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KINGDOM


KINGDOM


April 16, 2019
Q&A guest: Director Shinsuke Sato


FCCJ KingdomKoichi Mori-1
Shinsuke Sato  ©Koichi Mori

It’s the type of question that every filmmaker secretly longs to hear.

It came to Shinsuke Sato following FCCJ’s sneak preview of his hotly-anticipated period epic, Kingdom. “A lot of live-action adaptations of manga are a disappointment,” an American film critic told him. “But yours are always so good. What’s the secret sauce? What makes your adaptations so great?”

Forever humble, the director responded, “There’s no secret sauce. When you have a script for an adaptation, you want to make it into a film that is good as a film. I don’t feel the pressure of having to conform to the original work or to adhere to it as closely as possible. I approach manga adaptations the same way I approach an original story.

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©︎FCCJ

“There are certain details I can imagine some might pay attention to. For example, this manga has x number of fans and they are expecting x type of work, and therefore we have to meet their expectations. I don’t have that in mind. Instead, I think about what would ideally be a good film, sometimes drawing on my own experiences as a moviegoer. I start from scratch, in a sense, even if it’s based on a manga.”

Then, warming to the question, Sato delivered a few of the ingredients, if not the entire recipe. “When I do a manga adaptation, there are always two basic things that I want to accomplish,” he admitted. First, for fans of the original work, I want to surprise them. I want the film to exceed their expectations by a mile. I want them to say, ‘Wow. I didn’t expect this!’ I want to give them the type of entertainment that only cinema can give. I want them to understand why it was necessary to bring that work to the screen.

1-Kingdom poster Yasuhisa HaraShueisha  KINGDOM Film Partners 2019
©︎Yasuhisa Hara/Shueisha  ©︎KINGDOM Film Partners 2019

“Second, I want to entertain audience members who are not familiar with the original manga, and make it accessible even if they don’t know what the story is. In order to accomplish these two objectives, you have to always be thinking about the essence of what is fun and entertaining. That’s what I do.”

And that’s what he has done now for nearly 20 years, helming one blockbuster action hit after another, many of them also international award-winners. Heralded for his mastery of CG effects in bringing fantastical worlds to life, Sato’s major works include the Gantz series (2011), the Library Wars series (2013 - 15), Death Note: Light Up the New World (2016), Inuyashiki (2018) and Bleach (2018).

Kingdom is not only certain to bring him another box-office success; there will surely be a sequel. Any doubters need only examine its pedigree. 

2-Kingdom poster Yasuhisa HaraShueisha  KINGDOM Film Partners 2019
Kento Yamazaki as Shin. ©︎Yasuhisa Hara/Shueisha  ©︎KINGDOM Film Partners 2019

Kingdom is the first live-action adaptation of the bestselling manga series by Yasuhisa Hara, which started running in Shueisha's Weekly Young Jump in 2006, won the Tezuka Osamu Cultural Prize in 2013, and has now been collected into 53 volumes and sold an eye-popping 38 million copies.

To the eternal bemusement of non-Japanese, the series presents a fictionalized account of China’s Warring States period, which ended in 221 BC when Ying Zheng, king of Qin, succeeded in conquering six rival states and unifying China. In Hara’s manga, however, all the names of the characters — many of whom are based on actual historical figures — have Japanese names and speak in Japanese. The same is true of the film, so Ying Zheng becomes Eisei; his trusted general, Li Xin, is Shin; and his half-brother Zhao Chengjiao is Seikyou.

Kingdom achieves a widescreen grandeur and heroic scale that are rare in Japan, partially due to the film’s budget (small by Hollywood’s standards; bountiful by Japan’s) and its three-week shoot on a massive open set in Zhejiang, China. Last year at this time, it was temporary home to a handful of Japan’s leading young actors, 700 crew from Japan and China, close to 100 horses and some 10,000 extras.

