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  • [director] Part of this is I'm trying to figure out

    NETFLIX オリジナルドキュメンタリー

  • some of the big picture things.

    NETFLIX オリジナルドキュメンタリー ストーリーを語ることが どれだけ美しいかの前に

  • How aesthetically to tell your story.

    [ストーリーを語ることが] [どれだけ美しいかの前に]

  • And even before that, kind of what your story is, you know?


  • Roll, camera.


  • [Christoph] I've been thinking about

    では 始めよう

  • how we would kind of create the documentary.

    これが どんな ドキュメンタリーになるか

  • And in my general state of anxiety right now, I came to this question:


  • Is this about me, or is this by me?


  • And you don't even see me drawing, right?

    僕が君たちに撮らせるのか? それが気になる

  • [director] We don't. We're just seeing the top half of your head.


  • So you can act with your eyes.

    ない 頭の上半分だけを映す

  • [director laughs]


  • [Cristoph] When I design the experience for the viewer,


  • of course I want to come across as good as I possibly can.


  • 'Cause we're vain and we have to be.

    できるだけ いい作品にしたい

  • And if it's about me,


  • it's a little bit, just tug of war of how much do you make me reveal

    でも 僕個人の ドキュメンタリーの場合

  • and how much do I reveal of stuff that I might not want to reveal.

    見せたくない部分をどこまで さらけ出すかは問題だ

  • But, ultimately, it's not about me.

    でも最終的に 主役は僕じゃない

  • [director] Be an artist.


  • [Cristoph whispers] Be an artist.


  • [drumming]


  • [woman sings in German]

    イラストレーション クリストフ・ニーマン

  • [clock ticks loudly]

    コンセプトは最高! 作品は最低!

  • [door opens and closes distantly]

    ドイツ ベルリン

  • [Christoph] I would say everything that happens between nine and six

    9時から6時までの間は ほぼずっと仕事をしてる

  • is about work.


  • I work mostly by myself.


  • So I sit at my desk and I draw and I design.

    周りには仕事の道具と コーヒーメーカー

  • So I'm there,


  • and it's me and my art supplies and my computer and my coffee maker,

    いすに座ればアイデアが 浮かぶのが理想だ

  • so it's kind of me, me, me.


  • I'm such a control freak that I would always love to sit down

    でも そうはいかない

  • and come up with the perfect formula for creating art.


  • But it doesn't work that way.

    かなりの時間 紙を 見つめ続ける必要がある

  • It's a little bit of a painful realization,


  • because, ultimately, it really is, to a very large degree,


  • staring at paper.


  • And I have to trust for kind of crazy moments to happen.

    アートにおける 最も大切なコンセプトだ

  • [piano plays]

    例えば 装飾を排して シンプルな箱を描くとしよう

  • I would say that abstraction probably is, for me, the most important concept of art.

    でも この発想の根底には 多くのアイデアがある

  • Where you say, "Oh, I'm just drawing a simple box,

    それを1つずつ 吟味して消去していき

  • because I love things that are not precious."


  • But it's the idea of, like, I start with a thousand different thoughts

    僕にとっての抽象化とは 必要なもの以外を

  • and then I, one by one, throw them all out,


  • until, at the end, I have the one or two or three


  • that are essential to the whole question.

    アイロンの形で 物を表現してみた

  • But the abstraction, for me,

    例えば これは男と女

  • is this idea of getting rid of everything that's not essential to making a point.


  • This thing here, it's called The Good Shape or The Good Form.


  • So I take this flatiron shape and I start doing things out of it.

    原発やカウボーイ インディアン

  • Men, women,


  • bathroom, strongman, nuclear power plant,


  • cowboys and Indians,

    先生のハインツ・ エーデルマンは

  • all sorts of sports.

    「イエローサブマリン」の他 ポスターや本を手がけた

  • [director] So what did your teachers make of you?


  • I had a very, very difficult teacher, Heinz Edelmann,


  • who did Yellow Submarine, The Beatles' movie,


  • and did amazing posters and book work.

    “悪くない”で 言われたら“よし”と思った

  • Fantastic designer, but let's say he did not teach by encouragement.

    子どもの頃から 常に何かを描いていた

  • The highest compliment that you could hope for was,

    動きやバランスに 気を使ってね

  • "Oh, we don't really have a problem with that."

    ダイナミックに 再現することが―

  • That was like, "Yes!"


