Lee: I thought that Fumi is a person who has a high level of empathy for others that I have never imagined before. Of course, I think this is because of his own constant struggles, but when I tried to imagine such a high level of empathy in a real actor's portrait, I couldn't think of anyone else but Tori. I can't describe it with the word "kindness," but he has a unique feeling. He never seems to speak ill of others (lol). I have never spoken to him directly, but when I see his works and see him in various events, I get the impression that he has a very distinct and pure demeanor. Generally speaking, I feel that after the age of 30, people are soaked but he doesn't seem so. (lol) Fumi has an appearance that is free from the muddiness that can be attached to one's body. He was the only person I could think of.
Q: Fumi's unique eyes are impressive. I wonder what kind of process he went through to reach that level.
Lee: I remember Tori's first words to me were "I don't know how to do". He said he couldn't find a clue to play Fumi. It was the same for me. So we had to start by exposing each other We started with the physical approach of changing Tori's figure, since Fumi has a very thin body. Once the child Sarasa was decided on for Shiratori Tamaki. We also talked with Yayako Uchida, who plays Fumi's mother. I believe that this work could only have been created through the process of layering the pieces one by one in his mind. He himself was the most troubled until the very end. I wonder if he really felt that he "made it" at the end. I'm glad that he was able to stand in the midst of his worries until the very end.
Q: There are so many fascinating scenes that I would like to ask about all of them. The confession scene at the end is breathtaking, but I heard that you were able to finish shooting it in one take.
Lee: I think that scene was the essence of Tori's sensitivity and concentration on building his body, not only in the film, but it was also almost the end of the shoot itself. It was a few days before the last day of shooting. I felt that we could not have achieved this scene without the time Tori spent as Fumi and the many things he accumulated during the course of his life. It is true that the shooting itself was decided in one take, but we spent several days rehearsing on location The light in that scene was very short, from sunset to dusk, and the fading of the light was very important, so we ran a lot of extensive simulations.
Q: Did you have rehearsals for important scenes?
Lee: Yes, we did. We did rehearsal important scenes. Both before and during shooting. Rehearsals are not just to solidify the performance, but to expand the possibilities. It was a rehearsal in the hope that something would come to mind as we tried. out various ideas. It is not necessarily interesting just because the picture comes out the way I envisioned it. If it fits within the scope of my imagination, it loses its surprise. I want something unexpected, something that makes me realize, "Oh, so that's how it is, "and I think that's why I try to broaden the scope.
Q: What scenes in the rehearsals did you encounter that surprised you in actual scene?
Lee: The last scene between Tori and Mikako Tabe. It is a very quiet scene, where they just exchanged a few words, but the hollow look in his eyes, evoked by Tabe-san, was much more fascinating and surprising than I had imagined ..
Q: What was it about working with Matsuzaka that impressed you the most?
Lee: I think it is the fact that he does not assume anything and does not give a simple answer. He is able to stand in front of the camera with a sense of ambiguity that you don't know until he tries it out. think that's frightening. There were many factors that I didn't know how it would turn out. The fact that he doesn't show that intimidation is also amazing. He doesn't let anyone around him feel that way. At first glance, he appears to be easygoing, but at the same time, he is very tense. I felt Tori's steadfastness throughout the shoot.
No comments:
Post a Comment