Rurou no Tsuki - Director Lee Sang-il (Part 2)

Director Lee Sang-il (47) has been making films that leave a lasting impression on the viewer's memory and heart. We talked about why he chose Shinshu as the main location for his film "Rurou no Tsuki," which will be released next year, and why he chose Hong Kyung-pyo, the director of the Korean film "Parasite" (2020)", the first foreign-language film to win the Academy Award for Best Picture, as the cinematographer.

A sense of air and water that captured my heart

Lee: Normally, I would look for a city based on the atmosphere and setting of the entire city, but this time I started from a point.

The "point" is a café run by one of the main characters, Fumi. In the original story, it is described as "an antique store on the first floor, which combined with the thick ivy, gives the whole building a retro flavor. I wondered what kind of building, what kind of space, and what kind of place Fumi's café would be in. From there, I expanded my imagination to the area where he lives. I kept searching for that one point, gradually expanding my search from the Kanto area, and finally found the building owned by Matsumoto Gas along the Meotoba River.

The building and the surrounding cityscape captured Director Lee's attention. The cultural scent, the mixture of new and old, Japanese and Western, and the strange harmony and cleanliness of the area. There are mountain ridges in the background, and I think this atmosphere and the way it looks is perfect for the visuals of the film...the atmosphere that Sarasa and Fumi are "living".

Lee: Another reason for choosing Shinshu was Lake Aoki (Omachi City). When I was looking for a quiet, clear lake that seemed to exist only in their memories, Aoki Lake had a great appeal.

What was the purpose of bringing in cinematographer Hong Kyung-pyo?

　Hong, who shot the film in such a landscape, is one of the leading cinematographers in the Korean film industry, having worked on such films as "Burning" directed by master filmmaker Lee Chang-dong.

　It was on the set of "Parasite" that the two met. Hong told Lee that "Rage" (2016) was "the best Japanese film I've seen recently," and they exchanged words, "I'd like to work with you someday". 

Lee: "'Rurou no Tsuki" has the harshness of reality and allegory. I thought he could portray both the gritty side of humanity and the image of being hidden wrapped by something.

Normally, I work with a cinematographer two or three months in advance, but this time, due to covid, we only met up just before shooting. He has a quiet passion to preserve the atmosphere of the scenes. The skies over Matsumoto and Nagano are quite windy. 

Looking into the camera, Hong said, 

Hong: The movement of the clouds, the light, the cityscape, and the power and smell of the land helped me with the images. I think there's something unique about this place.

Filming close to Sarasa and Fumi seems to be physically and mentally exhausting. When I asked him how he maintains his motivation, he told me, "If I'm the only one who does this, I feel down."

Lee: Because I'm not a superhuman (lol). While (Matsuzaka) Tori-kun and (Hirose) Suzu restrained themselves so much... Tori-kun became extremely  thin to create a silhouette, and endured mentally and physically to maintain it. It's not just me, but Hong and the rest of the staff are going through the same thing.

Although under the covid situation, he says, he was fortunate to have the support of face-to-face conversations. The director, actors, and staff were able to overcome the difficulties because they were all comrades with the same goal of completing the film. I wonder how the beliefs of the director, actors and staff will crystallize on the silver screen.

A girl named Sarasa (Suzu Hirose) and a young man named Fumi (Tori Matsuzaka), who were separated because they were considered the victim and perpetrator of a kidnapping, are reunited 15 years later. While the world does not understand them, they try to build a special relationship that is different from friendship and love.

Yokohama Ryusei and Tabe Mikako: The agony and sincerity I felt in both of them

　Yokohama Ryusei, who plays Sarasa's boyfriend Ryo, says that he picked up the original story during the Covid-19 self-restraint period. 

Ryusei: I'm so happy to have been able to create a work that made me think so much, together with director Lee and other wonderful people. I hope I can break out of the shell I'm still in by giving it my all.

　The film tells the story of Ryo's hunger for love, his fragility, and his madness. Director Lee Sang-il said after the filming, 

Lee: He was struggling all the way to the end to figure out how to grasp what was not there in himself as Ryo. That was good. The agony of Ryo's suffering in the film seemed to overlap little by little.

　Tabe Mikako has also been cast as Ayumi, a nurse who accompanies Fumi, who is having a hard time living. In her limited scenes, she commented, 

Tabe: It's difficult to convey the delicate emotions and agony, but I'll do my best.

