Daha önce pek sevdiğimiz, içselleştirdiğimiz, evladımız bildiğimiz, bağnazca koruduğumuz manga ve anime Akira'nın Holywood tarafından filme uyarlama girişimlerini dehşet ile izledik. Bir iki kere ertelenmesi, iptal edilmesi yüreğimize su serpse de bu iş bir şekilde olabilecek gibi. Ne yazık ki Hitit Güneşindekilerin genel kanısı film çekilirken gişe kaygısı ve Amerikan rüyasına uydurulması işlemi sonucunda ortaya saçma sapan, aslı ile alakası olmayacak bir Akira ortaya çıkması. (Bkz. Dragon Ball) Pek çok konuda huysuz, tutucu ve bağnaz olabilirim ama Amerikan sinema endüstrisinin orjinal eserlerin içine edebilme potansiyelini kimse yadsıyamaz, inkar edemez. Edeni de Hakan'a veririm.
Biz Akira derdi ile huysuzlana duralım bir dönem Akira'nın senaryosunu yazma işi verilen Gary Whitta'nın film, senaryo, manga/anime, köken ve Katsuhiro Otomo hakkında bazı yorumları var. (Yorumları aşağıda daha detaylı da okuyabilirsiniz.) Whitta Akira haricinde Book of Eli ve After Earth filmleri için de metin çalışmaları yapmış. Boş biri sayılmaz. Bu güzel abimiz demiş ki ben hikayenin aslına ve Japon kültürü ile olan bağlarına saygılıyım, hatta yapamayacağıma inansam hiç girişmezdim, fakat şahsi kanaatim odur ki Akira'nın bir Japon öyküsü olması şart değildir. Hatta ve hatta, bizzat konuşmamış olsa da!, Katsuhiro Otomo ile dolaylı yaptıkları görüşmelerde (neden kendisinin zahmet etmediği meçhul tabii) kendisini değişiklikler yapması konusunda cesaretlendirdiğini de ifade ediyor. Ondan sonra yok ülkeydi, şehirdi, felan fişmekan.
Bu güzel kardeşimizin iyi niyetine ve temiz kalbine pek lafım yok. Ancak bu filmin manga ve animedeki o isyan ruhunu, sistem karşıtlığını, hükumetlerdeki yozlaşmayı yansıtmasını, anarşiyi yansıtabileceğine, daha doğrusu yansıtmak isteyeceğine inanmıyorum. Önce dolar yeşiline, akabinde Amerikanya sosuna bulanmış bir iş çıkacağını düşünüyor ve iddia ediyorum. Umarım gelecekte yanılır ve utanırım.
Bu güzel kardeşimizin iyi niyetine ve temiz kalbine pek lafım yok. Ancak bu filmin manga ve animedeki o isyan ruhunu, sistem karşıtlığını, hükumetlerdeki yozlaşmayı yansıtmasını, anarşiyi yansıtabileceğine, daha doğrusu yansıtmak isteyeceğine inanmıyorum. Önce dolar yeşiline, akabinde Amerikanya sosuna bulanmış bir iş çıkacağını düşünüyor ve iddia ediyorum. Umarım gelecekte yanılır ve utanırım.
“Well I went into it because I was – and remain – such a fan of both the original manga and the anime. I would not have taken the job on if I didn’t think there was a way to handle the original material respectfully and to do it some kind of justice. I personally reject the argument that AKIRA is necessarily a Japanese story and that it’s somehow sacrilegious to set a new adaptation of it anywhere else. I think many of the themes in that story are ones that speak to the human condition and are therefore relevant anywhere in the world – if that weren’t true the original versions would never have been a hit outside of Japan. Having said that, both myself and the director at the time, Ruairi Robinson, approached our version with a lot of appreciation for the story’s cultural origins and we wanted to be respectful of that. The one thing that had been communicated to us from Katsuhiro Otomo (we never spoke with him directly) was basically to not be afraid to change things, that he wanted to see an original and different interpretation, not just a straight-up remake.”
He went on to talk about the idea and setting of his version of the film, saying,
“I think we hit upon an idea that would have allowed the story to play to global audiences while staying faithful to its Japanese roots. The idea was basically that in the future Japan had been forced to deal with an economic and population boom by essentially purchasing an abandoned Manhattan island in a massive land deal from the American government, which itself had been driven close to economic ruin by the destruction of the city of Manhattan in the original Akira incident. So what had once been Manhattan became Japanese sovereign territory as New Tokyo, with ten million Japanese living there; it just happened to be located on the east coast of the United States. I thought it was an interesting way to fuse eastern and western cultures in the movie, and allow a mix of actors from both, rather than just “white-washing” the film, which is what I think a lot of people were anticipating. Having said that the project has gone through several writers and directors since Ruairi and I left and I have no idea what approach they’re taking now, or if it’s even still in active development.”
He went on to talk about the idea and setting of his version of the film, saying,
“I think we hit upon an idea that would have allowed the story to play to global audiences while staying faithful to its Japanese roots. The idea was basically that in the future Japan had been forced to deal with an economic and population boom by essentially purchasing an abandoned Manhattan island in a massive land deal from the American government, which itself had been driven close to economic ruin by the destruction of the city of Manhattan in the original Akira incident. So what had once been Manhattan became Japanese sovereign territory as New Tokyo, with ten million Japanese living there; it just happened to be located on the east coast of the United States. I thought it was an interesting way to fuse eastern and western cultures in the movie, and allow a mix of actors from both, rather than just “white-washing” the film, which is what I think a lot of people were anticipating. Having said that the project has gone through several writers and directors since Ruairi and I left and I have no idea what approach they’re taking now, or if it’s even still in active development.”
Çizim Tyler Stout
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