'I'm a manga fan.' I don't think I've ever heard anyone make such a sweeping statement. There's so much variety in manga that you can't say you like them all. I think that applies to film as well. I'm in no way a film lover or a film fan. That's because I hate most films.
Thursday, December 23, 2010
Friday, September 10, 2010
Sunday, July 25, 2010
The following interview with Kameyama by (Fuji Sankei group) news site Iza on the eve of the release of the third film in Fuji's “Bayside Shakedown” franchise provides a glimpse into the mind that brought you such worthy dramas as “Mt. Tsurugidake” as well as utterly irredeemable abominations like “Shaolin Girl.”
Iza: How do you go about selecting the projects that you produce?
Kameyama Chihiro: Above all, they're TV station projects, so I consider them with a view to future television broadcast. Splatter horror and erotic subject matter are out. We'd never be able to get involved with something like [Nakashima Tetsuya's] “Confessions.”
I: Bluntly speaking, do you have a “hit formula”?
KC: Not at all. If I did have a formula, I'd be creating huge hits with original material. When I heard that Yaguchi Shinobu was going to make “Swing Girls,” I told him, “Comedies with girls are difficult, so you should give it up,” but it was entertaining when I saw it. If there's one thing I have, it's not a hit formula, more a rule of thumb I guess.
I: Using that rule of thumb, what kind of strategy did you come up with for “Bayside Shakedown 3”?
KC: It's an event film, so this time we didn't hold any public previews, and just gave it heavy exposure on television to stimulate audiences' hunger. This method doesn't come from my knowledge of marketing, but rather it's a way of doing things that developed from my firsthand experience up until now. We created the video series “Kakaricho Aoshima Shunsaku” exclusively for streaming on the Docomo mobile phone network, and hoped that people would think “Bayside's really wild right now.”
I: Originally you wanted to become a film director, and in your university days you studied under Gosho Heinosuke, who made Japan's first talkie film “The Neighbor's Wife and Mine” (Madamu to Nyobo).
KC: Gosho spent his later years in my hometown of Mishima in Shizuoka, so during the summer holidays in my first year at university, I visited him hoping that he'd introduce me to some part-time film job. When I went to his place, he suddenly ordered me to “Go to the second floor and tidy up the bookcase.” He was the chairman of the Directors Guild of Japan, and when I asked him if he'd write me a letter of introduction for presenting to film companies when I started to look for work, he told me: “Film's no good anymore, go into television instead.”
I: Then you were employed by Fuji Television, but what had happened to your passion for filmmaking?
KC: I no longer had any. I loved ATG's films, but as a television professional I banned myself from watching strongly auteurist films.
I: In your fourth year at Fuji in 1983, the company began its involvement in film production with “Nankyoku Monogatari.” What was that like for you at the time?
KC: I looked after Taro and Jiro [the canine stars of the film] when I was working in the programming department (laughs). I wasn't envious of the young film department staff at all. I'd really lost all interest in film itself.
I: Later, the idea emerged of turning popular TV series “Bayside Shakedown” (Odoru Daisosasen) into a film.
KC: Even though I had no filmmaking experience, I bragged that we'd make a film to rank in the top three of [venerable film magazine] Kinema Junpo best ten list, but screenwriter Kimizuka Ryoichi and director Motohiro Katsuyuki told me that wasn't what fans of the series wanted to see in a movie. I came to the decision that we couldn't change the feel of the TV show for the film, so apart from the cameraman we shot it entirely with the show's crew.
I: That was the birth of 'TV company films.'
KC: I asked them to use the same camera angles as the TV show for the first half of the film so that fans wouldn't get confused. I took the stance that it's a film made by TV people, so why not.
Saturday, July 24, 2010
Monday, July 19, 2010
Irie Yu is one of them. Inspired by the films of James Cameron and Steven Spielberg, he enrolled in Nihon University's College of Art (famous for producing such luminaries as Ishii Sogo, Tsukamoto Shinya, and Fukasaku Kinji among others) hoping to eventually make movies on a similar scale, and supported himself with random gigs such as shooting footage of plankton for the National Museum of Science and Nature.