  • When I grew up in South Western Germany, I was always drawing.

    ハイパーリアリズムに 興味があり

  • It was all about getting action and proportion right.

    それがきっかけで アートスクールに進んだんだ

  • Drawing things very dynamic.

    だけど エーデルマン先生は―

  • And that was the goal.

    そうした趣向の作品を 毛嫌いしていた

  • To kind of get there, to this, like, hyperrealist, amazing painting.

    たくさんのスケッチを描いて 毎週見てもらってたけど

  • And this is kind of the notion that I went to art school with.

    先生はパラパラとめくって “ダメ ダメ ダメ ダメ…”

  • But the teacher I had at art school, Mr. Edelmann,

    “これは まずまず“

  • he made it pretty clear that he really disliked this stuff that I was doing.

    学校の授業では 課題のトピックを提示され

  • So I was drawing hundreds of sketches on just letter-sized paper,


  • and each week, he would come in and go through them

    バリエーションを 変えながらね

  • and basically say, "Nope, nope, nope, nope, nope, nope, nope."

    じきに僕は 正方形や1本の線も

  • "Oh, this one's okay!"

    ただのシンプルな 物体ではないと気づいた

  • 'Cause this is what we did in school.


  • Take a topic, like a red clown's nose,


  • and then just squeeze the hell out of it.

    ただの線や点でも それは変わらない

  • Just do every single variation.

    それぞれが ある基準を持ってるんだ

  • [director laughs]

    愛のシンボルである ハートで図解する

  • [Cristoph] Eventually, I realized that it's not about something super simple

    愛のシンボルである ハートで図解する 抽象化メーター

  • like a black square or, like, one line.

    愛のシンボルである ハートで図解する

  • But each idea requires a very specific amount of information.


  • Sometimes it's a lot: a lot of details, a lot of realism.

    それは心臓の 究極の抽象化だが

  • Sometimes it's really just this one line. The one pixel.


  • But each idea has one moment on that scale.

    でも あまりにリアルに 筋肉や血液を描いてしまうと

  • So, lets say you want to illustrate the idea of a heart as a symbol for love.

    グロテスクすぎて 誰も愛を連想しない

  • When you illustrate it, as just, like, a red square,

    この抽象的な赤と リアルで生々しい心臓の

  • which is the ultimate abstraction of a heart,

    中間点にあるのが グラフィックのハートだ

  • nobody knows what you're talking about, so it totally falls flat.

    愛のシンボルとして よりふさわしい

  • When you go all the way realistic

    「ザ・ニューヨーカー」の 表紙は大きな仕事だ

  • and draw an actual heart made out of flesh and blood and pumping,

    表紙を見るだけで 当時の世相や

  • it's just so disgusting


  • that the last thing anybody would ever think about is love.


  • And somewhere between that abstract red square


  • and the real, kind of butchered heart,


  • is the graphic shape that kind of looks like that, and kind of looks like that,


  • and it's just right to transport this idea of a symbol for love.


  • New Yorker covers are the biggest deal for an illustrator, I think.

    この雑誌の好きな点は 表紙に見出しがないことだ

  • Once you see The New Yorker cover once,

    この号ではミサイル防衛網を 表現してる

  • you see the history, you see the artist,

    第3次世界大戦を始めた 司令官をイメージした

  • you see, most importantly, I guess, the cultural impact.


  • This was my... This was the first one.

    表紙が週のテーマを 表してるんだ

  • [director] What was the date?


  • July 9, 2001, the day I got married.


  • Which is especially fantastic.

    創刊号の表紙イラストと同じ “ユースタス・ティリー”で

  • What I love is that this is what they put on the magazine.

    ニューヨークの ダンディーな紳士さ

  • There's no headline.

    雑誌のマスコットの アイコンを作ったんだ

  • There's not even a story.

    オリジナルを知らなければ 何なのか わからないだろう

  • This was July 4, 2001. It was about the missile shield.


  • The Dr. Strangelovian generals who start World War Three.


  • There's no story about this idea inside the magazine.


  • It's almost like the stage is pulled empty and this is the image for one week.


  • The second cover might actually have been... this one.


  • And, to a strange degree, this might even be the most exciting one,

    エキサイティングだし 決して簡単ではないからね

  • because the first cover of The New Yorker is the Eustace Tilley,


  • this New York dandy with a top hat.

