"Special Screening of Director Kosai Sekine" Film and video are communication tools for deep dialogue with people [Director's Interview Vol.245]

Confront Taro Okamoto

Q: Of the many genres of videos you have made, including commercials, music videos, and films, I think the one that seems the most unique is the documentary film "Tower of the Sun." It is mostly made up of interviews with people related to the Tower of the Sun and Taro Okamoto, and even though it includes the opinions of many people, I felt that Director Sekine's own thoughts and philosophy were strongly projected in it. Has anything changed within you as a result of filming that film?

Sekine: Documentary films often record people and events as they are and present them in a neutral manner. However, when it comes to Taro Okamoto or the Tower of the Sun, I wondered if it was okay for me to remain in a neutral position. Taro Okamoto is by no means neutral in the first place, so I began to feel strongly that I should not run away from him. It may sound very disrespectful, but I thought that I would not be able to make the film unless I confronted him with the desire to surpass Taro Okamoto and the Tower of the Sun.

"Tower of the Sun" trailer

Q: There is a comment in the film that says, "Artists need determination," and I felt that this is a question the director was asking himself.

Sekine: I'm glad you feel that way. But maybe that's not something that should be highly evaluated as a documentary filmmaker. In other words, that's what you want to say, not what the people in the film want to say. It's very difficult to strike a balance there, but I think it depends on the project. For example, if you're working on a social issue, leaning too far to one side can lead to further conflict. That's probably where the "VOICE PROJECT" was born. It's just having a lot of people talk about voting, and we staff just listen. In that sense, it's different from the approach of " Tower of the Sun ". As I studied Taro Okamoto, I felt more and more shocked and sympathetic, and while I asked the speakers to speak voluntarily, I felt that I couldn't just be content with being neutral in my expression in order to confront Taro. I thought that if I expressed myself in a safe zone, Taro would be very angry.

I was also worried about whether I would be able to ask questions to the people who had commented on the film, and whether I could really make a film on the theme of "Taro Okamoto." However, my interest in Taro Okamoto and the Tower of the Sun won out.

Q: While I felt Director Sekine's thoughts, what emerged throughout the film was Taro Okamoto as a person and his way of thinking. I found the structure in which this was highlighted from multiple angles very interesting. I didn't expect the story to extend to Okinawa and mandalas.

Sekine: What Taro was researching is all connected to the roots of humanity and society. If that's the case, then if we listen to the stories of people who feel something about Taro Okamoto and the Tower of the Sun, then that too will be connected. I thought I could make a documentary about that kind of big connection of consciousness. Since we're talking about the tremendous energy of Taro Okamoto and the Tower of the Sun, I hope to make a film that's like a mass of energy.

Japan today is lacking in energy and has lost confidence. If Taro were alive today, he might have given us some great energy. I thought it would be great if I could do that with my film. You don't have to understand everything that was said in the film, just take in the passion. It was a foolish attempt (laughs), but I think it would be best if people could get a sense of Taro Okamoto, even if only a little, and feel motivated to try something themselves.

The power of images