Following the broadcast of its two-hour pilot movie on September 19, 1994, ER premiered Thursday, September 22 at 10pm. It remained in the same Thursday time slot for its entire run, capping the Must See TV primetime block. ER is NBC's third longest-running drama, after Law & Order and Law & Order: Special Victims Unit,[10] and the second longest-running American primetime medical drama of all time, behind Grey's Anatomy.[11] Starting with season seven, ER was broadcast in the 1080i HD format, appearing in letterbox format when presented in standard definition.[12] On April 2, 2008, NBC announced that the series would return for its fifteenth season.[13] The fifteenth season was originally scheduled to run for 19 episodes before retiring with a two-hour series finale to be broadcast on March 12, 2009,[14][15] but NBC announced in January 2009 that it would extend the show by an additional three episodes to a full 22-episode order as part of a deal to launch a new series by John Wells titled Police, later retitled Southland.[16] ER's final episode aired on April 2, 2009; the two-hour episode was preceded by a one-hour retrospective special.[17] The series finale charged $425,000 per 30-second ad spot, more than three times the season's rate of $135,000.[8] From season 4 to season 6 ER cost a record-breaking $13 million per episode.[18] TNT also paid a record price of $1 million an episode for four years of repeats of the series during that time.[19] The cost of the first three seasons was $2 million per episode and seasons 7 to 9 cost $8 million per episode.[18][20]
Episode 2.34 Movie In Italian Dubbed Download
In this bonus episode, Gil Kidron and Rutger Vos graciously invite me on to their long-running show Pod Academy. This show is dedicated to applying a critical intellect to popular media, especially movies or TV series. We discuss the 2014 movie Noah, staring Russell Crowe, Anthony Hopkins, Jennifer Connelly, Emma Watson and Ray Winstone, doing what Ray Winstone always does: being himself.
I also thought it would be a good topic (laughs). If I wanted to make it more commercially profitable, I could have dropped episodes 25 and 26 since I didn't have the time to do so, and made up the broadcast time with a video compilation and apologized. If we had done that, the number of people who would have been upset would have been small, we would have gotten a lot of sympathy votes, and we could have said, "We're sorry we didn't have time." I'm sure I'll get letters from people saying, "I'm sorry you didn't have more time, but please show us the rest of the movie on video or whatever." It's much better from a commercial point of view, because you get the sympathy of the customers and they buy the rest of the story. However, in episodes 25 and 26, I wanted to throw away all commercial thoughts and put my honest feelings on the screen. It was a last-minute choice, though.
In 1995, "Neon Genesis Evangelion" was the first work to emerge from the anime world that attracted much attention and buzz. Even after the TV broadcast ended, its reputation continued to grow. The Laser Disc/Video Tape versions of the second half of the episodes (the last two episodes) will finally be released in the fall. The English version of the video has already been released. A compilation of the movie version has been released for next spring's release. In addition, the excitement for the new theatrical version in the summer has never stopped. I interviewed Hideaki Anno, who wrote the original script and directed the film. The following is a small part of the two-hour interview.
Akio Satsukawa worked on twelve Evangelion episodes, Love & Pop is another live action movie directed by Anno, Satsukawa's only other collaboration with him besides editing for the earlier Nadia, and a limited consulting role for 1.0 and 2.0. This was also republished later in Quick Japan no. 17 along with other interviews.