His independently-produced low-budget comedy "8000 Miles" (a play on the title of Eminem vehicle "8 Mile"; the original Japanese title translates as "Rappers from Saitama") about aspiring b-boys in the boondocks started out in cinemas with the kind of limited late-show release usually given to obscure self-made films that invariably disappear within the space of two weeks.
The response surprised Irie more than anyone. Word of mouth was overwhelmingly positive, boosted by its grand prize win in the Yubari International Fantastic Film Festival's off-theatre competition, as well as praise from influential supporters such as veteran Japanese-language rapper and self-styled film critic Utamaru who championed it on his popular Saturday night radio show. Its burgeoning popularity led to it being picked up for screening by other cinemas around Japan, as well as several overseas film festivals, and eventually garnered a best newcomer award for Irie from the Directors Guild of Japan. A sequel, "8000 Miles 2", is currently enjoying a much wider release than its predecessor, and Irie's ultimate aim is to turn it into a long-running series to rival Yamada Yoji's "Otoko wa Tsurai yo".
However, such success doesn't necessary pay the bills, as Irie himself explained in an eye-opening blog entry that offers an insight into the kind of difficulties facing independent filmmakers in Japan today.
Due to insurmountable circumstances, I'm leaving Tokyo after living here for over 10 years.29/07/2010
There are lots of reasons why, but the main one is financial.
The impracticality of being constantly involved in promoting and distributing “8000 Miles” and making “8000 Miles 2” since late 2008 has finally come to a head, making it extremely difficult for me to keep on top of things as they are, such as rent and living expenses.
You could also say that I've totally failed to manage my own situation, but it seems quite amusing (maybe “interesting” is a better way to put it) when looking at it objectively, so I'd like to write a few notes about it and give it some consideration in my own way.
In a nutshell, I have to leave Tokyo because my silly little film “8000 Miles” was “acclaimed” (even if I do say so myself) beyond all expectations.
It's perfectly reasonable to think “Huh? If it was acclaimed, aren't you well off now?”, and even people who are making independent films these days are probably less aware of the reality than you'd expect.
If you're reading this blog and hoping to get a chance to have your self-made film theatrically released, I hope it'll be of some use to you.
(There are plenty of people in the film industry with a background in self-made films, but they don't talk very openly about it.)
Ultimately, the harder you work to have your film shown, the poorer you get.
This is totally unrelated to how the filmmaker and the film itself is received.
So, why are things this way?
I'll describe how it works step-by-step as follows.
At the very least, this is how it happened with “8000 Miles.”
I've measured the financial achievement (FA) and critical achievement (CA) of the film at different stages on a positive and negative scale, and as “8000 Miles” was completely paid for out of my own savings, I've started out suddenly with a negative 100 in terms of financial achievement (the 100 isn't equivalent to a yen amount; it's just a relative figure).
1) The film is set for a theatrical release. I did it!
2) The promotional campaign begins.
I begin making flyers, setting up a blog, fielding interviews etc.
My spirits are running high, so I pay off all the production costs.
3) The film's theatrical release commences.
The reaction is better that expected, and its run is extended.
4) Surprisingly the response continues to improve, and after the film's release is expanded to venues outside of Tokyo, I make every effort to do onstage greetings, radio appearances and the like so that non-Tokyoites will come and see it.
5) The film's reputation grows, and I end up taking it to film festivals overseas.
Meanwhile, I have no time to work because of all the promotional activities, stage greetings and what have you, so I have zero income.
Day after day I find myself burning through the money I need to pay living expenses.
6) About a year has gone by since the film first began showing in theaters and it's still playing, so I continue to promote it in a low-key way.
Distribution of the income from the theatrical release finally begins, but by this point there's been a pretty big timelag since the film first opened.
The payment order is cinema→distributor→(promotions)→filmmaker (me), and on top of that each takes a predetermined share of the profits.
(In some cases, filmmakers don't even recoup half of their production costs.)
On the other hand, the film wins awards which further enhances its reputation, as well as my own.
I realize that my financial situation and critical reception are diametrically opposite.
So, I've simplified things quite a lot here,
but the reality of independent film promotion is that the more you push on with promoting your film, the less you're able to work, and the longer your film screens, the more money you lose.
