英文速読 中級-31
On April 4, 2003, Glen Keane, one of Walt Disney`s most respected animators, called for a meeting to discuss the war breaking out at the studio. Disney`s animators had settled into two opposing camps: those who were skilled in computer animation and those who refuse to give up their pencils.
Keane, a 31-year veteran who created the beast for “Beauty and the beast” and Ariel for “The Little Mermaid,” was a Disney *traditionalist. But after a series of experiments to see whether he could create a computer-animated ballerina, his opposition softened. So he invited the 50 animators to discuss the pros and cons of both art forms, calling his seminar “The Best of Both Worlds.”
For an hour, Keane listed the pluses and minuses of each technique while the other animators listened quietly. After a few questions, the crowd burst into chatter as animators shouted over one another, some arguing that computers should not replace people and other expressing fears that they would be forced to draw by hand.
In a recent interview, Keane recalled that Kevin Geiger, a computer animation supervisor, then stood up and demanded of him. “If you can do all this cool stuff that you`re talking about - that you want to see in animation - but you have to give up the pencil to do it, are you in?” Keane hesitated before answering “I`m in.”
Three weeks later, the company`s animators were told that Disney would concentrate on making computer-animated movies, abandoning a 70-year old hand-drawn tradition in favor of a style popularized by newer and more successful rivals like Pixar Animation Studios and Dream Works Animation.
The results were nothing short of a cultural revolution at the studio, which is famous for the hand-drawn classics championed by its founder, Walt Disney, like “Snow White and the Seven Dwarfs” and “Peter Pan.”
Two years and the half after that decision, Disney released “Chicken Little,” the first of four computer-animated films developed at the newly *recognized studio. The company hoped that this movie, along with others like “Meet the Robinsons,” “American Dog,” and Keane`s “Rapunzel Unbraided,” would return Disney to its past glory.
There was a lot more than pride, however, riding on its success. Animation was once Disney`s heart, a profitable *lifeline that fed the company`s theme park, book, and home video divisions. And restoring profit was as essential to Disney in those days as *regaining its reputation.
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スラッシュを前置詞・接続詞・関係詞の前に入れて語順の通りに読み下します。
On April 4, 2003, Glen Keane, one of Walt Disney`s most respected animators, called for a meeting /to discuss the war breaking out at the studio. Disney`s animators had settled into two opposing camps: those who were skilled in computer animation and those who refuse to give up their pencils.
2003年4月4日、グレン・キーンは、ウォルト・ディズニーの、最も尊敬されているアニメーターの一人であるが、会議を招集した、スタジオで勃発している争いについて議論するために。ディズニーのアニメーターたちは落ち着いていた、2つの対立する陣営に、つまりコンピューターアニメに熟練した者たちと、鉛筆を手放すことを拒んだ者たちだった。
Keane, a 31-year veteran /who created the beast for “Beauty and the beast” and Ariel for “The Little Mermaid,” was a Disney traditionalist. But after a series of experiments /to see whether he could create a computer-animated ballerina, his opposition softened. So he invited the 50 animators /to discuss the pros and cons of both art forms, calling his seminar “The Best of Both Worlds.”
キーンは31年のベテランで、彼は「美女と野獣」の野獣や、「リトルマーメイド」のアリエルを創出していて、ディズニーの伝統主義者であった。しかし、一連の実験の後、彼がコンピューターアニメのバレリーナを創出することができるかどうかを見るための、彼の反発は和らいだ。そこで彼は50人のアニメーターを招いた、良し悪しを議論するために、双方の技法形態の、そして彼は彼の研究会を「2つの世界の最高のもの」と呼んだ。
For an hour, Keane listed the pluses and minuses of each technique /while the other animators listened quietly. After a few questions, the crowd burst into chatter /as animators shouted over one another, some arguing /that computers should not replace people and other expressing fears /that they would be forced to draw by hand.
一時間、キーンはそれぞれの技法の長所と短所を挙げた、他のアニメーターたちが静かに聞いている間。いくつかの質問の後、聴衆は突然おしゃべりを始めた、アニメーターたちがお互いに怒鳴りあう時に、ある者は論じた、コンピューターは人間に取って代わるべきでないと、他のものは表現した、手書きで描くことを強いられるのではないかと不安を。
In a recent interview, Keane recalled /that Kevin Geiger, a computer animation supervisor, then stood up and demanded of him. “If you can do all this cool stuff/ that you`re talking about - that you want to see in animation - but you have to give up the pencil /to do it, are you in?” Keane hesitated before answering “I`m in.”
最近のインタビューでキーンは思い起こしていた、ケビン・ガイガーが、コンピューターアニメの監督であるが、その時立ち上がってキーンに要求したことを、「もしあなたがこのすごい内容のすべてができるならば、それをあなたが話している、つまりあなたがアニメーションで見たいと思っている、しかし鉛筆をあきらめなければならないならば、それをするために、あなたはこちらに加わりますか。」キーンはためらった、答える前に、「加わります。」と。
Three weeks later, the company`s animators were told /that Disney would concentrate on making computer-animated movies, abandoning a 70-year old hand-drawn tradition /in favor of a style popularized /by newer and more successful rivals like Pixar Animation Studios and Dream Works Animation.
3週間後、会社のアニメーターたちは言われた、ディズニーがコンピューターアニメを作ることに専念し70年続いた手書きの伝統を捨てるつもりだと、広められた様式に賛同して、より新しくより成功を収めているライバルによって、ピクサー・アニメーション・スタジオやドリームワークス・アニメーションのような。
The results were nothing short of a cultural revolution at the studio, which is famous /for the hand-drawn classics championed by its founder, Walt Disney, like “Snow White and the Seven Dwarfs” and “Peter Pan.”
その結果はスタジオでの文化的革命に他ならなかった、そこでは有名である、
手描きの傑作で、その創設者ウォルト・ディズニーによって擁護された,「白雪
姫」や「ピーターパン」のような。
Two years and the half after that decision, Disney released “Chicken Little,” the first of four computer-animated films /developed at the newly recognized studio. The company hoped /that this movie, along with others like “Meet the Robinsons,” “American Dog,” and Keane`s “Rapunzel Unbraided,” would return Disney to its past glory.
その決定の2年半後、ディズニーは「チキン・リトル」を公開した、それは4本のコンピューターアニメのうちの最初のひとつであった,新しく再編されたスタジオで作られた、会社は願っていた、この映画が「ルイスと未来泥棒」「アメリカ
ンドッグ」そしてキーンの「ラプンツェル」のようなほかの映画などともに、デ
ィズニーを過去の栄光に取り戻してくれることを。
There was a lot more than pride, however, riding on its success. Animation was once Disney`s heart, a profitable lifeline /that fed the company`s theme park, book, and home video divisions. And restoring profit was as essential to Disney in those days /as regaining its reputation.
しかし、誇りよりもっと多くのことがその成功に乗っかっていた。アニメはかつてディズニーの中核であり、収益性の高い生命線だった、それは会社のテーマパーク、本、そしてホームビデオ部門を養っていた。そして収益を回復させることは当時のディズニーにとって必要不可欠だった、その名声を取り戻すことと同様に。