2012-12-12, 08:12 | Link #181 | |
Senior Member
Join Date: Jan 2009
Location: Moscow, RU
Age: 35
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Steam? While it's natural to think they have steam powered stuff there - 3D gear is working on gas.
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2012-12-12, 09:44 | Link #182 | |
Wolf in Sheep's Clothing
Join Date: Jul 2011
Location: Orange Road
Age: 34
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you can think like this, the civilisation and modernisation was halted due to Giant suppression on humanity...
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2012-12-12, 11:13 | Link #184 | |
Nympholept
Join Date: May 2011
Location: Wonderland.
Age: 31
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2012-12-13, 00:13 | Link #185 | |
Member
Join Date: Aug 2007
Location: Ho Chi Minh City Viet Nam
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ANW... as i recall, the years that the story run around is 845(the first time colossal titan appeared), 850(the second and the first fight of main chars), the first time Titans appear is more than 100 years ago so around 700s, etc. So... let's just say this is a bit old World especially Europe alternative time line (a bit later of Arthur era ) |
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2012-12-13, 00:27 | Link #186 | |
Senior Member
Join Date: Aug 2011
Location: Los Angeles, California
Age: 39
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This is an awesome series. . .but not nearly complete -.- and they have the some guy from guilty crown doin this? . . . . my hopes are really really low. . . . |
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2012-12-13, 00:37 | Link #187 | |
Lets be reality
Join Date: May 2007
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I really don't know how a series that was mostly at fault due to Yoshino being a complete hack has any bearing on something with a source material as great as Kyojin. The writer for this is Yasuko Kobayashi and not Yoshino, that by itself is addition by subtraction and than you see that Yaskuo is in charge of writing the currently airing Jojo's Bizarre Adventures... seems the manga fanbase of that is pretty happy with her job... she also helped out on Death Note. |
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2012-12-13, 00:42 | Link #188 | |
Bittersweet Distractor
Join Date: Nov 2007
Age: 32
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There are certainly people with worse track records out there, and he's certainly not inherently incompetent, but he's not as blameless as you make him out to be.
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2012-12-13, 01:09 | Link #189 | ||
Senior Member
Join Date: Aug 2011
Location: Los Angeles, California
Age: 39
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Well LOL there's no boobs in this one so at least we're safe from all that nonsense hahaha |
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2012-12-13, 01:55 | Link #190 | |||
Lets be reality
Join Date: May 2007
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And who's saying it didn't change? Could've been even worse before lol, I mean a lot of people (not so much here) like to shit on AnoHana but if Nagai didn't change things from what Okada wanted... L O L. It's still Okada's work/script though... Quote:
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What exactly is the worry for Kyojin? The source is fantastic, the writer is currently doing a fantastic job on a manga series even more loved than this, the trailer was spectacular, it has a budget behind it (it's a Nichigo show after all) how is Araki going to stuff this up? The only thing to worry about is how this ends, monthly manga gets a lot of original endings, look @ the original FMA, Claymore (which Yasuko Kobayashi also wrote, and did a great job of until she had to make an ending) and Ao no Exorcist. If the series is twice as popular in 6 years time when it's about to end it's not like they won't reboot this anyway... |
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2012-12-13, 02:13 | Link #191 | |
Bittersweet Distractor
Join Date: Nov 2007
Age: 32
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I think a director who operates with this sort of mindset is a bit questionable:
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That is all.
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2012-12-13, 02:15 | Link #192 | ||
On a mission
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2012-12-13, 03:59 | Link #193 | |
Senior Member
Join Date: Aug 2011
Location: Los Angeles, California
Age: 39
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directors...do you know what they do?