　Director Lee also had high hopes for Tabe, who "seems to be far from greedy" and wondered how she would reveal the frustration of not being able to touch the heart of a loved one. During the filming, she struggled with her anxiety and said, "I couldn't help but feel her sincerity."

Dir. Keisuke Yoshida about Intolerance (2021) starring Arata Furuta and Tori Matsuzaka - TIFFJP Director in Focus Q&A

1. What is the suspicion following Aoyagi (Matsuzaka)?

A: I leave it to the audience. I think it's dangerous in everyday life to settle on a single response, so I let the audience fill in the blanks, not just Aoyagi. It may vary depending on the audience's first impression, multiple viewings, or on which of the performers they place their emotions. And I'm glad you asked this question because I've been waiting for it. Thank you. 

2. There is a little salvation for each person in the last part, how did you express it?

A: The sunshine (sunlight) was carefully calculated, from the topography to the angle of the sun. I didn't try to block out the halations. I'm proud to say that this made the image softer in Aoyagi's (Matsuzaka) last scene. Ah! I don't want the other directors to imitate me. I shouldn't have said that. (haha) 

Tori Matsuzaka (Kinema Junpo NEXT vol.38 Aug/2021)

Q: What are the requirements for a good actor?

A: It's difficult to answer cuz I'm not a good actor yet. 😄

But I think, in any job, people who have the ability to listen are very strong. Those who can properly listen to the director's words, the other person's lines, and the opinions of the people around them are good at what they do. I believe that such people have the ability to look at things objectively, not just from their own perspective. 

Chang Chen and Hirokazu Kore-eda - TIFFJP Crosstalk

Kore-eda: TIFFJP is the one who first awarded A Brighter Summer Day. It's now considered masterpiece so we are very proud of it.

Chen: I was yelled at a lot by the director Edward Yang in A Brighter Summer Day. The director yelled at me in a small warehouse. He told me that I was not putting my heart into my acting. After about 30 minutes of standing in the dark, the lights came on and I was taken to the shooting location. At the time, I didn't know why he was so angry. I can understand now that he got angry to get a realistic reaction out of me. 

Kore-eda: Nowadays, it's unacceptable to force a child to act in such a way. I don't want to defend him but I think it was possible because there was a relationship of trust that would not be broken down. It reminds me of making "Nobody Knows" with Yuya Yagira who was 12. 

Isabelle Huppert and Ryusuke Hamaguchi - TIFFJP Crosstalk

Huppert: In "Happy Hour" eyes of one of the women were always looking down. In Hamaguchi's films, what the actors are thinking comes out clearly. You can feel the movement of their thoughts.

Hamaguchi: Jean-Luc Godard first made me notice about this. Godard said, "People should be able to see what she's thinking on screen."

It's not enough just with the actors thinking, the director has to show it on the screen, to make it visible. I think that's the director's job. 

Hamaguchi: What about the effect of the camera position on the actors?

Huppert: The director is talking to the actors by the camera position. Actors have a tremendous sensitivity to the position of the camera. If the camera is far away, it captures the movement of the body; if it is close, it captures the gaze. The position of the camera is the acting guide. It is self-explanatory of the director's choice i.e. the film language. How am I supposed to act in this scene? Most of the time, the camera position will tell you how you should act. 

Rurou no Tsuki - Director Lee Sang-il (Part 1)

The movie "Rurou no Tsuki," which was filmed in Matsumoto, Azumino, Omachi, and various cities in Nagano Prefecture until late October, will be released next year. The film stars Suzu Hirose and Tori Matsuzaka, and is directed by Lee Sang-il (47), a leading figure in the Japanese film industry who has directed "Hula Girls," "Villain" and "Rage". What attracted him to the original story and what did he want from the actors? What was the decisive factor in choosing the prefecture of Shinshu, Matsumoto as the filming location? We spoke with director Lee, who visited Matsumoto City for filming. 

The charm of the original story made me want to try it

Director Lee's "Hula Girls," set in an abandoned coal mining town, won the Japan Academy Prize for Best Picture and other film awards. Since then, he has continued to portray profound human dramas, from "Villain" which delves into the good and evil of human beings through a murder case, to "Rage," which confronts the difficulty of trusting people against the backdrop of a certain incident, and connects them with the dark side of society, such as loneliness, inequality, and intolerance.