    仮想現実的な表紙で 具体的には拡張現実に近い

  • And we said, "Let's try to do an icon of an icon."

    内容は こんな感じだ

  • Making the butterfly just a blue square, makes absolutely no sense

    雑誌を置いて 携帯や タブレットでのぞいてみると

  • unless you know the original.

    3Dのアニメーションが 現れるんだ

  • I've done 22, I think.


  • The thing is, I never even thought about 22.

    メタファーを元に スケッチを試したり

  • You think that when you've done two or three,

    3Dや2Dの バランスを取ったりね

  • all of a sudden it becomes, like, "Oh, it's just another job."

    計画的にはいかないし 完全な打開策もない

  • It's not, because it's extremely exciting, but it never becomes easy.

    とにかく始めて 見極めていくしかない

  • [clock ticking]


  • [director] So tell me about this New Yorker cover you're working on.

    雑誌は理論上 こんな感じで開く

  • [Christoph] I'm doing this virtual reality cover,

    でも こんな風に伏せて 雑誌を見る人はいない

  • which... It's more like augmented reality.

    雑誌を こうやって 見るということは

  • So the idea is I have this magazine open, on the front or on the back,


  • now I approach it with my phone or with my tablet


  • and then this whole three-dimensional animation comes out.

    ニューヨークの インサイド・アウトとは…

  • And you're just like, "No way!"


  • There's a lot of kind of levels of metaphors and drawing to work.

    車両の窓をとおして 中の乗客が見える

  • And 3-D and 2-D and back and forth, and it's kind of like physical and...


  • And I also knew I couldn't plan.


  • I couldn't have one idea that just solves the entire thing.

    内からでも外からでも ドアを通る人を見られる

  • I had to start somewhere and then say, "Okay, is this strong enough

    回送中の ニューヨークのタクシー

  • or flexible enough to just go to the next step?"


  • [clock ticking]


  • So the magazine, in theory, opened like that.


  • But I don't look at a magazine like that,


  • I think nobody ever looks at a magazine like that.


  • So I thought, when I have a magazine, I might look at it like that,

    このタクシーには ブロックの制約がある

  • so, really seeing it as the inside-outside world.


  • And I was thinking,

    言ってみれば 3Dのドット絵だ

  • "What's... What's like a very New York inside/outside scene?"


  • I realized that a subway...


  • I have the windows, I have people sitting in there

    初めて1人旅した街で 思い入れがある

  • and then the whole subway can be...

    誰にでも そういう街が あるはずさ

  • Yeah, that's the idea of the magazine

    手を引いてくれる親もいない まさに自分だけの場所だ

  • as the plane that the person walks through.


  • You can see it from the inside or from the outside.

    [ニューヨーク] [97年に越してきた]

  • It's a New York City cab, off-duty,


  • which you can see...


  • It's off-duty here.

    みんなが僕の作品を 理解してくれたことだ

  • This is... Let's make it busy.

    ドイツから数千キロも 離れた場所だから意外だった

  • This one's busy.


  • It looks better, though, all black and yellow.

    アメリカ文化が 体に染みついてた

  • My favorite colors.

    音楽やアート テレビドラマでね

  • It's the restriction with Lego,


  • the restriction of...


  • just very low resolution...

    東側ファサード 北側ファサード

  • It's almost like a three-dimensional pixel drawing...


  • that I enjoy so much.


  • [director] Why have you done so much New York work?


  • Well, it started with my connection.

    セントパトリックスデーの ライトアップ

  • It was the first city I went to by myself...

    スタテン島のフェリーに 乗ったことは?

  • and I think there's only one city in your life that you go to by yourself...

    初めてニューヨークに来たら ぜひ乗るべきだよ

  • and you own that.

    僕の作品のベースは 文化や共有されている経験だ

  • There was no uncle, there were no parents that paved the way.

    意味を推測しなきゃならない 先鋭(せんえい)的な表現をするより

  • It was like my place.

    その方が ずっと面白い

  • [simple electronic tune playing]

    このスターバックスの 窓際の席が―

  • I moved to New York in '97.

    越してきた当初からの 僕の定位置だ

  • To my surprise, when I went there and showed my book,

    外を眺めながらの 仕事もいいと思って

  • I realized that people understood 99% of my work.


  • Going to a country that's a few thousand miles away,

    ニューヨークの街に共鳴する アーティストを気取ってね

  • and everybody gets everything is really amazing.