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I was always under the impression that the director approves or denies the scripts. . . anywway. . .somewhat relevant(its about film directors, but I'm pretty sure the process is the same just scaled down for anime format. . . and the main point is the power the directors have over scripts/writting. . .so yeah.): http://goodlady.hubpages.com/hub/How...-Youve-Written for those too lazy to click on a link: The Position of a Scriptwriter with a Film Director If your script has reached a director who wants to talk with you about it, then the director could be interested in making a movie from it. Well done to get this far! You have come a long way through the doors of many 'tough' professional offices. It is the beginning of a new phase in the life of the script. Notice that I didn't say your script. Even though you wrote it and rewrote it many times, it is a good idea to know that your script is a part of a narrative which the director will, ultimately, bend and twist and turn inside out, if necessary, to make into a film that he or she wants to make. This article briefly describes the ways in which a scriptwriter will generally lose total control over their script in this film making process, not to put a dampener on their achievement but in order to advise them that when they speak with a film director they'll be aware that it's about collaboration from the moment they open, or don't even open that first page of the script - and it is the director who calls all the shots! Your story must have a lot of appeal if it got this far. It can take interpretation. A badly worked out story can't. Your story is up for it - so hold on to that certainty and enjoy the merry go round you're about to board. Did You Know? John Milius wrote the original screenplay for 'Apocalypse Now' - a violent, gory war story pure and simple. But Francis Ford Coppola based his own movie on a radically altered script based on Joseph Conrad's story "The Heart of Darkness" which he never stopped writing and re-writing until the last day of shooting - as he himself got under the skin of the War in Vietnam. What Artisitc and Dramatic Aspects a Film Director Controls You will lose control over your script. It will become 'the script' and until the very last day of shooting it will be re-scripted (rewritten) many, many times. You may never even get a credit for it. You may not want a credit for it When you're talking about the movie with a film director about a script you've written bear in mind the following very real notions the director may already have: A desire to make a certain kind of film from before they read your script (loves Adventure, but yours is a Drama) Might want to completely re write the script because the story's good but they want to interpret it differently. (Dialogue?) Could want to change the genre of the screenplay (Western to Horror) Could want to change the period (Sci Fi to Today) Like Mike Leigh, Federico Fellini and other directors who prefer to let their actors improvise, this director likes the actors to improvise with the dialogue too. The director is, as the title implies, the director. He or she is the god of the movie, interpreting the script, creating a movie out of all the materials, professional talents (production designer, camera man, actors etc) with the money at his or her disposition. The studios producing this movie can fire the director, but usually the director, hell bent on making this movie, will bear in mind all the production constraints and tow the line where the studios and producer are concerned. Very often, on the other hand, a director could and does work very closely with a producer. (No two film making collaborations or movie teams or contracts between the parties are the same.) The director will modify the script to meet his own artistic demands. Equally he will change the script to meet the producer's and the the film studio's expectations. (There are teams of lawyers and agents involved) The director often modifies a script because of its costs. A script might cost too much to shoot on location, or if it is a period piece, or sci fi. Sets might be too costly to build in studios. Directing children, animals, monsters is complicated. There are as many reasons why a director has to modify the script as there are scripts written. No one director, or one script, or one story, or one narrative obey the same creative plan. No script begins its journey with a director and follows any path it could have foreseen, or be like any other script, or be a part of a collaboration like any other collaboration. Making a movie is a totally creative process involving many highly creative and superbly talented artists, within a business structure. How to talk to a film director about a script you have written needs to indicate how aware of this you are! How to Write An Interesting Movie Script Before writing a script do the research. Read screenwriting text books, movie scripts, watch movies, study them, write short stories about your characters, know their worlds. Then write the Treatment. How To Sell A Movie Script Write The Treatment Write the film Treatment if you want to sell a film script. Make it industry standard. How to Get a Movie Script Produced A few ways how to get a movie script produced through your local film industry and in Hollywood. What an agent does. What a Producer does. How to Talk to A film Director About Your Script Bearing all of the above in mind, the best way to prepare to talk to a film director about your script is to have learned as much as you can about the director ahead of time. Do they prefer to direct as Fellini or Mike Leigh, or do they control every aspect of direction as do Stephen Spielberg and George Lucas? What do their past collaborators say about working with them? Watch all the films that director has made and worked on. Analyze them. Read all about the director as well as anything they have written. Study their work and the scripts they've worked from - to get under their skin as much as you can. Know what it is this director wants to say politically, about marriage, war, farce, women etc. as much as you can. If this is a director's first film, the collaborative processes could be on a more friendly level but the director will still have very clear ideas about how they want to interpret your script. Knowing all this and being ready to 'let go' of your script into the directors directorship will make how to talk to a film director about a script you have written much more intimate. This professional creative intimacy makes for a good movie making experience. Good Luck. ------------------------------------------------------------------------------------------------------------------------------------------------ ok carry on |
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2012-12-13, 06:36 | Link #194 |
Criminal Unrequitor
Graphic Designer
Join Date: Jul 2010
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It's an adaptation so I really doubt there would be problems here. From the adaptations I've seen Tetsuro direct, he always tries to make the best out of the source material. Death Note was very gritty and suspenseful just like how the manga was. HOTD was full of fanservice and gore and the anime glorified exactly on that selling point which is what HOTD technically is all about. I say the make or break of this series is in the source material itself and in Shingeki no Kyojin's case, it's actually pretty damn amazing.