This time, he is tackling the story of Sarasa, a young woman and Fumi, a young man, who were separated after being regarded as the victim and perpetrator of a kidnapping, and are reunited 15 years later. Each is labeled as "a poor victim who was abused" and "a pedophile kidnapper," but the truth is...

Lee: The story is based on the novel of the same title by Nagira Yu, winner of the 2020 Bookstore Award. I've never worked on such a special and intense relationship before. I may not be able to fully understand them in the true sense of the word, but it made me want to try. The past incidents are etched as indelible "digital tattoos" on the Internet, and the world will not allow the reunited couple to get close to each other. "If we try to follow our own conscience, we will be rejected and denounced by society. I think the dilemma is the same as in my previous works.

What is the severe direction that Suzu Hirose is afraid of?

Lee: I worked with Hirose in "Rage" almost six years ago and I've always been confident and hopeful that we would meet again. Since then, she has been running in the center of her generation. I feel she became much stronger.　

Hirose has also been looking forward to making a film with Director Lee. 

Suzu: He notices the slightest change in me before anyone else does. That's why I can never lie in front of the director, and if I try to cheat even a little.... Just thinking about it... I'm afraid to act in front of the director now. 

That's what she said when announced her role as Sarasa.

This is the strict direction that Hirose fears. Director Lee asks the actors to feel the atmosphere of the character and what they are going through just by appearing on screen. 

Lee: How do you show and tell the inner life of a character as depicted in a novel without overly explaining it? I pay attention to how they prepare and appear in front of the camera.

Scooping up the essence for "visual expression

Lee: In the original story, much of the story is written from Sarasa's point of view. The film depicts "the pain that no one understands" while showing Sarasa and Fumi trying to live in a way that they accept each other and do not let go. The film not only traces the novel, but also seeks to scoop up the essence and convert it into "visual expression". The film's unique expression is sure to be a highlight.

In the novel, Fumi is described as tall but not intimidating, "like a white flower." "He has an atmosphere that makes you wonder if he's real or not." I talked may times with Matsuzaka, who plays the role of Fumi. From the first time, I told him it was a little special and difficult to express in the flesh. 

However, when Matsuzaka stood in front of the camera for the first time.... "The silhouette and the way he looked at me made me think that this was the kind of person Fumi would be. I thought he was a pro." he said in admiration.

When the casting announcement was made, Lee commented, "I can't wait to see how much I will be captivated when their eyes meet and they are filled with tenderness and compassion for each other. I can't wait to see how this will be realized in Shinshu. I'm looking forward to it."

Producer Muneyuki Kii on choosing Tori Matsuzaka as lead role+ about 3rd installment

I knew he's a talented actor with Shiraishi's films. Even so Call Boy surprised me that he could even create a sense of mystery. I thought, 'He's a rare actor in Japan,'

「松坂桃李は人間的にイイやつ」大ヒット映画のプロデューサーに訊く、主演にふさわしい俳優（田辺ユウキ） - 個人 - Yahoo!ニュース

松坂桃李はどんなところが魅力的なのか。映画『孤狼の血』シリーズの紀伊宗之プロデューサーは、彼のことを「すごくイイやつ」と言いあらわす。松坂らの名前を挙げながら「映画の主演俳優」について話を訊いた。

https://news.yahoo.co.jp/byline/tanabeyuki/20211023-00264196

But for choosing the lead role of the series, no matter how popular he is, he has to be a strong human being. After all, he'll be carrying the work on his shoulders. In this respect, Tori Matsuzaka is a very nice guy. I work with him for a long time, and I always feel that way. 

No matter who he is talking to, he is always able to talk. He thinks deeply about what the work is trying to convey and delivers it. I have complete trust in him. 

For 3rd film of The Blood of Wolves, I'm now working on Shin Kamen Rider with Dir. Hideaki Anno and Shiraishi is working on Kamen Rider Black Sun. We're now rivals so we don't talk. We will discuss about it after our KR Showdown. 

Masaki Okada - この世界" (This world, without a story)

Masaki Okada mentioned about going to see Tori Matsuzaka's stage Call Boy in his interview for his upcoming stage "物語なき、この世界" (This world, without a story) working with the same director Daisuke Miura

crea.bunshun.jp/articles/-/314…

Excerpt below

岡田将生が語る“演じたい役”の共通点 「少し欠落している役に愛着が湧く」

現在放送中のドラマ『大豆田とわ子と三人の元夫』で3番目の元夫・中村慎森を演じ、その愛すべきキャラクターが話題を呼んでいる岡田将生さん。そんな岡田さんが演じたいと惹かれる役には、共通点があるそうで……。三浦大輔さんとタッグを組んだ、7月から始まる主演舞台への意気込みについてもたっぷりお話を伺いました。

https://crea.bunshun.jp/articles/-/31410?page=1

Q: Tori said he had "complicit relationship" with Dir. Miura which has similar nuance to what you described as "very deep relationship".