3-Kingdom poster Yasuhisa HaraShueisha  KINGDOM Film Partners 2019
Ryo Yoshizawa as Eisei. ©︎Yasuhisa Hara/Shueisha  ©︎KINGDOM Film Partners 2019

Sato had first come to FCCJ in 2016 with his superlative zombie flick I Am a Hero, a film that benefitted greatly from its extensive location shooting in South Korea, about which the director and his star, Yo Oizumi, had shared both hilarious and heartwarming anecdotes.

Asked why he’d been inspired to shoot in China, Sato responded, “The film’s story takes place in ancient China, so it was only natural to shoot there. That’s what I’d envisioned from the moment the project started. I really wanted to see what it would be like to collaborate with a Chinese crew. Having had the experience of shooting in Korea, I had a lot of fond memories of all the sweat and toil we put into the production, and that influenced my desire to shoot in China.

“The collaboration in China was in much the same spirit as it had been in Korea. We had core crew members who were Japanese, but we also had a large local crew. There was some trepidation, because there are differences in customs and practices, and of course there was the language barrier. We were worried about how it would turn out, because we had massive scenes to shoot and limited financial resources. But when we arrived, we discovered how robust China’s film industry has become. The crew were really skilled, and we enjoyed very effective collaboration through all the filmmaking processes. The Chinese crew put a lot of attention into details, and we really appreciated that.”

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©Koichi Mori

But the shoot wasn’t without its challenges. Asked about the best and worst of these, Sato recalled, “We had crew members in Shanghai and Beijing. The studio lot was a 5-hour drive from Shanghai, so it was quite arduous logistically, and there was a lot of communication that couldn’t take place in person. For example, we had a vendor in Beijing for all the costumes, and although we rented a lot of them, we also had to make many of them. So there was a lot of back-and-forth communications about the details. There were difficulties because what we wanted to do was often different from the style in which they were used to making costumes. It took a lot of time and effort to get all the nuances across.

“But what made a great impression on me was that they were really diligent and stuck with us until the very end. There were certain details that we wanted to fix or change, and with a Japanese production we might not have been able to do that. With this company, they responded to all our requests, and what they produced was very nicely done.”

As with all of Sato’s work, costumes are absolutely crucial to the creation of his colorful characters and his imaginative worlds. Kingdom is no exception.

4-Kingdom poster Yasuhisa HaraShueisha  KINGDOM Film Partners 2019
Masami Nagasawa as Youtanwa. ©︎Yasuhisa Hara/Shueisha  ©︎KINGDOM Film Partners 2019

Set in approximately 245 BC, during China’s Spring-Autumn Warring States period (770 BC-221 BC) in the state of Qin (present-day Shaanxi province), it tells the tale of two young war orphans, Shin (Kento Yamazaki), who dreams of becoming the greatest general under the heavens, and Hyou (Ryo Yoshizawa), who just wants to win against Shin in their daily sparring matches. They’re separated in their teens, when an emissary from the king takes Hyou away to work in the palace. Shin continues to train alone and dream big. Then one day, Hyou suddenly returns.

He bears an urgent message, leading Shin to a surprising encounter with King Eisei (also Yoshizawa), who dreams of uniting all seven of the Warring States under a single banner. But Eisei’s half-brother Seikyou (Kanata Hongo) has led a successful coup, and before unification, Eisei must first amass enough allies to help him reclaim the throne. Shin signs up, but the challenge is staggering: Seikyou has 80,000 soldiers at his beck and call, and Eisei’s forces barely number 3,000.

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Kanata Hongo as Seikyou. ©︎Yasuhisa Hara/Shueisha  ©︎KINGDOM Film Partners 2019

Praised by another film critic for his direction of the film’s many action scenes, Sato said, “I relied on crew members that I’ve worked with for a long time, all the way back to Princess Blade [in 2001]. We had all this experience of creating action sequences together, and that formed the basis of the film. We had a lot of discussion and debate about each sequence, and one of the things we did was to shoot video of all the action scenes in an empty room before going on to the set, because there’s a lot of drama in those scenes, too. We shot footage like an indie film, cut it together and discussed what we needed to change. So there was one extra step in the process.”