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2012-12-13, 07:42 | Link #195 | ||
Me at work
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The mindset isn't "I only care about fanservice" it's "I figure people reading this manga like fanservice,so that's what I'll give them" Reck,If you'v been reading HoTD for anything other than fanservice you've been doing it wrong,I mean it's a manga where the writer and artist were codenaming female characters based on breast size before giving them formal names. Quote:
Seriously,death note is one of the rare cases where I read a manga before watching the anime and still ended up liking the anime more. Tetsuro Araki comes from madhouse,and madhouse is a director centric studio (I got that from attending a Q&A with its founder and asking the question of writer/director dynamics),so I doubt he'd be the type tojust sit back and let the writer do whatever he wanted. That said considering I like death note,hotd as well as Kurozuka and Sakura no Mori I'm more than willing to overlook GC
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2012-12-13, 08:25 | Link #196 |
Senior Member
Join Date: Jun 2012
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I really don't think there's anything to worry about with Araki. His directing style is a bit over the top, but it would work for this kind of series. Plus provided it wasn't just a propaganda thing, he's already admitted to being a fan of the manga so I doubt he'd go crazy with it and start making all kinds of weird changes(if anything it should mean he should already have some ideas of what direction the show would have to go towards for a workable original ending if they have to do one, since he's familar with the material, but I dunno if I should give him that much credit).
Frankly the only thing to worry about is how it'll end because as I mentioned earlier, the fact that the manga doesn't really have a point that would work well as a season 1 ending(along with all the usual woes of being a monthly series) means there's a really high chance we'll get an original ending (which may lead to the crazy changes mentioned above) but to some extent even that would depend of factors somewhat out of Araki's control like the episode count. In the event it does end up being longer than 2-cours it could probably be done decently. |
2012-12-13, 11:22 | Link #197 | |
Nympholept
Join Date: May 2011
Location: Wonderland.
Age: 31
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But anyway, we shouldn't take their calendar too literally, because firearms didn't even exist somewhere near the 9th century. With how developed their medical knowledge and infrastructure are. They should be somewhere near the equivalent of our modern era (or to be accurate, somewhere near when the Industrial Revolution started to kick in when the titans first appeared, if we consider their advancement in technology was halted by that tragic event, that is)
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2012-12-13, 12:57 | Link #198 | |
Bittersweet Distractor
Join Date: Nov 2007
Age: 32
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2012-12-13, 20:55 | Link #199 |
a regular van veen
Join Date: Feb 2007
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If it means anything, Araki's Kurozuka was really good (not a masterpiece, definitely, but I like how dynamic and crisp the direction was). Guilty Crown I just blame the type of series they were going for which is targetting the code geass crowd.
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action, dystopian, fantasy, post-apocalyptic, shounen, terror, tragedy, violence |
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