(Recently, the fact that 'regular' films are being heavily promoted over as short a period as possible and released on DVD as soon as their theatrical run finishes could be because filmmakers want to avoid income losses and delays.)
Plus, with independent films you often don't have famous actors in the cast, so it's necessary for directors to handle interviews and promotion themselves.
There aren't many directors who don't want people to see their films, so in most cases they'll jump at any interview or talkshow offer that comes their way, and travel here and there to drop off flyers.
When a film is well received, actors and camera operators and composers receive offers of other work as a result, but even if they do take up a job on another production, it's standard for the director to remain focused on his own film for as long as it's screening.
Besides, if the colleagues who kindly toiled away on your film for a pittance manage to find other work through its success, that's about the only way a director can repay the favor.
Striving to promote your film as much as possible is also something you do for the people who helped you out.
In my case, I was also involved in the production of another independent film, my latest work “8000 Miles 2,” and have spent about a year and a half (three years if you count the work I put into the first “8000 Miles”) making and promoting it, so its rather amazing that I've managed to eke out a living this long.
So, I think the essence of this situation is that “it's nobody's fault.”
The cinemas who decide to screen your independent film, the people who take a liking to your film and write about it to help get its name out there, the filmgoers who are nice enough to say they want your film to be screened near where they live too, and the film festivals at home and abroad who can only cover transport costs but still want you to present your film in person, are all people who are supporting your film, and their contributions are invaluable to a filmmaker.
Without those people, it's not possible for a film to be seen by a wide audience.
Therefore, if someone calls me up today, I'll gladly go along.
If I was to go out on a limb and blame someone, I'd have to say it's the fault of the guy who passed up part-time jobs and contract work in putting his film's promotion first, namely me.
(The number of film and video production jobs I've turned down since I began work on “8000 Miles,” large and small, is well over twenty or thirty.)
But I don't think there are many directors out there who would normally decline jobs like that if their film was already being screened (that's because they probably would have gone through quite an ordeal to get their film shown).
This systemic problem is something that I think the few directors I know have all experienced, but in actual fact, hardly anyone is aware of it.
Unfortunately, right now don't know of an effective way to solve this problem.
You could say this could be averted by cutting yourself free at some point, but the choice to cease promoting a film that's still screening in order to shift to a new project, or to refuse interviews from media who take more of an interest in independent films than major ones, or to receive payment as a director even though the staff haven't been paid a decent wage, are ones I don't want to make.
That's exactly why I intend to reboot my lifestyle and write new scripts and things, while attempting to change this 'insane' situation in Japanese filmmaking.
Because “8000 Miles” fortunately enabled me to keep making films (I've no idea about the future though) I view this as my responsibility.
So, it's sayonara to Tokyo for a while.
I'll still pop back in whenever I'm being interviewed.
That's because I want my films to be seen by as many people as possible.
Jason Gray kindly provided an update on Irie's situation:
Was told some good news today that Irie's video royalties have allowed him to come back to Tokyo. He's working on a script about a crazy band and their manager. Band is real, film will be a combination of narrative/documentary.
Tuesday, July 13, 2010
Then the welcome news broke that he was now Ishii Gakuryu (or as the man himself has said, "People can call me Dragon Ishii"), and has several new projects on the boil that are actually coming to fruition. Details began to emerge during Ishii's recent visit to Switzerland for a retrospective organized by the Neuchatel International Film Festival, where he was interviewed by film news site Cinema Today. I've excerpted and translated the key info below.
Cinema Today: This year you announced that you had changed your name to Ishii Gakuryu and would become more active [as a filmmaker], but why the name change?
Ishii Gakuryu: Actually, I'd wanted to change my name for a long time (laughs). When I was in my second year of high school, my parents suddenly made me change my name to Sogo [聰亙], and people would often write it with the wrong characters, so I decided to change it at the same time as the announcement of my new projects. I'm fond of the work of Katsushika Hokusai, and he also changed his name several times. I made up my mind on the name change in the same way that bands rename themselves.
CT: Please tell us about your new projects.
