Koji Fukada, a world-renowned film director, explains his 15 films all at once!

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2020.12.17Koji Fukada

“Filmmakers Now 2020-2021” is a special feature on filmmakers who are active at the forefront of Japanese cinema. In this special feature, rare works from director Koji Fukada's latest works to be broadcast on TV for the first time will be broadcast on a channel specializing in Japanese movies from December 19th. To commemorate this broadcast, director Koji Fukada himself will explain all 15 films that will be aired. Please use it as a side reading before or after watching a movie!

Index

"Chair" TV first, unsoftened 2001 / 95 minutes / Japan

Director/Screenplay/Production/Cinematography/Editing/Music: Koji Fukada

Cast: Minako Inoue, Maiko Moriwaki, Ryota Kobayashi, Yoshio Hosohara, Yosuke Ban, Masako Nagai

When I was 21 years old, even though I had never made a short film, I took on the challenge of making a full-length film out of the blue of my youth and ignorance, and I was able to complete it at the cost of inconveniencing many people. He had no ability or experience but had great ambitions, and was a reaction to the usual student movies that only featured people from his own generation, so he decided to film a group drama about a boy, a university student, a housewife, and an old man.

There is no labor, so I do everything by myself, including the camera, lighting, art, and music. The staff called out to the friend on a rotating basis. As a result, when I look at it now, I'm so embarrassed that I cringe at my youth and clumsiness that I insist on calling it a study. The sound is also terrible because I don't have the technology to adjust the sound. sorry. I'll apologize first. But I can say that I don't have any attachment to it. The actors did their best, and I quite like the final scenes, which range from Truffaut's `` The 400 Blows '' (1959) to Kiarostami's `` The Traveler '' (1974).

In 2004, three years after it was completed, Mr. K, who was in charge of Uplink, picked it up and we screened it for a week, but we didn't know how to advertise it and at that time there wasn't much of a culture for independent films to be shown to the public, so there was no audience. A series of zeros. It ended in disastrous results, and I learned the horrors of the box office. The experience I had at that time was later used in an episode of the Tokyo Human Comedy photo exhibition.

“Ngu Maama” “Tokyo Human Comedy”

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