    周辺を行き交う人から 刺激も受けられる

  • In a very odd way, I felt very much at home


  • just being so immersed in American culture as a kid.


  • From music, to art, Magnum P.I.


  • [electronic music continues playing]

    そんな時 実生活と仕事を 共存させるのは―

  • [Christoph] Staten Island Ferry.


  • If you've been on the Staten Island Ferry, you know that this is it.


  • This is the essence of this kind of first tourist moment.

    でも僕は視覚的に ストーリーを伝えたいんだ

  • For me, this style is based on culture, on shared experiences.

    その人の人物像を表すために 親密な映像を挿入したい

  • This is more interesting than coming up with a visionary new way of speaking

    1コマをさっと 撮るだけでいいんだ

  • that people then have to decipher.

    歯磨きのような 日々の日課をね

  • [electronic music ends]


  • [street hubbub]

    バスルームで撮影なんて 気分が落ち着かなくなるよ

  • [Christoph] There's this one Starbucks, and I love sitting in that window,

    では やめておこう

  • and that's been a place I've been sitting at


  • from my very first time coming to New York.

    そんな自分の姿を 見たいとは思わない

  • I always felt like, "That's where I want to sit and kind of look out."


  • And I've, a couple of times, tried to work from there,


  • because that's how I see myself, you know,


  • like the artist being in touch with the city...


  • And then we have this kind of emotional exchange,

    当時の仕事は 2種類に分けられる

  • people walking by...


  • [street hubbub]

    僕の腕を信頼して 頼んでくれる仕事

  • [silence]


  • It doesn't work at all.

    問題発生で 締め切りが迫っている仕事

  • The impact on the work is zero.


  • It's even actually confusing, and I can't really focus when I sit there.

    “一定のレベルのものを 出してくれる”という感じさ

  • This is the moment where I realized

    そういう緊張感も 嫌いじゃなかったけど

  • that kind of, like, my real life and my work life, they don't really mix.

    来るのは そんな依頼ばかりだった

  • [director] I see what you're saying.


  • I'm just trying to kind of solve it from a visual storytelling point of view.

    “アマチュアは ひらめきを待つ”

  • I mean, I guess, the way I see some of these things,

    “プロは朝から 仕事に出かける”

  • it's almost like these very quick montages of very close shots,

    重圧から解放される気がして この言葉が好きなんだ

  • you know, done very quickly.

    アイデアが浮かぶまで 待つだけではいけない

  • Just... [makes sweeping sound]

    仕事場に出かけて 作業を始める

  • Getting through the day, its ritual, like brushing your teeth.


  • [Christoph] I mean, again we can try...

    チャンスが生じる 可能性はある

  • You know, like, the idea of a camera in our bathroom...

    そのためには 描かなければならない

  • makes me feel extremely uncomfortable.


  • [director laughing] Okay, well I don't want that.


  • [Christoph] And so we can do it, but it would be more like a painful thing


  • and I could not possibly imagine how I would ever want to see that myself.

    確実な仕事をするための 方法を確立すること

  • [ominous music playing]


  • I'd much rather draw it than show it.


  • [ticking clock]

    過度に働きすぎるのも よくない

  • When I started working, I worked mostly under deadline.

    “自分が本当に 作りたいものか”という―

  • For the first ten years,

    重要な疑問を自問自答する 時間がなくなってしまう

  • if I would have to separate my business,


  • it was 30% "We need Christoph to make a nice drawing on this and that"

    表面の突起に これを―

  • and 70% of, like, "Oh, no, something went terribly wrong.


  • We have another 12 hours, let's call that guy,


  • he will make a somewhat unembarrassing solution


  • that will save our butts for deadline."

    真夜中に終電を逃して 謎の生き物を見てるんだ

  • And I love that. I love this kind of tension,


  • especially in editorial,


  • but a lot of the calls I got were out of desperation.

    タクシーや地下鉄で 使われてる

  • [clock ticking]


  • [strings play to a climax]

    僕には すばらしい妻と 子どもがいる

  • So I think Chuck Close said, "Inspiration is for amateurs.

    家を出る時や帰ってきた時は 手を振り合う

  • Us professionals, we just go to work in the morning."


  • The one thing I really love about that quote


  • is it relieves you of a lot of pressure.


  • It's not about waiting for hours for this moment where inspiration strikes.


  • It's just about showing up and getting started,


  • and then something amazing happens or it doesn't happen.