, Glasses, Big Guy and Thin Guy. [The film opens with the town's population running for their lives as the Villain's robot smashes through the town. The title appears, and the Villain happily announces his plans for world domination. Note that he has Marco Polo's book describing the Far East!] Leader: "That damn thing! I'm going to get even!" "Are you ready?" Girl: "Yes, but can we move this without permission?" Glasses: "Won't all those people in the neighborhood get mad at us?" Leader: "You idiot! This is a national crisis!" "Daimaru, shove a lot of coals in the furnace!" Big Guy: "Ok!" Leader: "Genjiro, wake up!" (?) Thin Guy: "Ok." Leader: "Go!" [The Japanese robot rises up to challenge the invader...] Villain: Eh? [The Leader begins a long speech from the top of his machine.] Leader: "Hey you big slob, stop right there! You are the nasty one disturbing the order in this peaceful time after the opening of our country [to the West]! For the upcoming festival, all of the people in the neighborhood built this machine. It is not the most technologically advanced, but I, Sankichi Komajo, will not let you advance one more step from that spot! I'm going to destroy you, so get ready!" <2> [He disappears down a hatch] Leader: "Forward!" "Genjiro, raise the right leg!" [The robot punts a nearby house] Leader: "Move it more carefully!" [Meanwhile, the Villain starts getting furious] Glasses: "Someone is coming out [of the Villain's machine]!" Leader: "What? Genjiro, stop!" [He looks through a telescope] Leader: "Oh, let's see, ah..." [Sees the Villain and his cannon!] Leader: "It's a foreigner! It's a foreigner! What should I do?" Glasses: "Calm down! Calm down!" [The Villain begins a long speech through a megaphone, giving them 3 seconds to surrender before he blows them up.] Leader: "What is he saying?" Glasses: [Thumbing through book] "I understand English, but I'm not that familiar with American!" [Villain shoots a cannonball] Villian: "Eh?" Thin Guy: "Ah!" Leader: "Daimaru, they are firing the big cannon, so come upstairs!" Big Guy: "All right!" [The Villain aims and shoots again, hitting the Japanese robot. The girl screams.] Girl: "Wha?" Leader: "Damn, he hit us!" Girl: "What's going on?" Leader: "Be quiet! Just be patient!" Girl: "What do you mean, 'Be quiet'?" [Daimaru makes it up to the top of the machine] Big Guy: "I'm here! [Sees the tube] Isn't that the big fireworks?" Leader: "Yeah, but I made some changes to it..." [The Villain cleans his cannon while Sankichi aims his] Leader & Big Guy: "Ok, here it goes, look up!" [Fires and hits the Villain's machine] Leader & Big Guy: "All right! Ah? The inside of the machine is made of brick?" [The Villain fires another shot that hits the Japanese machine] Thin Guy: [Mumbles something...] (?) Big Guy: "What are we going to do, Sankichi?" Leader: "Ok, hit the guy who is standing on the shoulder of that thing!" Big Guy: (Surprised) "But if we hit, that guy will be killed!" Leader: "That's ok, just shoot!" [They shoot but hit the head of the Villain's robot instead. The Villain starts laughing until the shot sets off his storage of ammo...] Leader: "Yeah!" Big Guy: "Of course, we were aiming for the head to being with!" (?) Leader: "Oh no we weren't..." "Now we're going to tear down that machine!" [The Villain rants some more...] Girl: "Now we should stop fighting!" (?) Leader: "Huh?" Girl: "If we keep fighting, we'll destroy the whole neighborhood!" Leader: "Don't make a fuss! This is important!" Girl: "What did you say, you pinhead?" Leader: "Pinhead?" Glasses: "Pinhead!" Girl: "If you don't like pinhead, how about peabrain, dunce, moron..." <3> Leader: [gets irritated] Glasses: "Since the last hit we took, something's not working right!" (?) Leader: "Shut up! Be quiet!" Girl: "Someone who is so headstrong is called 'bullheaded'!" <4> Leader: "Ah?" Girl: "Don't act like you're so brave! You don't have any brains! Why don't you learn to read or write? A monkey is smarter than you are!" Leader: "You have a really mean personality!" Girl: [Sticks her tongue at him] [The kid with glasses rides some gears to get to another part of the machine. He yells, "Sankichi," then by accident sees under the girl's kimono.] Glasses: "Sorry!" Girl: [Kicks a shoe in his face] [Meanwhile the Villain discovers he's out of battery power.] Big Guy: "Hey Sankichi, we ran out of coals!" Leader: "Don't worry, just peel off and burn any available wood!" [The Villain recharges his batteries. It takes until sunset before the two machines advance far enough to reach each other.] Leader: "We finally got here..." [The Villain rants some more and raises the right arm of his machine] Leader: "Raise the right arm!" [The kid with glasses raises the Japanese robot's right arm] Leader: "That's good! Raise the left hand and grab his arm!" Girl: "What are you going to do?" Leader: "We're going to grab and throw him!" (?) Girl: "I grabbed it!" Leader: "Hold on tight! Are you ok?" Glasses: "Yes, I'm ok!" Leader: "Daimaru, grab onto something!" [Daimaru clings for dear life] Leader: [To pilot] "Is everything ok?" "Good! Raise the left leg and twist!" [The robot starts spinning] Leader: "Go!" [The Japanese machine throws the Villain's machine into the river, but the Japanese machine also falls. The Villain's robot causes a minature wave that washes out a bridge and the spectators on it... The kid with glasses views the destruction.] Glasses: "Oh my town! My neighborhood!" Leader: "We won!" Thin Guy: "I'm not so sure about that..." Big Guy: "Yeah..." Girl: "But we did a lot..." Leader: "Hey look, that's a Japanese sunrise!" [Sky fills with an old-style 'Rising Sun' emblem] Girl: "No, that's sunset." [Emblem abruptly disappears...] Leader: "Oh." Girl: [Laughs] "Sorry!" Leader: "Anyway, that battle is over. We fought off the foreigner with our own hands. But since I saved the peace in this town..." [Sankichi puts his arm on the girl's shoulder. She responds by stomping on his foot...] [And the Villain paddles off into the sunset, making plans for