![The love between teacher and student that created ``The Spy's Wife.'' Interview with Kiyoshi Kurosawa, Ryusuke Hamaguchi, and Ichi Nohara [Director's Interview Vol.84]](https://cinemore.jp/images/7871e6ee04f61e999e279065f6c5bc95cebe60c595d9bdbad0c19a2fa6c1dc91.jpg)
The love between teacher and student that created ``The Spy's Wife.'' Interview with Kiyoshi Kurosawa, Ryusuke Hamaguchi, and Ichi Nohara [Director's Interview Vol.84]
Director Kurosawa was amazed at the recording club's miracle work.
Q: I get a glimpse of your teamwork as you talk to me, but did the production of ``The Spy's Wife'' itself go fairly smoothly?
Kurosawa: I thought the producers would say a little more about the budget and content, saying, ``Don't do this'' or ``Do this here and there,'' but they almost never did. This may be because they originally came together because of the connection between Hamaguchi and Nohara.
It seems that there was some difficulty in getting the project through, but it went well.
Q: Regarding filming, it seems that because it was a historical drama, there were restrictions in that you couldn't improvise the camera in the streets.
Kurosawa: When shooting in modern-day Tokyo, you can change things by changing the weather or situation that day, or changing plans, but this time, if you decide to shoot here, you won't be able to deviate by even a millimeter. If you move it a little, you'll see buildings that shouldn't have been there at the time, and things like that.
Decide where to take the photo and create the perfect frame. It was my first time to experience something like this.
Q: When I was looking at your work, I found the ``vertical direction'' that goes back and forth between the back and front of the screen very interesting, and that was also born out of the environment you just mentioned.
Kurosawa: That's right. It wasn't something I was aiming for from the beginning, but it was born out of necessity.
Nohara: I also wanted to ask Mr. Kurosawa, how did you handle the “sound” on set? I think there were some filming locations close to railroad tracks and roads.
Kurosawa: I don't know the details of what kind of technology was used, but the recording department was extremely talented. A specialized team from NHK came and they are very experienced.
What I thought was amazing was that in the main cast scenes, not a single line was changed during dubbing. All the sounds recorded on site are used as they are. That means there is no noise at that point. We took great care on site to prevent the sound of trains and cars from entering, but they still usually come in. I guess there are techniques that are unique to a taiga drama team.
Immediately after ``Idaten'', the camera department adjusted to the color of Kurosawa's films.
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