Ikuhara: I'll state up front that all Japanese fictional works, even for the little theater, are all manga.Anno: Yeah. It's the manga-ization[*2] of the nation. Dramas are the same, nothing but either manga with an extremely tenuous grasp on reality or documentary-like variety shows.Ikuhara: I can't say precisely what I mean by manga-like, but for one thing, such works can only show the totally familiar or the astoundingly distant. Aren't all popular songs that way? They can't speak to anything but minutae like someone's dress shirt, or about things like the edge of the universe that are so far away they can't be spoken of except in the imagination. They don't speak at all to the yawning gap in between. That's how I feel the world of manga is.Anno: Perhaps we can be at ease in a fake world because we know it's a lie from the outset. That's how the creators of manga where you'd think "There wouldn't really be a teacher like that" make drama. That's how works like "Denpa Shounen", where you never know what's going to happen next, work. Ikuhara: I read the feeling of seeking variety and such as wanting to seek corporeality.Anno: Yes, a world where something is done with the body alone. Nothing else befits a documentary. A world that shows nothing of creation.Ikuhara: Take "Utena" and "EVA". They take a fragment of our work and talk about us introducing impact into our animation, saying it's like Terayama Shushi[12]'s work or something. It's nothing that narrow, is it? I think that what appears in our works is the complex about the body that people who make made-up anime feel.Anno: I use the word "lifelike-ness". Compred to that, cel anime is pretty and virtual. Because I feel a sense of thwarted life in current cel anime, I want to try to peek at it from a slightly different direction. Like trying not to use any of the established seiyuu.Ikuhara: There are times when I want to stay away from impactful stuff and deal with the illusion. Saying one thing after another, I think everyone's deluded. Directors, animators, seiyuu, the audience, everyone is deluded while making and watching anime. I wonder if things aren't just fine that way? I don't want to brood over it. The first time I saw Terayama, I really loved it. My country bumpkin complex and my intelligencia complex give me my drive. Now that I think about it, that delusion was a godsend (laugh).Anno: In the old days, I had never seen anything like real impact, and thought the whole thing was absurd.Ikuhara: That's how it usually is.Anno: Adjusting a set in real life was such a pain. Anime and movies are much cooler.Ikuhara: That's why people quit doing theater when movies were invented. And that was precisely why I was so shocked when I saw Terayama. The pleasure of corporeality being possible. The pleasure of fiction. The kind of pleasure that makes strip-tease more engrossing than pornography.Anno: In real life, bad things happen, like rowdy neighbors at a shop, but impact isn't virtual, is it?Ikuhara: Movies are recordings, whereas the stage is a sort of "incident".Anno: Just like the difference between a war you're in and a war you see on TV.Ikuhara: It seems we can't savor the interest of becoming the people on the scene.Anno: That's because impact is tough stuff. Movies can't offer anything more than a pseudo-experience.Ikuhara: What propelled the 70's little theater boom was the feeling of wanting to be in the middle of things, wasn't it. How much of being in the middle of things is left these days? People worry about things that aren't yet firm and solid.Anno: I thought of a lot of different stuff for "KareKano", but it seems impossible to do impactfully under the current system. All the same, starting around episode 9 a lot of inexperienced kids appear, the kind for whom it's their first time in front of a mic. We'll see what happens.Ikuhara: That could be interesting.Anno: Kuni-chan, you should come on too, as a teacher or something.Ikuhara: I've gotten used to doing things halfway, but can I really? (laugh)Anno: Ah, I don't need anyone who only does things halfway. (laugh)
OKADA: Mr. Miyazaki's new movie, MONONOKE-HIME, is going to be using 80 cuts of computer graphics in it. If there were more opportunity, time, or availability, he would have wanted to use 120 cuts in it. So Mr. Miyazaki is also one of the people starting to use computer graphics, too. And, also, Mr. Miyazaki says, "If we'd had a computer system when we made LAPUTA, there's half of it I'd like to remake." So there's great possibilities with computer graphics. And Mr. Anno has said, in remaking the last two episodes of EVANGELION, he's going to Studio Ghibli to study Mr. Miyazaki's system. And that studio has a big system for computer-graphics images. I've heard they've got five, or seven, Silicon Graphics workstations. What Anno wants to make is a "snow world"-- the Eva units fighting the enemy amidst a world of snow, on a snow- covered mountain. But it's very difficult to portray snow falling and piling, and the robots walking through the snow--it's very difficult to draw by the human hand. Mr. Anno wants to make a masterful scene of a battle amongst the snow. Computer graphics are very expensive, and very difficult to use, but they have great possibilities. I've heard that James Cameron went to Production I.G., the studio that made GHOST IN THE SHELL, and asked the president of Production I.G. for five of his animators, because he wants to make a full computer- graphics film. But Production I.G. said no, because Cameron's offer was very bad. Bad, because Mr. Cameron was thinking, "Oh, Japanese animation, it is very low price! So, I think, maybe--ten thousand dollars-- for a thousand dollars for each man, I can get the best animators in Japan!" And he said so; and Mr. Ishikawa, who is the president of Production I.G., said [STERNLY] "No! It is very expensive!" So Mr. Cameron quit. 2ff7e9595c
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