[CINEMORE ACADEMY Vol.1] Project edition How to make the movie “The Brightest Roof in the Universe”

relationship between producer and director

Q: Once the film rights have been acquired and the funding and distribution companies have been decided, I think the staff and cast will be selected. Was it decided from the beginning that Mr. Fujii would be the director?

Maeda: I heard from Keisuke Imamura, a cameraman who often works with director Fujii, very early on that he was a very interesting person. I was very interested in Fujii's work because I heard that he does a lot of commercials and has a lot of offers, but he just wants to make movies and is working hard.

The short film commercial for ``Pokémon Sun and Moon'' directed by Mr. Fujii was also very good and I was excited. Meanwhile, I happened to have a chance to meet you.

However, I didn't intend to ask Mr. Fujii to create ``the brightest roof in the universe.'' Also, at that time, there was a short story that Mr. Fujii told me about, ``Actually, there's something like this that I want to do,'' but it was from overseas, and the rights to make it into a movie were also seized. .

But when I read that work, I thought, ``If you like this novel, you'll definitely like ``The Brightest Roof in the Universe.'' After that, I talked to Director Fujii about it, and he immediately said, ``I want to try it.''

Q: Mr. Fujii, what made you want to try this work?

Fujii: At that time, about four years ago, when people asked me, ``What kind of movie do you want to make?'' I said I wanted to make something like science fiction or fantasy.

At that time, Hiroko Maeda introduced me to several novels, but `` The Brightest Roof in the Universe' ' was the most interesting. At the time, I was in the process of making another film, one that would dig into my inner self, so I think this book seemed to shine brightly on me, or rather, it made me feel kinder.

Maeda: It was around the time when the production of `` Blue Return Road '' (2018) was going through a tough time, and you said, ``I'm finally able to go out and meet people.''

Fujii: At that time, I was depressed and an alcoholic (lol).

Maeda: Yeah, I was disappointed (lol). I really felt like I wanted to move on to the next thing by doing something.

Q: I heard that you two discussed the script for ``The Brightest Roof in the Universe.'' I will talk more about how the script is written next time, but I would like to hear your thoughts on the relationship between the producer and director when creating a project.

Maeda: I always try to rely on the director. I believe that protecting the director means protecting the work , so if the director loses sight or misunderstands something, I'm not afraid to point it out.

Also, while pointing things out, I sometimes realize that I was the one who misunderstood, so I calmly think about what I felt and thought at that time. I believe that expressing your opinions clearly is the most honest thing to do. I try to communicate properly.

Q: Dialogue is important, right?

Maeda: Sometimes my fellow producers ask me, ``What should I do about this?'' and sometimes the director asks me, ``The producer told me this.'' Most of the time when people argue, it's because they don't talk properly.

That's why I will never lie to Mr. Fujii. I'm really confident that I'm not lying. I would go on and on about things like, ``I don't understand this part,'' and Fujii-san would say, ``Hiroko-san, you're talking a lot.'' (bitter smile). I'll tell you what I think.

When you do that, you may get ideas back, and I think that by playing catch-up with the director, you can motivate a lot of the cast and staff.

Fujii: The quality of a work definitely changes depending on the producer. I have a strong feeling that I'm making a movie together with the producer, and I think ``The Brightest Roof in the Universe'' would have been a much different movie if it weren't for Hiroko.

Hiroko hardly says anything on set. He's watching over me. There's a lot of division of roles in terms of how the producer will sell what we've made with love, and how the movie will be delivered to the outside world. It was a relationship of working together.

Although our roles are different, it's quite rare to find producers who feel like we're creating something together, or rather, there aren't that many. In that sense, I highly value it. We've talked a lot about how we cherish each other in this world.

Q: Mutual wavelengths are also important. I think it also depends on whether you can share your passion for making things.

Fujii: Hiroko and I have very similar tastes in movies. Hiroko-san will criticize the movie, saying things like, ``That movie is terrible,'' and when it comes to great movies, she'll say the same thing over and over again, saying, ``Oh, I've heard that 30 times!''

Maeda: He's a really troublesome person... (bitter smile).

Fujii: It's not too troublesome (lol). So once I started working on the set, there was nothing that didn't go well. I wonder if it wasn't even in the casting stage before filming.

Maeda: On the contrary, it was fun, like the casting.

I've learned a lot from Mr. Fujii, and it resonates with me when I hit the ball, so this time I had nothing but fun. Although it was difficult (laughs).

What was really difficult was money. It was difficult to make it come true in the gap between ideal and reality.

However, when it comes to ``The Brightest Roof in the Universe,'' everyone says, ``You were able to make it on this budget.'' People say, ``It looks like it cost more than double the production cost,'' and when that happens, as a producer, I feel like ``I did it.''

Fujii: I do a lot of things that make producers cry. Even if I audition and am told that I have to decide on the cast by this day, I don't make any decisions until I'm satisfied with it...

But Hiroko-san accepted everything, and she didn't just straight up say no, so it was really worth fighting for, and more than anything, I felt like we were making it together. There was never any kind of clash where we hated each other.

Maeda: Mr. Fujii is extremely strict when it comes to quality, and it's really difficult.

Fujii: Hiroko-san only works with directors who are always difficult to work with, like Shunji Iwai and Quentin Tarantino (lol).

Maeda: That's right (bitter smile). But even if Michito Fujii joins the group, we won't lose.

Fujii: No, no...

Maeda: Also, Mr. Fujii's request is not just selfish, and he himself has vomited more blood than anyone else, so it is very persuasive. The on-site performance is also very precise. I think the technical staff would probably be nervous. I understand each and every aspect of filmmaking, so I don't get fooled by just talking about the hard stuff.

Fujii: I feel like my awareness of filmmaking changed around the time I met Hiroko, around the time I made ``Blue Return.'' The big thing was realizing that I wouldn't be able to make movies many times in my life.

If you don't aim for 100 points, it's better not to take pictures. Even if we create something that we think will get 100 points, those around us will still give us a score of stars. That's why I think it's better to say exactly what you want to do and be particular about it, even though it may make the producers cry, but in the end I think it's better that way. It's also for the crew involved.

When people ask me, ``What kind of movie did you make?'' and when I tell them about my work, rather than thinking, ``That mystery movie,'' they say, ``That movie!''... After all, I want to stick to quality.

What are some tips for successfully using the production committee method?