"Monster" Director Hirokazu Kore-eda It was a highly complete script with few problems on set [Director's Interview Vol.319]

Elementary School

Q: The perspective changes as the story progresses, but how did the filming proceed?

Kore-eda: I took pictures from different viewpoints, and sometimes from the same viewpoint, but I didn't separate them that strictly. Sakura Ando only read the script for the scenes in which she appeared, and took the stance that she didn't have to understand the whole thing. I guess they probably didn't see the whole thing until it was completed. Also, since the characters only see things through their own field of view, I chose cinemasco size to make the field of view a little narrower.

Q: Speaking of cinematography, all the shots taken by the cinematographer, Ryuto Kondo, were perfect and wonderful.

Kore-eda: Mr. Kondo was moving freely and freely. Mr. Kondo created a detailed blueprint, including the detailed colors, thinking about how to fit children in and how to change each chapter. After `` Shoplifters ,'' I worked with you on `` Maiko-san Chi no Makanaisan '' (23rd drama), and this was my third time working on a major project, so the basics were left to me.

“Monster” ©2023 “Monster” Production Committee

Q: The locations and art are also interesting, such as the stairs in the middle of the school building, the handprint monument in the backyard, and the train seats that are box-shaped (cross-seat) rather than side-by-side (long seats). It was impressive.

Kore-eda: That elementary school was an abandoned school that we had asked to borrow, and when I saw the atrium in the middle of the entrance hall during a location scout, I thought, ``This is it!'' I thought music would resonate here. The monument in the backyard has a time capsule of the graduates, so you can feel the flow of time. It can also be used as a motif of a kind of ``reincarnation''. At the first location scout, I liked everything and thought, ``This is it!''

The train was created from scratch by the art staff, but as you said, the box seats allow the two children to face each other, so we consulted with each other and decided to have them face each other, but also allow us to take photos side-by-side.

Yuko Tanaka, Ryuichi Sakamoto, working with someone I admire