IG： I've been teaching a class at Kobe Design University, plus I'm planning to shoot two features and one short based in Kobe, and we're scheduled to start filming.
Until now I've tried to cram everything I wanted to do into a single film, but from now on I want to keep on churning out as many films as possible within the budgets I have, regardless of whether they're short films or features. The people I've taught at the university in Kobe have been developed as the kind of filmmakers that I'd like to work with, and the progression of digital technology has made it possible to keep costs down, so from here on I want to throw myself into making films. One of my feature film projects is scheduled to being shooting in Kobe in mid-October, and the other one, a fantasy, is being set up with a view to start filming in March of next year. At the university I want to cultivate artists with a craftsman-like approach who can function in any situation, so I plan to continue teaching film classes.
Sunday, July 04, 2010
I hate computers. Email too. There's a mobile phone in my car but I've never answered it. Take Twitter for instance: it's fine if you're sharing jokes and playing around, but I can't quite figure out the idiocy of treating it as a source of information.
Information comes to you while you're walking down the street. Even if you do your best not to watch television, I think the information that you'll receive will still be correct. But people these days are always searching for information. Because they chase after it, the information they come across seems amazing to them, even if it's no big deal.
It depends on who's putting the information out there. Advertising agencies and lots of different interests go about creating a narrative, where it has to go next and that sort of thing. It allows them to shift everyone from cage to cage like domestic animals. They don't notice that construct creates inequality.
In Japan today, people don't say whether something is dignified or not anymore. When we were kids, we had a sense of shame about lining up at a soba noodle joint or a standing eatery, but nowadays, everyone stands and eats at a furious pace. How did we become so bad-mannered?
Women doing their make-up on the train is a lot like a drunk pissing in a corner, but now they think it's fine to do it.
There are too many business models that trap poor people in poverty and circulate money within that. Whether its clothing or food, if you only buy what's sold cheaply and line up at places that are fast and cheap, you'll never be able to break out of that cycle. Hold back from eating three times and eat once instead. You can eat a 1,000 yen meal slowly to make up for it. It's the same with clothes. People were taught that way in the past.
There's no question that [news regarding] political corruption, or the sumo world's connections with organized crime that have become an issue lately, in other words Japanese society itself, is presented to us like “Hey, hey, check this out.” As much as the media say they take a stand against powerful interests, they're pretty timid towards their own advertisers. Lately that's come out into the open, which I guess is why everyone's got a frosty view of the media.
The film world's in a terrible state as well. The Japan Academy Awards are shared around by the major film production companies, and independent productions are shut out. Even though film critics and journalists have to write bad things [about movies] and give harsh critiques from time to time, film companies now only grant access to people who'll promote and praise their films. They have a strangely cozy relationship with them, and now it's gotten to the point where the whole system is rotten.
Politics is the same. The [DPJ's] manifesto became a talking point when they took over control of the government, didn't it. I said they'd never be able to make the highways toll-free. I asked how anyone could take one look at the people in the DPJ and still think it'd be possible.
[Former prime minister] Hatoyama was like a mayor who says “This town has no need of gangsters” even though things were running well when people were paying them. People who try to become marginally virtuous because they don't have what it takes to be a bad guy all make that kind of mistake. Essentially, politicians are people who can even take the initiative to start wars that could result in numerous deaths, so they're in no position to talk about small virtues. If they want to be a great power for good, they've got no choice but to do the full Gandhi.
It appears as though I'm having all sorts of adventures because I've got things like film, television, and acting to take refuge in. I always think, if I get picked on doing one of them, I can slip away to another bolthole. That just looks like I'm on an adventure.
Since my bike accident, I don't think at all about the amount of time I have left. Even if you told me today that I've only got a month left to live, I have the confidence to go on working and living the way I am. When I was younger I thought for some reason that I'd kick the bucket somewhere around the age of 63, and I've reached that age now, but my career's going well at this point, so if I'm not careful I think I might end up living about another ten years.
