![Director Shinya Tamada, director of ``The Story of Those Days'', a stage-to-movie conversion with detailed updates [Director's Interview Vol.26]](https://cinemore.jp/images/d6f5e69110f164ba73d545dda2cfb4f96d8b2d09442cdbd7291d4a1dd5d3e882.png)
Director Shinya Tamada, director of ``The Story of Those Days'', a stage-to-movie conversion with detailed updates [Director's Interview Vol.26]
Following the recent smash hit " One Cut of the Dead ", the team of ENBU Seminar, SPOTTED PRODUCTIONS, and MOTION GALLERY, who were involved in the film, present "Those Days' Stories", a film about closed-door conversations that unfold in an ordinary setting, a club party in a karaoke box. The silly conversations in the first half are resolved in the second half, and the way they become even more brilliant is even overwhelming. A long interview of about 8,000 characters with director Shinya Tamada, who made meticulous updates when adapting the play to film. Please enjoy.
Index
- The road to film
- Characters that are “addressed” to actors
- What I was conscious of when making it into a movie was the “flow line”
- Capture interesting performances
- Calculated three-act structure
- An ensemble drama that brings the stage version to life
- Editing work that guides the eye
- The point of making it into a movie is a group conversation drama.
The road to film
Q: The original work is a stage play, but please tell us why it was made into a movie.
Tamada: I've always loved movies, and I told Keita Yamashina (who plays Hosokawa-senpai), who I work with on stage, that I wanted to make a movie. Yamashina-kun graduated from the director's course at the Film School of Fine Arts, so his background is in the film industry. While we were having a lot of fun talking about it, Tsuyoshi Kondo (who played the role of a working student) approached me about making a short film. So, I asked Mr. Kondo what it would be like to adapt the play ``Ano Hibi no Monogatari'' into a movie. That's what I was told.
But right after that, there was no movement and it disappeared for a while, but Yamashina-kun called out to me again, and I was able to use his network to gather people to make the film. At first, it was intended to be a short story, but the story got more and more exciting, and before I knew it, it had become a full-length film.
Q: This project and script were created together with Yamashina-san, right?
Tamada: Well, from the time the project was launched, we had people gather together, and there were some things that had to be changed slightly when the stage play was turned into a movie script, so we consulted about that.
Q: Mr. Yamashina, you have appeared as an actor, but did you want to become a film director?
Tamada: Originally, yes, I think I was aiming to become a director when I was a student.
Q: Director Tamada also loves movies, right?
Tamada: Yes, I have always loved movies, but I had never seen a play until I was in high school, when a friend of mine who joined a theater club in college invited me, and that's when I first started watching.
Q: I see, that's what made you turn to theater.
Tamada: Well, since I started doing theater, I've continued to do so until now.
Q: Even if you said you were going to turn it into a movie, I think it would be quite difficult to make it happen. How did you manage to complete it?
Tamada: First of all, we started talking about making it a short story, so it was really small at first. There was a time when I tried to film the entire movie on my iPhone.
Q: That's right! ?
Tamada: Actually, there are scenes in the main story that were shot with an iPhone (lol). During the planning stage, there was talk of shooting it on an iPhone, as it would be a 15-minute experimental piece. But after that, I asked Kei Nakase to join the film crew, and he told me that it would be better to shoot it properly and make it into a feature film. Similarly, after we had MOTION GALLERY STUDIO's producer Noriyoshi Suzuki come on board, things quickly expanded towards making it into a feature film.
At the same time, I needed to raise production costs, so I asked the agency I work for to support me, and I consulted with Kenji Otaka of MOTION GALLERY to raise production costs through crowdfunding. Ta. With the help of ENBU Seminar and SPOTTED PRODUCTIONS, we were able to survive the filming and complete the project.
After submitting the film to the Tokyo International Film Festival (hereinafter referred to as TIFF) and being selected for the splash section, many things were decided.
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