A: Yes, I guess so! I had the chance to see Call Boy, and at that time, my friend Tori showed an expression that he doesn't usually show. >> 

A: I thought it wasn't the "Tori Matsuzaka I usually see," but the "Tori Matsuzaka under Miura's direction". To me, he looked very beautiful. Tori also said that when he receives a good direction and does a good performance, he changes unexpectedly from his private life. 

A: Before covid, we often had dinner together, talking about work, performances etc. I really like him as an actor and as a friend. It was great to see the performance of him being gradually forced into a corner. 

A: I'm wondering if I could do it myself this time, but when I told Tori, "My next project's with Dir. Miura!", he said "Oh, Fighting!". 

Okada Masaki: I want to do this role with not too much preparation.

(T/N: He means that he trusts the director and wanna go far with his performance without being limited by entirely preparing ahead.) 

Actually, I like Dir. Miura lol.

He has a particular way of torturing Tori till he became what he wanted.

(But it only worked with Tori so far tho.)

In Call Boy crank up video, Tori looked like "now I am free from this hell" 🤣

Okada... good luck being tortured hehe 

Korou no Chi LEVEL2 - Tori Matsuzaka

The text on top right translates as:

"Whether he is playing the lead or supporting role, the moment 'he' appears on the screen, it feels like an electric shock. Tori Matsuzaka has once again taken on a role that surpasses his previous works."

That special quote on "彼" tho. 🤣 

Here starts the text below:

Tori said what he's most careful about is to bring the amount of heat from 1 while not relying too much on it. He seemed to have asked Dir. Shiraishi to wait for a while to shoot 2. 

Regarding that, he said he was scheduled to join BoW crew late (almost 10 days, Nijiro said). By the time he joined, Suzuki Ryohei was already on fire. So, he had to become Hioka instantly when he joined halfway. He realized once again that he can be a role thanks to many people. 

His schedule is like that becuz he was shooting Inochi no Teishaba. He finished Teishaba on Oct 2. Reported to have joined LEVEL2 on Oct 6. 

Article said Matsuzaka Tori's recent 3 years has been intense. Especially, The Journalist (2019) which is perceived as criticism of current political affairs. That the industry people are saying it would be buried without him. Asked why he appeared in it. 

Tori: I don't know if it's certainly zero risk or not. But it's worth it cuz I believe this film is much more valueable than that (zero risk). 

There's also a paragraph about his two spring dramas. (omitted) 

I think that my 30s are for me to take my time with each work. Actors who can act in various genres even as they age is addictive to me, so that's what I want to aim for. I have about 8 years left until my target age. I wonder what kind of flowers will bloom along the way. 

Left to translate the title, the one on the below right.

"一作1作を覆に未来への種まきを継統中"

"Planting seeds for the future with each new work"

***That's why his ending comment is flowers. 🌻🌼🌻🌼🌻 

Kenichi Matsuyama and Dir. Keisuke Yoshida - BLUEブルー (2021)

Q: I heard you took 2 years for boxing training.

MatsuKen: Rather than concentrating to train for a short period of time, I'd linger and watch people there. My role was also a trainer, so I wanna be a presence in gym.

Kuhaku - Arata Furuta and Dir. Keisuke Yoshida about Tori Matsuzaka

Furuta: He is a serious and sincere actor. I felt that he's hardworking and professional. He could do both pull and push in the performance. Because of that I was able to keep pushing.

cinemarche.net/interview/kuha…

【吉田恵輔監督/古田新太インタビュー】映画『空白』松坂桃李らとの撮影で荒ぶる魂の“赦し”という心の揺らぎを熱演

『空白』は2021年9月23日（木・祝）より公開中！ スーパーで店長に万引きを疑われ、追いかけられた女子中学生が、逃走中に車に轢かれて死んでしまう。少女の父親はせめて娘の無実を証明しようと、店長を激しく追及するうちに、その姿も言動も恐るべきモンスターと化していく……。 古田新太と松坂桃李が実写映画初共演を果たした『空白』は、現代の「罪」と「偽り」そして「赦し」を映し出すヒューマンサスペンスです。 …

https://cinemarche.net/interview/kuhaku-furutaarata-yoshidakeisuke/

Dir. Yoshida: Tori's acting is very realistic. He can play plain and unpolished roles altho he looks attractive. He doesn't overdo it as an actor, and can act naturally. He's almighty actor (in english). That's why I wanted to work with him. I cast him for many other reasons too. 

