Newsgroup: it.arti.cartoni
Titolo: M'e' arrivata la Tomba...

...e in un certo senso era meglio risparmiare i 22 euri...
Tze, non seguiro' piu' i vostri consigli, se continuate cosi' mi 
rovinate.
Capiamoci, a me e' piaciuto taaaantissimo, ma mi ha messo su una 
tristezza immensa tant'e' che son sgorgate diverse lacrimucce 
(praticamente dall'inizio del film, e addirittura gia' conoscevo la 
vicenda a grandi linee), nonostante le apparenze sono un tipo sensibile 
;_;...un cartone cosi' pero' mica lo posso rivedere un'altra volta, e' 
troppo angosciante ;__;
Cmq posso affermare, per quel che mi riguarda, come sia sicuramente una 
delle migliori produzioni che abbia visto negli ultimi sei mesi 
(contando pure film per il cinema)...
-- 
__ _ Speedwagon intristito

 wrote:
[cut]
un po' macabro come subject... credevo che ti fossi preparato per
tempo un posto al camposanto^^
per quanto riguarda il discorso sul cartone condivido appieno!
-- 
SYD 

 troppo angosciante ;__;
Infatti, solitamente e' un film da "buona la prima", perche' e' difficile
decidersi a rivederlo (lo sto' meditando da tempo...)
--
Isamu_D
Aspirante Valoroso Gestore
(della bancarella di spranghe di CB)

 troppo angosciante ;__;
Per questo non comprero' mai la versione DVD, mi e' bastato vederlo in
VHS una volta sola^^.
Preferisco prendere DVD di film un pelino piu' positivi^^.
bye

Speedwagon wrote:
Da postalmarket???? Come fantozzi!!!
Che modello hai preso???era tra le pagine con lo sconto al 50% o no?????
^____^
Adamanter
-- 
If you don't read the sign please notify to micro$ozz

 Preferisco prendere DVD di film un pelino piu' positivi^^.
 
Ti capico perfettamente ^^.
C'e' da dire cmq che la qualita' del dvd imho e' ottima; audio/video 
ottimi. Belli i menu, soprattutto quello iniziale, pochissimi invece gli 
extra (trailer e intervista).
Per quel che e' costato pero' penso ne sia valsa la pena.
-- 
__ _ Speedwagon

 tempo un posto al camposanto^^
*GRAT GRAT*
-- 
__ _ Speedwagon

 difficile decidersi a rivederlo (lo sto' meditando da tempo...)
Figurati che io quando vedo nella copertina le facce dei protagonisti mi
giro e penso a qualcos'altro (tant'e' che non sono riuscito ancora a
riporlo nella libreria ^^')... 
-- 
__ _ Speedwagon

 no????? 
No, purtroppo prezzo pieno.
Oramai pure riposare in pace per l'eternita' costa...
-- 
__ _ Speedwagon

 ha scritto nel messaggio
ULP! Sei un tipo veramente previdente! O_____O
Ma non e' che ti porti sfiga da solo? ;-P
--
Halman

 Preferisco prendere DVD di film un pelino piu' positivi^^.
E si, la decisione e' sempre difficile, tra Anime dello stesso genere...
Prendo il DVD di Una Tomba Per Le Luciole o quello, che so..., di FLCL :-PPP


(contando pure film per il cinema)...
*spot*
Tempo fa, molto tempo fa, io e l'attulamente latitante Haranban ci
prodigammo in un infinito (nel senso che non giunse mai a una
conclusione... l'ultimo post e' stato mio, quindi la colpa e' di
Haranban! *grin*) thread su quel capolavoro dell'animazione che e' Una
Tomba Per Le Lucciole.
Se ti interessa, non credo sia difficile trovarlo con Google.
^____^
*/spot*
Haranban (<-- Pro Global Search)
quando ti deciderai a continuare quel thread???
Non vorrai ritirarti, eh??? .\___/.
Saluti!
Deniz Vicious, waiting...
-- 
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libero.it

