Japanese movies are forced to change This is how movies are made! ~Major movies and authorship~ Event Report Vol.2 (3 parts in total) [CINEMORE ACADEMY Vol.20]

" CINEMORE ACADEMY ," which has been featuring a feature on how to make movies, has been turned into an online event. We will welcome film directors who have remained true to their own authorial style even while shooting major films as guests, and we will delve into the secrets of their creation!

We have written an article about the online event held on Wednesday, June 30th. It will be delivered in three parts. This is the second time.

* Click here for Vol.1

When a major film is released all at once nationwide, the production budget becomes larger, the recovery of funds becomes more difficult, and producers, investors, etc. always have a variety of opinions. Under such circumstances, how can directors embody their vision and create interesting films that will become hits?

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[Guest] Eiji Uchida / Michito Fujii / Katsuyuki Motohiro / Isao Yukisada in alphabetical order / Titles omitted

[MC] Movie writer SYO / CINEMORE editor-in-chief Fumio Koda Title omitted

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Click here for event details

Index

• movie director like cook
• Training the next generation of film directors
• Authorship is determined by others
• original and original material
• Actors and producers are partners
• Japanese cinema is under pressure to change

movie director like cook

Koda: The next theme is "Is it difficult to maintain your original authorship in a major film?" You mentioned earlier that it is difficult to venture into major films, but I would like to ask you how far you have been able to stick to what you want to do and be a writer.

Motohiro: Unlike everyone else, I came from a TV variety show. I didn't really want to do dramas or anything like that, I just wanted to make some money through variety shows. But one day, I did a program that introduced film techniques, and it became very popular late at night on Fuji TV (*1991's late-night program ``America no Yoru''). After that, the director at the time found out that I had graduated from film school, and he told me, ``You should do a drama.''

That's how I started, so I don't have any intention of writing my own script, and I don't have anything that I want to share. I'm aiming to become a director like a cook who can make the ingredients he's given extremely delicious. That's why I get a little annoyed when the shape of ingredients changes (lol). Mr. Yukisada might have rejected it and said, ``I'm not going to do this,'' but I was like, ``Do I have to include this?'' and accepted it and continued building it.

That's why I'm willing to do any movie that doesn't have a negative impact on children. I feel like anything is welcome, whether it's romance or action. This is rapidly expanding into dramas, commercials, and stage plays. Once I realized that directing is something that expands to such an extent, it didn't bother me so much.

I used to write my own scripts when I was a student, but the scripts written by my friends around me are much more interesting. I thought I had no talent. I thought this wasn't for me, so I tried to learn more about directing, editing, and music, so I guess I'm a little unfamiliar with what it means to be a writer.

Koda: That said, there may be times when you really want to take a picture on set, and you need to demonstrate your artistry or make a strong statement.

Motohiro: Over the past 10 years, I've learned how to do that without having to worry about it. I let the assistant director do it. All the assistant directors want to film it, so I give them a chance and say, ``Why don't you try shooting this scene?'' Then everyone thinks a lot, and something more interesting than what I'm thinking comes out. This is the same method as the general director of variety shows. Everyone makes the fruit and I pick the fruit. However, we will set limits such as budget. Still, if there is something we really want to do, we all try to think of ways to make it happen. That's why everyone in our directing department has grown tremendously and is doing very well.

Since I started using this method, I no longer have to worry about it. I think it's very important to delegate things, and I think I'm probably able to do this because I don't have the talent to be a writer. That's why it's so much fun to watch works that have a strong sense of artistry.

Training the next generation of film directors