“Children of the Sun” director Hiroshi Kurosaki pursues “the dynamic of life” in a fictional world [Director’s Interview Vol.130]

Showing an attitude of “not taking photos” leads to a unified mindset on site.

Q: Speaking of “living,” the one-shot scene where Osamu climbs Mt. Hiei and eats a rice ball is amazing. I was able to capture in real time the process of tears rolling down my face as I ate the rice balls, and I was moved by my emotions.

Kurosaki: It was a very adventurous cut. This scene was created with the intention of conveying the message to the audience watching on screen. Of course, Yagira-kun acted with full awareness of how important this scene was.

We spent hours climbing to the top of Mt. Hiei and took that cut at the end, but we didn't try to take any more shots, and even after seeing Yagira-kun's play, no one thought he would take a second take. Ta. It was a cut where I believed in the fate of the movie and what would happen at that moment.

Q: The camera that follows Yagira in the two scenes, the mountains and the sea, shakes violently. That also left a huge impression on me.

Kurosaki: This scene was born out of my growing desire to film in a kind of documentary style. I mentioned earlier that ``When I was younger, I used to take photos with a photographer in a wheelchair,'' but now that I'm able to use rails and take photos in luxurious environments, I think there's something I've lost. I think so.

Although there are scenes that should be quietly captivating, I felt that it was more important to follow the actor as he was expressing his feelings at that moment, rather than trying to organize the part where Osamu was climbing the mountain. I believe that the photographer, Kazunori Soma, is a ``master with his hands,'' and that's why I chose to shoot in this way. Even though I was worried that the image would be blurry or that I might make a mistake, I took the picture with the mindset of ``I'm just going to follow Osamu's back.''

“Child of the Sun” ©2021 ELEVEN ARTS STUDIOS / “Child of the Sun” Film Partners

Q: Including the scene you mentioned, I felt that ``I believe in the imagination of the audience'' in various parts of the movie. Please let us know your thoughts on this matter.

Kurosaki: It may be different when making television and when making movies, but I believe that if you don't believe in that, you can't make a video work. In the end, I leave it up to the viewer to get a feel for it.

When it comes to visuals, you add things when you're putting together an idea, but I think the test of your ability as a director is how you can whittle it down in the end. That's why we have to think through each line with a sense of urgency, asking, ``Does this explanation really need to be given?'' Rather than thinking, ``I'll just edit it out,'' we make the choice not to film it on set, and the staff members His will is conveyed to the entire team, both in the acting department and in the acting department.

I just cut it down and see if I can get a feel for it. However, this is difficult unless you believe in your customers. I don't know the correct answer yet, but I would like to create works in this way.

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Director/Screenplay: Hiroshi Kurosaki

Born in 1969, from Okayama Prefecture. Joined NHK in 1992. In 2010, he won the 2009 Arts Encouragement Award from the Minister of Education, Culture, Sports, Science and Technology for Newcomers in the Broadcasting Category, the 36th Broadcasting Culture Foundation Award for Directing, and the 2010 Tokyo Drama Award for Directing for his direction of the drama ``Fire Fish''. His major film works are ``Winter Days'' (11) and ``The Second Virgin.'' Received the Special Mention Award at the Sundance Institute/NHK Awards 2015 for ``Prometheus' Fire.'' The pilot version of the TV drama will be aired in 2020, retitled ``GIFT OF FIRE.'' His major works include the NHK TV drama series "Hiyokko", "Hat" (2008), "Fire Fish" (2009), "Chase ~ National Tax Inspector ~" (10), "Made in Japan" (13), and " His works include ``The Sniper Case of the Chief of the National Police Agency'' (2018) and the currently airing NHK Taiga drama ``Seiten wo Kake'' (21).

Interview and text: SYO

Born in 1987. After The Graduate from Tokyo Gakugei University, he worked at a film magazine editorial production site and a film information site before becoming a film writer/editor. Works on a wide range of topics including interviews, reviews, columns, event appearances, and recommendation comments. Contributed to ``CINEMORE'', ``Cinema Cafe'', ``Soen'', ``FRIDAY Digital'', ``CREA'', ``BRUTUS'', etc. Twitter「 syocinema 」

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Distribution: Aeon Entertainment

©2021 ELEVEN ARTS STUDIOS / “Child of the Sun” Film Partners