next time...] Notes: <1> The first part of the title literally reads, "Meiji Karakuri modern Western civilization strange story" where karakuri is an old word for a machine. <2> A lot of liberties are taken here. Eg, instead of "It is not the most technologically advanced," he literally says, "It is not a big steam locomotive." <3> All the insults have to do with implying that Sankichi has a low mental capacity... <4> Literally "Someone who gets hot-headed so quickly is called 'kettleheaded'!" ===================== Chicken Man & Redneck ===================== At night, the robots wake up... to terrorize a hapless man on a scooter! The chase sequence is very reminiscient of Disney's "Legend of Sleepy Hollow." ============================ Robot Carnival Closing Title ============================ Out of the wreckage of the machine, a man finds a small metal ball and brings it back to his kids. The toy delights them, but it has one last surprise... Translator: Anonymous Transcription & polishing: Ron Azuma Liberties have been taken in some of the translations, and undoubtedly we made mistakes along the way. The more questionable passages are marked with a (?). Notes and comments are marked with a <#>. Send any corrections to: Ron Azuma (azuma@dopey.cs.unc.edu) ======================================================================== Subject: 6.) PLEASE BLINK, GRANDMA synopsis (JAPAN TIMES, July 30, 1992) JAPAN TIMES, July 30, 1992 Animated Film Tells Heart-warming Tale by Yuko Naito When a family member becomes bedridden, the burden cast on the rest of the family is beyond words. Physical fatigue, the high costs of hospitalization and medicine, and the accompanying psychological stress can bring about the collapse of the entire family. In an effort to provide some support and helpful hints for such troubled families, Asahi Shimbun, Asahi Shimbun Social Welfare Organization and Cinema Work Co., have produced an animated film, "Patchin-shite! Obaachan" (Please Blink, Grandmother,) to be released this autumn at theaters. [Note: Scheduled for October release.] Based on a true-life story that unfolded in a Kanazawa City hospital between 1983-1986, the film depicts the relationship between a bed-ridden old woman whose only way to communicate is to blink her eyes, and the more than 100 people who visit the hospital, and are drawn to her personality. On a winter day in Kanazawa, Yasue Kitajima was rushed to the hospital after suffering her fourth cerebral thrombosis. Doctors told her only daughter, Hiro, that Yasue was totally paralyzed and would not recover. To help make Yasue's remaining years worthwhile, Hiro decided not to leave her alone. The unmarried daughter, however, has to support herself and pay her mother's hospitalization fees. Working during the day at an education center and attending Yasue at night is too much for Hiro, who eventually falls ill from exhaustion. Then, in response to Hiro's call for aid, friends, neighbors, their daughters, Hiro's former students and others volunteer their help. Those who actually nurse Yasue are largely young women in their 20's, totally inexperienced in the care of the sick. At first, they are shocked at the sight of Yasue, who is little more than a vegetable, unable to even speak. However, they learn how to communicate with her--blinking her eyes in response to their questions means "yes." They like the old woman who expresses her feelings honestly and enjoy being with her. Moreover, feeling needed gives them added strength and confidence. They call themselves the Yasue Family, although they are not related by blood. They do whatever pleases the elderly woman--reading the Bible, singing songs, playing the guitar, as well as feeding her, changing her diapers and moving her body to prevent bedsores. The climax comes on Christmas Eve when people gather around the Christian woman's bed with candles in their hands and sing hymns. Yasue, deeply touched, suddenly says, "Aaaa," which means "Arigato" (Thank you). When Yasue passed away after three years and two months of hospitalization, the members of the Yasue Family numbered 54, or even as many as 100 when all the people who in some way supported Yasue and Hiro were included. Their story was serially reported in 1986 in the Asahi Shimbun, Ishikawa Prefecture edition. It won the fifth Upjohn Science Writer's Award, which is awarded articles related to medical science and medical care. In 1990 Hiro published a book entitled "Hikari no Naka no Sei to Shi (Life and Death in the Light)" to show her gratitude to all those who helped her and her mother. In the book's preface, Masami Seki, Hiro's husband, who married her during Yasue's hospitalization, writes: "There may be some people who cannot believe this story is fact. Many people may think it is an exceptional case, a miracle. But I think it is possible if only people would try. To make it possible, it is important not to stick only to kinship." In Japanese society it is considered a matter of course that children care for their parents. Although the film shows one possible solution to the problem of caring for a bedridden relative, many people would hesitate to ask other people to help take care of their family. In fact, Seki also mentions in the book that the Kanazawa branch office of Asahi Shimbun received a letter from a reader who was nursing an elderly person. It said, "Please don't write such a happy story. It makes me feel miserable." When Hiro's book was published, there were several offers of dramatization from television stations and independent producers, which she, however, rejected for fear that the descriptions of medical treatment would be too graphic. Asahi Shimbun was finally given permission to make a film on the condition that it would be an animated film. "This film has two purposes," says Isao Kurose of Asahi Shimbun. "Firstly, we would like to let chidren know that an aging society has unavoidable problems. Secondly, welfare workers can, with this film, study the ideal nursing of aged people."