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■BRファイナルカット版公開時独占インタビュー
http://blogs.yahoo.co.jp/sydmeadsentury/52476413.html
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ノンフィクションW ブレードランナーの世界を創った男
シド・ミードが描く2042年 12/28 夜10時放送!


http://www.wowow.co.jp/pg_info/detail/101842/

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映画「ブレードランナー」公開から30年。当時、2019年の未来都市を描いたシド・ミード氏へ密着取材を敢行。いま未来をどう描くのか?番組のために新作を書き下ろす!

SF映画の名作として高い人気を誇る『ブレードランナ−』で、独特の暗い未来都市を描いた工業デザイナー、シド・ミード。企画デザイン段階でリドリー・スコット監督を驚愕させたという彼の世界観は、未来を予見していたという声もあり、後のSF映画に多大な影響を与えている。そのキャリアは、アメリカのフォード・モーター社のカーデザイナーからスタート。「スター・トレック」「機動戦士ガンダム」「宇宙戦艦ヤマト」といった映像のみならず、シンガポールの新都市プロジェクトや船舶デザインなど、彼が関わったプロジェクトは数知れない。
番組では、そんなシド・ミードに新作イラストを依頼。その制作過程を通して、創作の源泉に迫っていく。

   (番組概要)
1982年に公開された映画『ブレードランナー』で、2019年の未来都市を描いた工業デザイナー、シド・ミード。劇中で登場する都市は、過度な技術革新、そして環境汚染と人口爆発によってもたらされた暗い世界だった。公開から30年を経て、それらが実社会で現実化しつつあることから“未来の預言者”とまで言われたシド・ミードは、今なおさまざまなプロジェクトに参加し、未来を描き続けている。
そんなシド・ミードに、番組は「理想の未来都市」というテーマで新作イラストを依頼。彼は、真っ白なキャンバスのどこから描き始めるのか? そこにはどのような哲学があるのか? 約100日後、“グアッシュ”と呼ばれる水彩絵具を中心に手書きで描かれた50.8cm×76.2cm(20インチ×30インチ)サイズの作品が完成。絵を描く際に実践しているという“5ステップ”とともに、シド・ミードが思い描く“ユートピア”の制作過程に密着する。






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The US Air Force, commissioned him to paint a recruiting poster depicting the Stealth bomber ― a project so secret that it may or may not exist. As a result, Mead was supplied with no models or plans from which to work. He would make some drawings and show them to the Air Force officials and they would say – well, they couldn't say if it resembled the bomber which may or may not exist but could he make the fins a little bigger and move the cockpit forward a little? And he would ask, 'Is that what it looks like?' And they'd say, We can't tell you. The final, full-colour poster was printed in a special edition to meet public demand.

Mead's commissioned work includes designs for customised private airplane interiors. Clients such as King Hussein and King Fahud of Oman enjoy travelling in style and the designer panders unashamedly to their aesthetic lunacies. The interior of one 747 was modelled to resemble an l8th century English manor, complete with marble floors and oak doors. Another 747 sports its own jacuzzi with jewelled star-charts on the ceiling. "It's the upper end of the market," Mead says.



*


The things that will really matter Tomorrow, he insists, are the things about which we're becoming the most blas??: electronics, computers and information.

"The manipulation of information – we haven't been able to do this before on this massive a scale. You can take a computer and produce theoretical designs for industry and then do part-trial breakdown runs, all in theory. You can design a part, run it through its tests in, say, an operating engine and have a very real feeling for how it is going to operate without actually making anything at all. Thirty years ago that would have been magic.

"We tend to live, unfortunately, with all the results of the mistakes of the past to date. You can't get rid of everything at once, short of a natural disaster, so you have to adapt. So you can think up a whole new concept and apply it or you can do a clever lob of retro fitting.

"For instance, maybe people can go to work not by cars but by electronics. Which isn't a new idea but it's becoming more possible because of the way we're organising work. Other than manipulative labour, work is tending to be the processing of information that's available from within a closed network, which is what a corporate system is. You can work from anywhere that you happen to be as long as you have access to that network. So if you have middle-management people working in judgemental positions, they really don't have to go to work. All they have to do is tap into the network and they can do their lot. That, for instance, might also be a way of getting rid of so much traffic."

The thought of a 21st century society still plagued with traffic jams: it's that same blend of past and future again. Syd Mead, 54, leans back in his chair and contemplates the futureworld nine-to-five with relish.

"People have been the same for thousands and thousands of years," he concludes. "They just use different tools. The nice use of technology would be to keep the human side of things a little bit nutty, a little bit random and let machines take care of the drudgery – that would be the most ideal, optimistic track. A writer like Philip K Dick predicts things going wrong, but you really do have to take that chance."



-- December 1987

87年当時、ミード師匠のスタジオはノースハリウッドのガードナーストリート1716にありました。
まだ高二だった筆者が師匠に初めて会ったのはホームステイでの夏。
当時の感動は今でも克明に覚えていますが、今回はその4ヶ月後に行われたインタビューを
発掘しここで再録。文字数制限を超えたため、しかたなく2分割しています。




The Japanese zeal for scientific process appeals to Mead, who regards the Sixties hippies as the last flicker of techno-paranoia.

"The whole techno-chic appreciation of machine intricacy is certainly Japanese ― they just love that approach. Their mind–set is different, culturally. They can literally pretend not to be next to someone on a crowded subway. Europeans and Americans and people with that same cultural base don't like that degree of proximity – your 'bubble' is that much larger. It's to their benefit that the Japanese allow that because there is this intense pressure in their lives to tolerate things in their work and living conditions which we wouldn't put up with. It's to their benefit right now economically but it's changing ― the world is beginning to flatten out in terms of cultural exchange."

It was cultural exchange that first bought Mead to Tokyo. His work in other films (Aliens, Tron, 2010) had caught the eye of Japanese entrepreneurs who commissioned him to design the other-worldly interior of the Alpha-Turia nightclub. Club patrons can phone home from a moon-module phone box and dance below a shuttle-cockpit DJ booth.

"The idea was to create a science-fiction set where the cast changed every night. It had to have cost millions and millions of dollars to build |n Tokyo, with their land prices. So this disco is a space liner, the front end of a luxury intergalactic space-liner. We have the observation lounge where you can see duplicates of all the instrumentation – an intense, information-exchange lobby, if you will. And we have the disco floor which is to the delight of all the passengers; the place where they can look out the front of the spaceship. The owners took bits and pieces of what I had shown them in sketches and then had a production company translate these vocabularies of ideas into finished wall surfaces and fixtures."

Mead says he had a great time designing the club and dancing in it afterwards; like most of his work it was a combination of dreams and day-to-day employment. More practical patrons have made an effort to keep their commissions on par with Mead's imagination but their requests, in general, are odd.

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NYを滞在中であった師匠出演のラジオ番組。

「Syd Mead, Still Designing The Future After 50 Years」

http://www.npr.org/2011/09/21/140643029/syd-mead-still-designing-the-future-after-50-years
※(ダウンロード可)5分04秒

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