As I delve into the captivating world of Kurosawa, a visionary filmmaker who effortlessly traverses the realms of reality and genre, it is evident that his journey has been shaped by an amalgamation of experiences and influences. Born and bred in Japan during the era of 8mm films and exploitation movies, Kurosawa’s formative years were steeped in a culture of experimentation and innovation. The challenges posed by capturing sound on these early filmmaking platforms pushed him towards genre films, a decision that would ultimately define his career.
Previously this year, during his appearance as the special guest at the Asian Film Awards, filmmaker Kurosawa Kiyoshi expressed a determined stance regarding his work, inspirations, and the importance of continuous reinvention. Half a year and numerous awards later, he remains equally steadfast in his resolve.
Last year, I celebrated my 68th birthday. It’s uncertain if there are many film directors my age who have directed two movies in a single year,” stated Kurosawa in March.
Currently, one might understand if he appeared to be tired. In 2024, Kurosawa has completed three films: “Chime,” a mid-length horror, the revenge-thriller remake “Serpent’s Path,” and actioner “Cloud,” which was chosen as Japan’s entry for the Oscars. Before heading to Tokyo, he finished a long stretch of press engagements, acceptance speeches, and a masterclass at the Busan festival. During this week’s Tokyo International Film Festival, he will conduct another master class, this time under the Asian Film Students’ Exchange Program.
It seems that what keeps Kurosawa, who is currently 69 years old, going is his eagerness to seize chances that let him continue exploring on-screen, without being overly concerned with the details of production or financial matters.
Kurosawa shared with EbMaster that a producer asked him to create a 45-minute horror film. This wasn’t for streaming or cinematic release. The producer gave Kurosawa complete creative freedom, except he wanted something unique and unlike anything before – strange, bizarre, and odd, yet not avant-garde. Finding the task intriguing, Kurosawa agreed to it.
The film titled “Chime,” first shown in Berlin, is a thought-provoking puzzle that one critic has compared to the opening episode of an upcoming television series. It centers around the progressive mental decline of a composed and methodical cooking instructor, who finds himself dealing with a group of unsettling pupils and a troubled family life at home.
The framing is crystal clear. The intentions are ambiguous and unnerving.
As a movie critic, I recently had the opportunity to watch “Serpent’s Path,” a gripping drama-thriller that first graced Japanese theaters before making an appearance at both the San Sebastian and Busan film festivals. This intense production is actually a remake of Kurosawa’s 1998 film bearing the same name, but this time around, it’s been reimagined in the French cinematic landscape.
In a casual interaction, a French producer from long ago asked me if I could re-make one of my films, to which I promptly replied ‘Serpent’s Path’. This didn’t come to fruition initially, but last year he reached out again, mentioning that the funds were available and we could produce it in France. This was a fantastic prospect, and I quickly agreed.” – Kurosawa
One reason for remaking the movie was a screenplay by my friend Takahashi Hiroshi, centered around revenge themes. Although it was set in the Yakuza world, its story is universally applicable. Remarkably, the script remains relevant even today. However, when we produced it in 1998, it had a minimal budget, and due to the script’s strength, I couldn’t fully claim the film as my own. I was eager to revisit the project, titled ‘Serpent’s Path’, and give it my unique touch.
The revised version eliminates any Yakuza connections and changes the main character from a man to a woman grieving over the loss of her child. This alteration required a new conclusion and the inclusion of additional characters.
In my creative process for “Cloud,” I was determined to steer clear of common stereotypes often seen in Japanese action films, which frequently focus on gangsters or serial killers. Instead, I wanted a more relatable character to take center stage, someone who finds themselves in an extraordinary or unexpected violent predicament. To me, the opening scene isn’t an action sequence; it simply depicts an ordinary person facing an extreme situation. This was my thought process as expressed during my interview at the Busan International Film Festival.
In reply to a question, he clarified that ‘Cloud’ might have come across as cold and detached, which wasn’t his intention. He didn’t aim to convey any specific message while making the film; instead, his primary goal was to create a realistic portrayal. However, it proved challenging, and an alternate method had to be employed.
Even though Kurosawa boasts an extensive body of work, with 74 films under his belt in Imdb and 15 TV shows to his name, he found it challenging to find investors for his action genre project. However, when popular actor Suda Masaki joined the team, funding became more accessible.
Director Kurosawa appreciates Suda, aged 30, for more than just securing the film’s funding. “I needed someone with a rough edge,” said Kurosawa, “and Suda can pull off both handsome and commonplace convincingly.” Additionally, he praised Suda for his ability to understand my script with minimal direction, as he rarely asked questions during the production process.
Kurosawa stated that his scripts are typically minimalistic, allowing for flexibility on set. He seldom provides detailed descriptions of locations, as he may not be familiar with them himself. In essence, one could consider his scripts as incomplete. However, he rarely alters the dialogue he writes and only includes things he has some understanding of, preferring to personally experience unfamiliar elements rather than speculate about them.
In Busan, it appeared that several speakers and interviewers were keen on categorizing Kurosawa as a specialist in genre films. However, his response suggested both a rejection and acceptance of this label.
In simpler terms, Kurosawa once stated that a genre movie is simply any film to him. At another instance, he praised Korean filmmakers for creating more genre films than his Japanese peers, admitting a touch of envy. On stage, he humorously mentioned this, adding that Japanese filmmakers have ventured into different areas instead.
He shared that in his younger years, our focus was on 8mm films, capturing sound was quite challenging. Consequently, I made several silent films as dialogue had to be kept minimal. This simplicity led me towards genre films, he elaborated. Additionally, he grew up watching ‘exploitation movies’ from the 70s and 80s, or as they are more appropriately called today, ‘genre titles.’
In Japan today, you’ll find two primary categories of filmmakers. The first group, as you might guess, are those who cater to the domestic market, primarily focusing on commercially viable projects. Then there’s a different breed, one that prioritizes artistic expression and international appeal. They may even seek funding overseas. Kurosawa shared this perspective with EbMaster, expressing regret over the division between these groups. He mused, “Perhaps I embody a mix of both.
Absolutely, Kurosawa is well-known for being a trailblazer in international Japanese film co-productions and has collaborated overseas on at least three projects. Notably, his film titled “To the Ends of the Earth” was created in collaboration with Uzbekistan’s Uzbekkino studio.
In my perspective, Kurosawa appreciates the spirit of innovation in fellow creators. When queried about the young Japanese filmmakers I hold in high esteem, I promptly acknowledged Ryusuke Hamaguchi, the mastermind behind “Drive My Car.
Hamaguchi’s style is quite distinct, frequently choosing unique paths in filmmaking that differ significantly from my own. He and I occasionally converse, but we seldom discuss our respective works.
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2024-11-02 01:47