Renowned Japanese filmmaker Takashi Miike had an engaging discussion with his frequent collaborator and producer Misako Saka during a Q&A session at the International Film Festival Rotterdam. This event took place alongside the screening of “Blazing Fists,” one of their joint projects. They talked about their professional relationship and the influence of Miike’s directing in Japanese and global cinema.
On the 1999 film “Audition,” Miike stated that he continues to view it as extremely violent, even though it wasn’t his intention to create a violent movie in the first place. He explained that the film turned out violent due to the strong nature of the main character and working with actors who wanted to express such intense feelings. Miike encouraged the actors to explore more deeply – if they desired violence, he simply asked them to proceed.
Regarding actors, the director reminisced about collaborating with Tadanobu Asano during the production of “Ichi the Killer,” a groundbreaking film that left cinemas distributing sick bags to viewers due to its graphic nature. More recently, Asano was honored with a Golden Globe for his outstanding performance as best supporting male actor in FX and Hulu’s acclaimed series “Shōgun.”
In the realm of actors, the director looked back fondly on working alongside Tadanobu Asano during the production of “Ichi the Killer,” a groundbreaking movie that necessitated cinemas to provide sick bags for audience members due to its intense content. Notably, Asano has just been awarded a Golden Globe for his exceptional portrayal as best supporting male actor in FX and Hulu’s popular series “Shōgun.
The director remarked, “He’s no stranger to Hollywood, yet he’s consistently followed his passion, pursued his desires, and remained true to himself.” In this respect, he’s often selected roles that other actors might bypass, and he’s lived his life similarly. He’s truly unique in Japan, and I wish he continues to embrace unconventional opportunities and make a significant impact.
Miike, known for directing a diverse range of projects from action thrillers like “13 Assassins” to musicals such as “The Happiness of the Katakuris” and children’s films including “The Great Yokai War,” attributes his versatile career across various genres to a life filled with interactions with numerous individuals and diverse sources of inspiration and creativity.
He noted that [movies] gain vitality through the chance to explore ideas you might not have considered before. It’s all about experimentation. As I interact with different individuals, their unique traits influence mine, leading to a rich tapestry of creative endeavors, if you will.
As he went on, he explained: “When you’re directing a film, there’s an intense longing to project a specific image of yourself to the world. But as soon as the cameras start rolling, you become utterly engrossed and cease to worry about how others see you. In Japanese culture, we refer to this state as ‘losing oneself,’ where one forgets their ego and becomes fully immersed in the work. It’s quite astonishing, but shared aspects begin to surface, revealing the hidden self that lies beneath our conscious awareness. Despite the different genres, I believe there’s a common thread – a kind of universal essence – running through all [work].
In Japan, producers often specify a particular genre and target audience during the production phase, according to Saka. However, he believes that filmmakers being overly attentive to the audience during early development stages might not be beneficial due to the diverse tastes of different viewers.
It’s misleading for creators to view their audience as a single, homogeneous group of consumers. From the perspective of an audience member, I prefer if creators focus on their craft without considering me specifically,” she stated. “In my opinion, it’s impolite to cater to the audience, so I make an effort to ignore them in my consciousness.
Discussing the role of women in Japan’s film industry, which is traditionally male-dominated, Saka noted that there are “likely more women than people realize” making strides in this field. Each year, these numbers continue to grow. On movie sets, due to advances in lighter equipment, it’s apparent that there are an increasing number of women. Furthermore, the number of female producers at TV stations and film studios has also noticeably risen.
Despite progress, leadership roles such as department heads and studio executives remain predominantly occupied by men, a situation Saka predicts will take a few more years to shift significantly. “Currently, older men hold most of the power, but there are many talented women beneath them. In about a decade, it might well be a world where women dominate.
Reflecting on the late ’90s/early ’00s, I found myself riding the wave of what’s been coined as the “Asian Horror Wave.” Legends like Hideo Nakata and Takashi Shimizu were my fellow surfers. You see, during Japan’s horror movie boom, we were all mesmerized by Hollywood productions. But instead of just riding that tide, we decided to rebel against it, creating our unique brand of chilling cinema.
During that era, there was a belief that only Japanese filmmakers could pioneer new directions in cinema. They were essentially carving out their unique niche, and in Japan’s case, it turned out to be the horror genre. If other filmmakers were staging epic space battles in ‘Star Wars’, their Japanese counterparts were tearing apart tatami mats and nails with their intense horror films. Despite not having Hollywood-sized budgets, they were determined to prove that they could create something just as remarkable.
As a movie enthusiast, I’ve always found horror productions to be surprisingly budget-friendly, especially when one unexpectedly strikes a chord with audiences. This phenomenon of growing popularity is something I believe was at play during that era. In the annals of Japanese cinema, the supernatural was often personified by ghosts. However, it seemed like there was a wave where female characters were perceived as terrifying, and the dread of their simmering resentment was palpable.
In “Blazing Fists,” a movie that debuted towards the end of January in Japan and follows two teenagers from a juvenile detention center as they participate in a fighting tournament, director Miike expressed his intention to address Japanese youth. He noted that contemporary young people often attribute their issues to society and their parents, but with this film, he aimed to convey: “Stop pointing fingers at others. It’s your decision whether you put in the effort and step into the ring.
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2025-02-08 16:47