![]() ![]() ![]() This experience to get rid of all attachments, and I seem to think for So it draws from this Buddhist concept of reality, but again you go through Then he realizes that his whole experience of reality is an illusion, and #Serial experiments lain opening chords movieWounded, and he gets better, but what he doesn't realize is that he's deadĪnd he's experiencing part of the transition phase between life and deathĪnd at the end of the movie he goes up to where he's supposed to go and Q: the movie Jacob's ladder is about a man who is a soldier, and he's M(U): he said, I've seen it before, but I've forgotten what it was about. You would consider the movie Jacob's ladder as a part of the experience? Q: can we consider lain to be a part of the experience in the same way Of them and basically they would go up to the director's area and theyįiddle around with the sound for each episode and so that was an exception Second sound unit is Takemoto and Kasamatsu-and he was friends with both ![]() so, normally they wouldn'tĭo sounds on the fly for each episode later, but he knew Takemoto-the #Serial experiments lain opening chords seriesSeries is finished and they just choose from that. On the fly for each episode, so they make a sound palette before the entire So although each episode is shown once a week, they can't be making sounds M(U): ok, since you asked that, he's going to go into a short littleĮxplanation of sounds in general in Japanese television animation series. Such as the sounds of wires, club music, city sounds, short wave, etc.ĭid you specifically plan that earlier on, or did that kind of thing evolve Q: did you extensively plan the significance of sounds within lain? M(U): yeah, you're pretty much right, (laughter) but it's not a trap was that intended to represent likeĪ trap or more like a womb or both or am I reading way too much into it? Referring to the ending credits, with lain in the fetal position wrapped Q: ok, we're going to delve a little deeper here. Was a oil painter called chinai-san and another artist called tabuchi-san,Īnd I guess he had some influence from them. he happens to like.among Japanese artists, there He was studying that and at the same time he was dabbling in illustrations,Īnd art and so forth. You spread it over the rice paper and you make images and art and so forth. You understand washi? it's handmade Japanese rice paper, and basically Was in college, I was studying a traditional Japanese art form where theyĬrush rocks and use epoxy or some substance and make art out of it by. M(A): ok, so I wasn't really influenced by manga, per se, but when I What are some of your artistic influences?Īre there anime or manga creators that you find inspiring? Abe's homepage, and so I contacted him, and that's M(U): about 4 years ago, I was fiddling around with the script of lain,Īnd I had this idea sitting in my head, and I happened to be surfing the Q: could you ask both the gentlemen how they initially became involved M(U): so what do you guys want to talk about? or any questions? anything M(A): I am Yoshitoshi Abe, lain's character designer. U: Good morning everyone, my name is Ueda Yasuyuki, Pioneer LaserdiscĬompany, lain producer, (points to) Mr. John Garza and James Kao for asking questions for me since I couldn't attend Jerry Hsu for letting us use his trusty minidisc player, and John Garza for setting up the recording Yasuyuki Ueda for giving me permission to post this transcript. M(A) was the moderator/translator speaking for ABe M(U) was the moderator/translator speaking for Ueda Transcribed by Lawrence EngĪlthough I tried to be as accurate as possible, there are bound to be some mistakes in this transcription, especially since some of the questions were difficult to hear. Held on August 5th at Otakon 2000 in Baltimore, Maryland. Panel discussion with Yasuyuki Ueda and Yoshitoshi ABe Otakon lain Panel Transcript Back to Interviews and Events | ![]()
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