Tomba Per Le Lucciole.
Ho anche trovato le opinioni di Oshii sullo studio Ghibli. Parla anche
dei lavori di Miyazaki e di Takahata.
Some anime magazines and manga magazines praise Ghibli as the best
animation studio in Japan, or in the world, and say such things as
it's the conscience of the Japanese anime industry, but that's all a
lie. -laughs- Anyone who's been there even once would know that. Well,
I'm not going to deny everything (about Ghibli), but if you worship
them like that, it will only make people (at Ghibli) miserable. And
indeed they are miserable, so I'm hoping they would stop (worshipping
them). Someone should criticize them somewhere. Though to do that, you
really need forcefulness and resolution.
[...]
More than anyone, he himself knows that his next movie, Mononoke Hime
won't hold up (as a story) in principle. How in the world can he make
a story like "they defeated the evil sheriff, and the village folks
lived happily ever after" in this era? The world is filled with
stories about things becoming worse after an evil sheriff got
defeated, so how can he make children believe in (such a story)? The
story of "defeat the dictator," like Horus: Prince of the Sun could be
believed in back then, but what's the use of doing Horus now?
Until now, they kept at least one thing; not making a film unless they
have an answer to the question of how they face the current era and
what to say. If they start making (films) even though they know (what
they are saying) is a lie, there will be terrible consequences. Since
their belief system will totally crumble away.
[...]
After all, we don't have many friends in the anime industry. Since it
is a craftsmen's world, there is a strong sentiment against
criticizing others' work, so Miya-san, Takahata-san, or me, those who
go around and badmouth loudly can not be liked. I suppose there are
tons of people who talk behind others' backs, though. I myself think
that since it's a fair game, we'd better say whatever we want to say.
For example, for Patlabor 2 (1993), Miya-san gave me a hard time
saying such things as it's unfair, or cheating. I also always talk
about Miya-san's work. About Ghibli films: Nausicaa-- this is The
Spaceship Yamato (Star Blazer) Miya-san style. He dressed it up a lot,
but it was filled with the emotion of a Kamikaze attack. In that
sense, this is a powerful film which was made out of the ideology
itself, supported by heroic energy.
Laputa-- Among Ghibli films, I like this best. Since it has a good
structure as a boy's adventure story. In this film, what he wants to
do in making a film and the emotions he (Miya-san) holds are
well-balanced. In Nausicaa, the balance was really tipped. -laughs-
However, I got a chill from the scene where humans fell from the sky
and Muska laughed "Humans are like garbage!" Somewhere, there is such
a very cruel side like "all the humans should die."
Totoro-- Despite it's fundamental flaw of having no other choice than
transplanting Trolls from Northern Europe to depict his ideal,
beautiful Japanese countryside, he pulled it off with sheer force. I
can understand why kids love it, since it plays to the audience as
much as it can. But since I'm (also) a creator, I'm resolved not to be
carried away by it.
Kiki's Delivery Service-- When the era wanted (that movie to be made),
Toshio Suzuki pursuaded Miya-san to make this film (against Miya-san's
will), based on his (Suzuki's) own instinct as a great producer. As a
Miya-san work, I think it plays to the audience too much, and falls
apart. I suspect he got depressed after that. He took a hiatus for
about two years after that, you know.
Porco Rosso-- In short, it's a personal novel (shi shyousetsu).[3] He
(Miya-san as Porco?) put on such airs and spoke such flashy lines,
posing as a pirate, but that's all self-excusing. I think it would
have been good if the ending was such that he took off the pig's head,
and Miya-san's face showed up underneath it, (saying) "I'm sorry." I
think it would have been a fine film if the hero was a pig who could
only say "Oink Oink," but he was very good at air battles.
I have tons of things I want to say about Takahata-san, -laughs- but
Grave of the fireflies attracts my attention most. That's an immoral
world, since it's a story of incest. And the image of death is lined
up right behind it. In that sense, it was an erotic movie, and it gave
me chills.
His (Takahata's) other works aren't my cup of tea to start with. He is
very particular about descriptions, but to me, they all look
quibbling. But in truth, as a director, I was most influenced not by
Conan, but by Anne of Green Gables. I was astounded by how broad the
range of direction can be. Because, there was no story. It's just
washing dishes, or watching a carriage go by. And it's a long (scene).
But, this has tremendous power. In that sense, my eyes were opened.
Though I complain a lot, I think it would be boring if those two
stopped making (films). I guess I'd feel strangely empty.
I talk a lot about Miya-san and Ghibli everywhere, and although people
nod when they are listening (to me), once they see (Ghibli films),
they (change their opinions) to "well, but I still love them."
In terms of the persuasiveness of their films, it is true that they
have just such a power, and it is also true that they have what I
don't have. You can say that they have their own instinct for
appealing to the general public. I think they have extraordinary
energy in terms of making what they want to make, while surviving in
the general consumer society with their ideological constitution of
the 1960s intact. In the usual case, they should've been put into a
museum a long time ago.
At one point, they almost were (put into a museum). But they made a
splendid comeback, because they put up a united front. Each was able
to make (a film) because the other made (a film). How they are tuned
into each other is really something. Those two are not on good terms
at all. If you think they are on good terms, you're totally wrong. In
a sense, they are like a cat and a dog, and each has a part of the
other he can't accept. Despite that, they can put up a united front
without hesitation, since they are from the people's front generation.
That's the world I can't get into.
Well, I've never seen such an interesting person since I started
working. Miya-san is one of my friends whom I can really trust, but I
don't agree with him in the end, and I shouldn't.
I can say I became shrewd, learning from their aggressiveness, and I
drew many lessons from them about how not to do things. And I was also
taught the realistic aspects of making a movie, such as how to speak
to a client. I learned a lot (from them) about how to behave and what
to tell to whom, in order to make a movie I want to make. Thanks to
that, my life became easier, and I was encouraged very much.
I have nothing I want from them. It won't matter to them, but as my
personal wish, I just want to see how they exit, including how they
take the responsibility for what they've been doing. I have almost no
expectation for them to show us something new, or some new
development. It is true that they showed us great things at one point
in time. Why would you want more (from them)?
In Miya-san's case, his hair became totally white, and his stomach
became so weak, he can't even eat a katsudon.[4] Since his hands no
longer move (easily), I heard that he puts Elekiban on his arms.[5]
Even so, he is still working because he loves to work.
I'm sure it will be a fight if I say so, but, his mission in history
has ended. Speaking from my experience in watching (his works), I
think he peaked with Conan the Future Boy or Lupin III, the Castle of
Cagliostro. After he moved to Ghibli, (things started) to decline.
This has been the ten years in which the substance of the works
declined, while the quality of them improved. But I think of him as a
lucky man, since he has done everything (he wanted to do).
-- 
Ż\_/\_/Ż          Vegeta Saiyan de Final          Ż\_/\_/Ż
   \/ E RICORDATE, IO NON SONO IL MASTER SPAZIALE X! \/

Deniz Vicious, waiting...
for Godot? O:-)))))
--
Gian Piero 'Haranban' Aschieri
Capro Espiatorio Numero Uno di IAC
haranba...@libero.it
 -> Togli TOGLIMI! ^_^
E' uscita la versione 2.6 di Cartoni.hlp!
http://digilander.iol.it/haranban/help
Tutto sui cantanti e sigle dei cartoni animati!

e chi l'ha mai detto! io non abbandono mai :D
Meglio cosi'. Ora tocca a te aspettare  ;D
Saluti!
Deniz Vicious, andante con moto
-- 
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