Wednesday, November 11, 2020

Daiken Okudaira - Mother (2020)

Q: Did you know that Masami Nagasawa is the mother when you won the audition?

A: I didn't know. After audition, when I heard the names of other performers, I felt pressure thinking that "I am going to work with such amazing people”.  I met Nagasawa-san for the first time during costume trial, but I was so nervous that I couldn't even make an eye contact. At school, I had only one girlfriend, and I wasn't used to talking to women, suddenly Nagasawa-san was the co-star (lol).


Q: However, the sense of parent and child is completely created.


A: At first, I was scared to approach Nagasawa-san
. I was scared of her role, and also I was afraid to touch her. However, she told me "It's okay" so I was able to switch my mind "If then, I will do it.”. I told myself "Just be careful not to be rude, and try to be as normal as possible.". I think I was able to be close to her while talking during our rest time.



Q: It seems that you had a workshop with Dir. Tatsushi Omori before shooting because it was your first time acting.


A: We did about 4 workshops. In the first two times, the director used a normal conversation between Aramaki-san (Shuhei's boss) and me as a script. It is natural when we talk but when the same is used as the script "What would happen if I did this or that?". Then, if it didn't feel natural, I tried to make it as natural as possible. The remaining two times I practiced mainly on the script of "MOTHER".


Q: What did you feel when you actually started shooting?


A: The director said "You should do what you think. What you do is the correct answer" so I think that the shooting became more interesting, I keep thinking "What will happen next?" and started to get a positive feeling. 



Q: How did you create the role of Shuhei within yourself?


A: After reading the script, I thought "May be, this scene is like this," but I didn't know if it was correct because I had no experience. So, I had no choice but to hit the feelings on the spot when I entered the shoot.



Q: It would be most difficult to perform the scene where Shuhei was cornered to commit a crime. How did you feel when you played?


A: I was scared for that scene even when I was reading the script. Imagine replacing it with myself. However, at the stage of script-read, I didn't know the true feeling, so I thought I'd leave it to the feelings at the actual shoot. At shooting, Nagasawa-san put a lot of pressure on me in the previous scene, so in that scene I always thought "I have no choice but to do it.".



Q: The work is hard, but how was the atmosphere at the site?


A: It was extremely bright. It's a movie like this, so I thought it would be quiet ... but Nagasawa-san and Abe-san (Sadao Abe) joked a lot. It was completely different from my imagination.



Q: As soon as the production starts, everyone will become very serious, right?

A: Nagasawa-san's switch was amazing. She talked normally while waiting, but as soon as she was told "Start", she became a different person. Being pulled by her, I was able to become Shuhei.


Q: What did you learn from Nagasawa at the site?


A: I learnt how to relax before acting. She stretches before acting. When I asked her, she said "If you do, you can relax." I started stretching and my body moved better and I can express myself more. I try to continue after that.

Tuesday, November 3, 2020

Wife of A Spy Interviews

Dir. Kiyoshi Kurosawa


Q: It is a movie that can be discussed from the aspects of national and individual issues: universal justice and individual well-being, war perpetrator issues, etc. When I interviewed you a year ago, you said the following. Q: "I want to make a perfect entertainment movie someday, but I always do extra things." that you want to make a movie that most people can enjoy normally, but you always put experimental elements somewhere, and it becomes a movie that limits the audience.


Q: However, I think that this time you can finally make a perfect entertainment movie with great theme. 


A: Thanks. I believed that the structure of entertainment films such as suspense and soap opera should definitely hold, even with a heavy background and a serious theme. I don't see many in Japan, but there are many interesting movies overseas that have both theme and entertainment. However, I was in a lot of trouble with where to end. For eg, if the person runs away on a boat, that's all and it can be a fancy entertainment movie. However, here, we know what happened to Japan in this era after those events. For that matter, it can even be a movie that depicts something that leads to the present day. So I was quite worried about where to end.



Aoi Yu x Takahashi Issei


Q: Please tell us about "A movie of your heart".


Takahashi:  Ikiru (1952). For some reason, this work has been my favorite. I've always liked Takashi Shimura's acting. In Seven Samurai (1954), where Takashi Shimura runs with his sword is the most realistic and scary situation that he might get stabbed by swords. However, I feel Ikiru is the true value of Takashi Shimura, so if I have to choose one, this is it.


Aoi: Face (2000) directed by Junji Sakamoto and Gemini (1999) directed by Shinya Tsukamoto. These two and Picnic (1996) directed by Shunji Iwai are the original concept of movies for me. Also, Yoji Yamada's Tora-san, Wish You Were Here (2019). I'm so happy to see Tora-san at the movie theatre! I felt like I was able to meet my deceased grandpa (lol). I like all the 49 works in the Tora-san series, but it's special to be able to meet Tora-san again as new.