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My Shiro Sanada comes after 2199, where the “Sanada image” was remade

Interviewer: Since Sanada is featured as the narrator of the compilation, I would think that you yourself would have a strong attachment to him.

 

Fukui: Hmm, I don’t know. If he and I were in close proximity, it would be a delicate relationship. (Laughs) We might have a good relationship in some strange way, but in any case I think he’s a completely different type of person from me.

 

Interviewer: Then how do you perceive the character of Shiro Sanada?

 

Fukui: I think there are as many images of him as there are fans, but to me I think the Shiro Sanada of the old series played a role as close as possible to Doreaemon. In the first Yamato series, we had a chance to see his background, but in the subsequent episodes his contradictory feelings about science never came up. He became like a handyman who provides “tools” and “wisdom” when we need them.

 

Interviewer: It’s symbolized by the familiar phrase, “I wonder if this could happen.”

 

Fukui: Even people who haven’t seen the work know that phrase. That’s how his character as a handyman was emphasized. It was 2199 that shed new light on his humanity. It took a very modern approach.

 

Interviewer: As a fan, I was both surprised and convinced by the depiction of him as a person who has problems with interpersonal communication.

 

Fukui: He joins the journey to Iscandar carrying a big “heartbreak” inside himself over Mamoru Kodai. Through the voyage, he confronts and overcomes his own emotional wounds. That process was very well depicted in 2199, wasn’t it? So my Shiro Sanada is the post-2199 Sanada. All my images of Sanada from before then were remade.

 

Interviewer: In 2202, which you wrote, Sanada has a sense of distance from others and is more human than in 2199. The essence of this was his speech to the entire human race in the final episode.

 

Fukui: That speech was also made that way because of how he was portrayed in 2199. That’s how it was born, wasn’t it? If someone other than Sanada had spoken, it would have sounded ordinary.

2199年之后的真田先生，形象被重新塑造的真田。

记者：既然真田是这部总集篇的叙述者，我想你自己也会对他有很深的感情。

 

福井晴敏：嗯，我不知道。如果他和我很接近，那将是一种微妙的关系。（笑）我们可能在某种奇怪的方式下建立了良好的关系，但无论如何，我认为他是一个与我完全不同的人。

 

记者：那你是如何看待真田志郎这个角色的？

 

福井晴敏：我想有多少他的粉丝就有多少他的形象，但对我来说，我认为老版系列的真田志郎扮演了一个非常接近哆啦A梦的角色。在宇宙战舰大和号的第一季中，我们有机会看到他的背景，但在随后的几集中，他对科学的矛盾感受从未被提及。他就像一个勤杂工，在我们需要的时候提供“工具”和智慧。

 

记者：他的代表性语句是一个熟悉的短句，“我不知道这是否会发生。”

 

福井晴敏：即使没有看过这部作品的人也知道这句话。这就是他的杂工性格被强调的原因。直到（新作）2199里，他的人性才有了新的体现。并被采用了一种非常现代的方法。

 

记者：作为他的粉丝，我对他被描述成一个在人际交往方面有问题的人感到既惊讶又信服。

 

福井晴敏：他带着内心巨大的“心碎感”克服了古代守（注：男主古代进的哥哥）的离去，踏上了前往伊斯坎达尔的旅程。在旅途中，他面对并克服了自己的情感创伤。这个过程在2199中被很好的描述出来，不是吗？所以我所描绘的真田是2199后的真田。之前我对真田的所有印象都是被重置的。

 

记者：在你所写的有关2202的文章里提到，真田有一种与他人之间的距离感，比2199更具有人情味。这句话的核心是他在最后一集对人类整体的讲话。

 

福井晴敏：那次演讲也是因为他在2199的形象。它就是这样诞生的，不是吗？如果是真田以外的人来发表那次演讲的话，听起来会很平淡无奇。

Interviewer: Certainly, only Sanada could make it sound so convincinFukui: That’s because of the humanity he acquired between 2199 and 2202. If another character had spoken, their background before the voyage would have gotten in the way. Don’t you think it would have been difficult to hear the straight story?

 

Interviewer: That may be so. However, if we listen to the words of Sanada, who gained humanity through the two voyages, we’re better able to hear what he has to say.

 

Fukui: That’s the difference between him and the Shiro Sanada of the old series. In the past, he was portrayed as an already-established character. He’s a handyman, but he also genuinely cares for Kodai, and behaves as a “big brother,” doesn’t he?

 

Interviewer: There’s even the line in Farewell to Yamato where he says, “I’ve thought of you as a younger brother.”

记者：当然，只有真田能做到让它听起来如此令人信服。

 

福井晴敏：那是因为他在2199到2202之间所获得的人性。如果是另一个角色来开口，那么他们在起航前的背景就会成为某种障碍。你不觉得要听实话很困难吗？

 

记者：可能吧。然而，如果我们聆听真田的话，他通过两次航行获得了人性，我们就能更好地听到他想要说的东西。

 

福井晴敏：这就是他与老版系列的真田志郎的不同之处。在过去，他被描绘成一个已经确立的角色：他是一个勤杂工，但他也真正关心古代进，表现得像个“大哥”，不是吗？

 

记者：在《再见了宇宙战舰大和号》中，他甚至有一句台词是这样说的：“我已经把你当成我的弟弟了。”

 

福井晴敏：但在2199里的真田哪怕是倒过来也不会这么说，因为他根本不会这么想。

 

记者：他与老版有一个共同点，那就是他是舰桥组员里是个可靠的长者。他沉着冷静，带领着舰桥成员。

 

福井晴敏：这在重置的系列里也有惊人的不同。他做事都是靠自己，如果他认为自己是对的，他就会这么做。剧情得以发展下来。

 

记者：是的，确实如此。

 

福井晴敏：事实上，在这个故事中，真田犯的错误比任何人都多。他在2199里所面临过的最重大的事件是第13集《异次元之狼》，这个在故事里并没有真正提到。他在如何处理应对次元潜艇的问题上与古代进发生了冲突。

Interviewer: It’s a scene of disagreement between Sanada, who respects rational judgment, and Kodai, who wants to act based on his intuition.

 

Fukui: At that time, they lost a lot of people on the crew as a result of Sanada’s final decision. That would have been a big deal for Sanada. For the rest of his life, he’ll have to carry the weight of the lives lost because of his own decision.

 

Interviewer: I see.

 

Fukui: That’s why, for Sanada, the theme of the voyage in 2202 is “redemption.” We discussed it in the early stages and tried to depict the subtleties of that.

 

Interviewer: If that’s the case, then Age of Yamato is also a compilation for the character of Shiro Sanada.

 

Fukui: There is no doubt that we were able to go through this 2-hour work together because of his presence. That’s why the Shiro Sanada of the remake series is an important person for me.

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记者：这是尊重理性判断的真田与希望凭直觉行事的古代之间的分歧。

 

福井晴敏：当时由于真田的最后决定，他们失去了很多船员。这对真田来说可是件大事。在他的余生里，他将不得不承担起因为他自己的决定而失去的生命的重担。

 

记者：我明白了。

 

福井晴敏：这就是为什么对真田来说，2202的航行的主题是“救赎”。我们在早期阶段就讨论过这个问题，并试图阐述其中的微妙之处。

 

记者：如果是这样的话，那么《大和号的时代》也是对真田志郎这个角色的总集篇。

 

福井晴敏：毫无疑问，因为他的存在，我们能够一起完成这两小时的工作。这就是为什么重置版系列的真田志郎对我来说很重要。

（点头）

（未完待续）