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?

[ストーリーとは何なのか]

Roll, camera.

それを考えたいんだ

[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:

まだ見えてこない

Is this about me, or is this by me?

僕が君たちに撮られるのか？

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.

ここで描く必要は？

So you can act with your eyes.

ない　頭の上半分だけを映す

[director laughs]

目で演技して

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

こう？

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

僕がデザインをする時は

'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,

力を存分に示したいからね

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.

アーティストらしく

[Cristoph whispers] Be an artist.

アーティストになれ

[drumming]

アート･オブ･デザイン

[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.

大抵は１人だ

I work mostly by myself.

デスクに座りデザインする

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,

自分だけの世界だ

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.

アート制作の方程式がね

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.

アイデアが形になるまでは

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,

ひたすら自分を信じて―

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

奇跡の瞬間を待つ

staring at paper.

僕にとって“抽象化(ちゅうしょうか)”とは

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."

本質だけを残すんだ

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,

取り除いていくことだ

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

この作品では―

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.

バスルーム

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

強い男

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,

様々なスポーツ

bathroom, strongman, nuclear power plant,

アートスクールでの評価は？

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?

すばらしいデザイナーだけど

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

褒めて伸ばす人じゃない

who did Yellow Submarine, The Beatles' movie,

彼の最高の褒め言葉は―

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!"

目標だった

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,

それを元に描いてた

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.

どれにも明確な情報が必要だ

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

細かい絵やリアルな絵でも

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.

赤い四角形を描くとしよう

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.

意図が伝わらないから失敗だ

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

アーティストがわかる

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

それに文化的影響力も抜群だ

And somewhere between that abstract red square

初めて手がけた表紙だ

and the real, kind of butchered heart,

日づけは？

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

2001年７月９日

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

僕が結婚した日でもある

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.

説明は書いてないけど

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?

２回目に手がけた表紙は…

July 9, 2001, the day I got married.

確かこれだ

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.

22冊はやったかな

The Dr. Strangelovian generals who start World War Three.

思ってた以上の数だよ

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

２つか３つ表紙を手がけたら

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

マンネリ化する仕事もある

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

でもこれは違う

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,

今取り組んでいる表紙は？

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.

これは本当に大仕事だよ

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]

前進あるのみだ

[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,

内側を外側にした視点なんだ

now I approach it with my phone or with my tablet

僕はテーマを考えた

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!"

それは地下鉄だ

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...

それが表紙の―

And I also knew I couldn't plan.

アイデアになった

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?"

ほらね

[clock ticking]

回送中から乗車中に変えよう

So the magazine, in theory, opened like that.

この方が見た目はいい

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

黒と黄色の構成

I think nobody ever looks at a magazine like that.

好きな色だ

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.

つまり解像度が低いんだ

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?"

だから楽しい

I realized that a subway...

なぜニューヨークを題材に？

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.

[ニューヨーク]

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,

97年に越してきた

which you can see...

ニューヨークで驚いたのは

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.

街にはすぐ馴染んだ

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,

フラットアイアンビルディング

the restriction of...

南側ファサード

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...

自由の女神

that I enjoy so much.

地下鉄シリーズ

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

エンパイア･ステート･ビルディング

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.

何度か試したこともある

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

でもダメだった

just being so immersed in American culture as a kid.

仕事にいい影響もなかったし

From music, to art, Magnum P.I.

混乱して集中もできなかった

[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.

無理だと気づくんだ

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

わかるよ

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]

試してみてもいいけど

[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

やってもいいけど苦痛だし

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."

見せるより描いていたい

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

昔は締め切りに追われてた

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

最初の―

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

10年はね

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...

依頼の３割が

[street hubbub]

僕の腕を信頼して 頼んでくれる仕事

[silence]

あとの７割が

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.

“クリストフなら―”

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.

チャック･クロースは言った

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.

そうすれば何かが起こり

[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.

決断を下し善処(ぜんしょ)するんだ

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

締め切り前には恐怖を感じる

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

要望に応えられる―

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]

それが唯一の生き残り策だ

I'd much rather draw it than show it.

ただし技術に走り

[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,

これは地下鉄の線路だ

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.