Is there a particular scene that stands out in your memory?

Furuta: The last scene with Tori. We were both physically and mentally exhausted, both as actors and as ourselves. 

Dir. Yoshida: That's just one-cut. I left that scene to the two of them. After all the shoots, I decided "I'll just take one-cut for last scene whatever comes out, I'll take as fate and put that to the film. During the actual shooting, I was staring at them and surprised. 

Dir. Yoshida: As the director, I wanted to keep cool, but I saw unexpected performances and was too emotional to say "cut". But, I was relieved to see the normally cool script supervisor crying beside me.

***Dir said the very last shot of Furuta-san is "after cut" reaction. 

Kuhaku - Arata Furuta and Tori Matsuzaka, Classy

 Impression on each other

Tori: He's a person who has established his own position and his own things. I don't think there is anyone who can match Furuta-san. I feel that he is unique. I've seen him on stage many times.

Tori: I first came to know Furuta-san in "Kisarazu Cat's Eye (2002)". I was still a student. Furuta-san's role left a strong impact on me, and I laughed every time. Since I started working here, I've gradually come to know that he's an amazing person. 

Furuta: I've known him since he was in "Samurai Sentai Shinkenger". At first I thought, "Tori Matsuzaka is going to play a bear? Aren't we wasting money?" but I enjoyed a lot working with Tori in Paddington. 

Furuta: I think Tori probably a simple guy. Some of the actors who came out from Sentai or Kamen Rider are troublesome.

Tori: Who are you talking about? (lol).

Furuta: I hoped Tori would approach me normally, and when we worked together, he did. I thought it was fortunate. 

Shinobu Terajima's Comment

When we were not acting and talking at a place like a tea house, Tori seemed to be very calm and didn't talk much about himself, we were the only ones who talked. He was listening with a smile the whole time. I thought he must be a good child. 

Thoughts on acting

Furuta: I don't like actors who try to do things on their own. So I just do what the director tells me to do, and then we can finish shooting quickly. I'm glad that Tori is also like that. 

Furuta I don't like actors who say, "Let me do it again. One more time!" Some directors say that they'd wait for something better to come out, but it never does. The first performance is the best. So, I put all my energy into it. 

Furuta: If you don't go all out from the very first scene, you'll never get that tension back again.

Tori: That's right. It's like full throttle.

Furuta: I am glad there's no one like that this time.

Tori: So, who are you referring to? Really~~~ (lol) 

What do you like about each other?

Tori: Furuta-san's voice. During Paddington, he recorded first so that we have a guide to record. Thanks to him, it's much easier for us. I really like his warm voice.

古田新太×松坂桃李インタビュー｜お互いの好きなところは？

2回にわたってお届けしている古田新太さんと松坂桃李さんのインタビュー。後編では9月23日に公開される話題の映画『空白』で実写映画初共演となるお二人に、お互いの好きなところを３つあげてもらいました。 前回の記事古田新太×松坂桃李インタビュー｜壮絶な内容の作品、現場での2人は…？ 「桃李の好きな

https://classy-online.jp/lifestyle/168709/

Tori: Also, his communications skills. He can communicate with all people from various occupations from different places. 

Tori: Third, he's very observant. Just listening to our interview today, his powers of observation of people are amazing. He spewed this venom (lol), but I realized that he observes so many people and has a big picture view. I thought it was cool. 

Furuta: About Tori, I like voice, face and his work attitude. He is a good voice actor and his face his beautiful.

Tori: Thank you! (hehehe) 

What about work attitude?

Furuta: Tori, be honest, how many times did you do NG?

Tori: Almost never.

Furuta: See, I don't like those who do NG.

Tori: lololololol 

Furuta: I also don't like those who say "no" to director's requests. I think the coolest actors are those who can say "yes" to everything.

Tori: Yes, they are the strongest actors.

Furuta: Tori is directors' "yes-man".

Tori: hahahahaa