Tuesday, June 08, 2010
Freedom of speech ain't something that exists everywhere like oxygen. [abbreviated] That freedom of speech is guaranteed by Japan! The Japan that we have defended for hundreds and thousands of years guarantees our freedom of speech. We unyieldingly object to the kind of freedom of speech that insults Japan, that tells Japan to eat shit! We can at least barely acknowledge that traitors who hate Japan have the right to inhale oxygen and exhale carbon dioxide. But we cannot acknowledge the right of traitorous bastards who hate Japan to speak ill of Japan. You might think that this is an outrageous idea, [abbreviated] but our country's criminal code recognizes the right to self-defense. Blowing away a fella who tries to injure any of these people here would be permitted as self-defense. Shooting and killing someone who tried to ram their car into us here would be within the limits of self-defense. Similarly, protecting the honor, pride, traditional culture, and right to exist of the people of the Japanese race in this nation called Japan from those who would attempt to damage this nation called Japan is an act of racial self-defense as an extension of the right to self-defense. "Please protect Japan's freedom of speech" while they're telling Japan to eat shit? Like hell we will! Whoever said that is lacking in logical coherence. This kind of movie should be played on televideos at mental hospitals. This is not the kind of thing that cinemas should be screening. This president of Unplugged [the company attempting to distribute the film] is unbelievable. [abbreviated] This lily-livered gutless idiot bastard is trying to screen a film that belittles Japan. What a bloody joke! [abbreviated] This guy says "Make up your mind after you've seen it." What the hell are you talking about! Why should I have to pay 1800 yen at a cinema to watch such a piece of shit movie? [abbreviated] So if we pay, he'll listen to our opinions? Not a chance. You know he's doing this thinking that the price of a ticket includes a fee for listening to our complaints. This guy is trading in anti-Japanese sentiment! What a traitor this bastard is![Then a passing foreigner, presumably caucasian, gives a Nazi salute and a "Sieg Heil" to the protestors, eliciting the following response:]
Oi, what the fuck! Stupid bastard! Come on! Yeah you, whitey![The foreigner gets into a scuffle with protestors, but several police break it up. The gentleman with the mic continues:]
This is Japan. Beautiful Japan. The island that is home to the Japanese people. This is not a place for dirty white pigs to spout their insolence! [abbreviated] Kick anti-Japanese foreigners out of Japan! Fucking insolent western whites can get out of Japan! We won't allow the screening of "The Cove"! We will fight until the Japanese release of "The Cove" is canceled!I have to admit that they do have some valid points. I can't count the times I've thought to myself, "Why should I have to pay 1800 yen at a cinema to watch such a piece of shit movie?"
Friday, June 04, 2010
As a translator I don't receive a byline on the story, so you'll just have to take my word for it. Would I lie to you? (don't answer that)
They say it's to avoid "inconveniencing their neighbors," but the ones causing the inconvenience are the right-wingers, not the cinema. Why is a cinema so worried about something like that? More than that, a cinema yielding [to such pressure] is a huge inconvenience for discourse and expression in Japanese society. http://twitter.com/KazuhiroSoda/status/15346279454Soda has actually been very critical of the film's biased approach, both on his Twitter page and on his blog. See Jason Gray's writeup for details on the cancellation and the campaign against "The Cove."
But you know, in a way it's impressive that [those groups] are pouring so much energy into picking a fight over a film they haven't even seen. I couldn't do something like that - it's too scary (ha ha!). I suppose they decided for themselves that "The Cove" is 'anti-Japanese' based on all the media reports on it, but where did all that trust in the media come from?
Sunday, April 25, 2010
"I'm thinking of telling him this when I see him, but he visited [Japan] a long time ago you know. He came over when he was in the U.S. and things weren't going so well for him. We ate tonkatsu together in Shimokitazawa [laughs]. And now he's China's number one action film star. It's totally his time right now. So I'm especially looking forward to acting alongside him, but a single day [shooting our scene together] isn't going to be anywhere near enough, so I'm thinking of asking him to do a proper fight scene with me one more time after that, and then I'll retire. I've worked with both Jackie and Jet, so it'd be a shame to leave the business without working with him. If I finish up having acted alongside those three, I think it'll be alright to retire from kung-fu action."Action legend Kurata Yasuaki on Donnie Yen, his opponent in a flashback scene in Andrew Lau's upcoming "Fist of Fury: The Legend of Chen Zen". From an interview in the April 2010 issue of Eiga Hiho.
