"Moving 4K Remaster Edition" Director of Photography/4K Supervision: Toyomichi Kurita 30 years after its release, creativity continues to this day [CINEMORE ACADEMY Vol.35]

Thirty years on, creativity continues

Q: What was your goal when you were working on the 4K digital remaster? Was it to get as close to the print that was shown in the cinema at the time?

Kurita: Of course, I used the prints made at the time as a reference, but I have a few thoughts about remastering. First, film, which uses a chemical process called "photochemical," and digital are different media. I think that a "reconstruction" from film expression to digital expression is necessary. On top of that, for works that have been recognized as classics made by major film companies, it is best to reproduce as faithfully as possible the style of the pictures created by each studio at the time and the unique tone of the work. On the other hand, with regards to this work, I am still active, having been involved with the director, so the creative process of this film is still ongoing.

Creativity in each stage of a film arises at various points in the process. First, preparation for filming begins, where various research is done, location scouting is done, and the concept of the filming is considered. Then comes the shooting, and in my case, I often act on instinct on the set, and something I never imagined may come into view. Then, when it is edited and sound is added, it takes on a different meaning from what was shot on set. Furthermore, in the case of film, the color is adjusted through a process called timing, and it is reborn in a new form. In this way, I believe that the creativity of filmmaking is constantly generated and developed during the process.

Now, with the new process of digitization underway, the creative process of this film is still ongoing within me. I look back and think about what Somai was thinking at the time, and what I was thinking at the time, and as I digitize the film, I am thinking of my current self, who is different from me back then. I believe that through this process, the film will continue to develop.

I think this is different from the idea of trying to reproduce classic works exactly as they were. By using the new medium of expression, digital, the way the work appears is reconstructed and it moves to the next stage. I think that's where my involvement is meaningful. While listening to Somai-san's voice saying, "Are you okay with that?" and "If you're okay with that, then that's fine!"

"Moving 4K Remaster Edition" ©1993/2023 Yomiuri Television Broadcasting Co., Ltd.

Q: This was your first and last film with Director Somai. How was it working with him?

Kurita: I've known Somai since we were both assistants, and I've always wanted to work together. This film was the first time that this dream came true, but Somai may have been at a time when he wanted to change as a film director. I think that was the reason he called me.

There were several challenges in filming. One was the cinematographer system I use. On Japanese film sets, the roles of cinematographer and lighting are divided. Somai had always worked with a veteran lighting technician called Kumagai Hideo, and even though the cameraman changed several times, Kumagai was always in charge of lighting. On the other hand, in the cinematographer system I use, the cameraman controls the lighting and filming, and is responsible for the consistent work of filming from start to finish. I met with Kumagai and explained this to him, and he understood.

We also asked Enomoto Koji, an assistant director who had worked with Somai up until that point, about the filming process. Enomoto said, "Somai never said anything about the camera." However, Somai knew a lot about lenses. I'd like you to see this photo, which I think will give you a good idea of what it was like on set.

"Moving 4K Remaster Edition" ©1993/2023 Yomiuri Television Broadcasting Co., Ltd.

I'm the one looking into the camera, and Somai is close to the lens. The reason is that this is the best position. I'm close to the lens, looking at what's on the camera and how people overlap. Somai, the director, is facing the actors like this. The actors are also acting while being looked at like this. And everyone is concentrating around the camera, with each of them having an image in their head. That's how everyone on set used to look in the direction they were shooting. Now it's different, everyone is looking at a monitor. This is a convenient function that allows the staff to instantly share the footage being shot and there's no need to look at the rushes, but at the same time, I think there are some things that have been lost.

The concept is Utagawa Hiroshige