Friday, April 23, 2010
For example, my translation of an article on film sales companies and the role they've played in Kitano Takeshi's filmmaking career is now up on the Asahi Shimbun website. It's especially worth reading for some rare reminiscences from Hengameh Panahi, the woman behind Celluloid Dreams and overseas agent for Kitano's work.
Saturday, March 20, 2010
Fukasaku subsequently hasn't had much trouble finding gainful employment, turning out several niche genre works that have been lukewarmly received at best; most notably his terrorism-themed revival of the Sukeban Deka series, casting Hello Project idols Matsuura Aya and Ishikawa Rika alongside Kubozuka Shunsuke and Takeuchi Riki, was a resounding flop. His most recent effort is "Maid for You", the seventh instalment in the softcore "A Perfect Education" series, which opened in limited release on January 30th and boasted sporadic 3D bonking (Jason Gray has more on the film here). But in a Cyzo interview to promote the film, Fukasaku provided a little background on why the eagerly awaited "Elle" project fizzled out:
"The project wasn't moving forward much, so I asked Oshii Mamoru to write a script and changed its direction so it would become an entry in his 'Kerberos Saga'. Refugees would flood into Japan from mainland China, and an island internment facility would be created in Tokyo Bay... it was an ambitious concept. But there were a number of problems such as the large budget and the necessity of gaining approval from the Chinese government, so it got shelved. Later I traveled to China to research another project, and that's where I met the screenwriter for ["A Perfect Education: Maid for You"], Zushi Kensuke. I told him that I had a hangup about working with actresses, perhaps because my mother [Nakahara Sanae] was one, and that I didn't like working with actresses in sexy situations, and he let me know that there was another entry in the 'A Perfect Education' series in the works. I'd followed the series for a long time, so I ended up saying 'Let me make it'."Although I can't publish my synopsis or script translation here, I can say that making the film would require a massive outlay on production design including sizeable set construction and CG work, not to mention legions of extras, rendering it very difficult to execute effectively in the current conservative film industry climate. Also taking into account its grimly dystopian world view and plot detailing totalitarian oppression and violent rebellion (shades of "Children of Men"), it's unlikely that it would find much of an audience domestically outside of diehard Oshii fans. Nevertheless, it's a gripping story culminating in an incendiary climax that could swiftly relegate the likes of "Sky Crawlers" and "Assault Girls" to the bargain bin of Oshii's filmography.
Whether Fukasaku is the right filmmaker to realize the project is another matter, but in any case he hasn't given up on it yet.
"While I took a risk making 'A Perfect Education', as did Yanagi and Ayano who acted their hearts out in the lead roles, I think we've made it possible for ourselves to take the next step forward. I have about seven or eight projects I'm working on, and I haven't given up on 'Elle is Burning' yet either."
"As for my influences, of course there's Harryhausen, Fellini, Kurosawa Akira... 'Ran' is especially great. I like the character that Harada Mieko plays with the shaven eyebrows. It's an incredibly powerful image."From an interview in the April 2010 issue of Eiga Hiho magazine.
Saturday, January 02, 2010
On New Year's Eve three years ago, I wrote that the Japanese film industry was about to become a wasteland, and that has become a reality.
Can you name the director of this year's biggest hit film, "Rookies: Graduation"? Right now, many Japanese films aren't creative works, but mere products. DVDs aren't selling any more, so it has become virtually impossible for projects other than guaranteed successes to be made. 2010 will probably see the Japanese film bubble continue in numerical terms due to a barrage of adaptations of TV series, but even that will only last [for another year].
So, what should we do?
Create good scripts. Find the most suitable actors. Pull together production funds somehow. Make the greatest effort possible with directors and crew who possess the ability and vision to fight for the same goal. And rack our brains to figure out how our films can be seen by as many people as possible. [This year] we'll keep on doing exactly that, as we've always done.
I hope that 2010 will be a happy year for you and me.
- ► July (6)
- ► June (3)
- ► March (2)
- ► 2008 (42)
- ► 2006 (41)