The director admitted that he couldn’t take credit for the casting of megastar Kento Yamazaki (best known overseas for playing Josuke in JoJo's Bizarre Adventure: Diamond is Unbreakable). Asked why he’d been selected to play Shin, Sato explained, “The producer had already made the decision to cast him before I joined the project. It was like: ‘Kingdom, with Kento Yamazaki.’ Mr. Yamazaki has played a variety of roles in the past, but this was quite a departure from his previous films. I think it was a challenging and difficult process for him, but he is very savvy and smart, a really passionate actor. We discussed his approach to the character a lot, but what he created made it seem that he was accustomed to roles like this, and it fit him really well.”

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Sato with the posters for the film. ©FCCJ

With such an enormous cast, the leads aren’t the only roles to savor. There is also Masami Nagasawa as Youtanwa, the high-kicking chieftan of the mountain tribe; Tak Sakaguchi as Saji, an exceedingly cruel mercenary; Masahiro Takashima as Eisei’s righthand man Shobunkun; and Takao Osawa, making his return to film after a 3-year absence, as the greatest general under the heavens, Ouki.

How did Sato lure Osawa back to the cinema when he’d gone on public record as having lost his acting mojo? “General Ouki is a really popular character with fans, and I can imagine there was a lot of discussion about who was going to play the role,” said Sato. “So a lot of thought went into the casting choice, as well as into the visual design. A lot of effort of went into the makeup, the beard, the armor. Because he’s such an overwhelmingly powerful character in the manga, we thought it would be quite a feat for us to ground him in reality. I think we did a pretty good job of that, and I think Mr. Osawa delivered the vibrancy of the character that fans expect.”

Whether Kingdom’s realm will now expand to encompass the entire globe is yet unkown; but at least it will be coming to fans old and new in the US, where Funimation will be releasing the film later this year.

Kingdom poster Yasuhisa HaraShueisha  KINGDOM Film Partners 2019
©︎Yasuhisa Hara/Shueisha  ©︎KINGDOM Film Partners 2019

Selected Media Exposure

I AM A HERO


I AM A HERO


 April 11, 2016
Q&A guests: Director Shinsuke Sato and star Yo Oizumi


The Film Committee usually shies away from screening what are derisively termed “genre” films, since we worry that our audience would be put off by intense bouts of blood and gore.

But these films — running the gamut from horror, splatter and fantasy to monster, swordplay action and erotica — continue to be among Japan’s greatest strengths at the global box office, both enduringly popular and profitable.

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First reader to send us an appropriate caption for this photo
wins a free seat at our next sneak preview.
  ©Mance Thompson

While most local films do not get distributed overseas, there are always audiences for genre films — especially when they’re done as well as I Am a Hero, this country’s first major zombie flick, based on a blockbuster manga series. (If you thought zombies were passé by now, think again: a recent article on the genre estimated that it is worth over $5 billion to the US economy alone.)

Even those with walking-dead fatigue will find much to admire in the latest film by hitmaker Shinsuke Sato, and the proof is in the pudding: I Am a Hero has already swept the awards at the three most important fantastic film festivals. On its world premiere at the 2015 Sitges (Spain) Film Festival, it won the Audience Award and Best Special Effects Award; at the FantaSporto Festival in Portugal, it took home the Orient Express Special Award and another Audience Award; and finally, the very day of the FCCJ sneak preview, it snagged the Golden Crow Award (aka Grand Prix) at the Brussels International Fantastic Film Festival.

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Zombie fighter Yo Oizumi and his director Shinsuke Sato shared an easy rapport.    ©Mance Thompson

Asked to comment about the accolades, Sato noted, “We’d already received several Audience Awards, which I was surprised about. In a way, I feel those are the best awards you can get for an entertainment film, and I was really happy about getting them. Then I received the news about the Grand Prix, and I think this is the greatest applause we can get. I’m really thankful.”

In inimitable style, star Yo Oizumi insisted that he’d known the film could travel successfully overseas: “I expected it would win the awards in Spain, Portugal and Brussels,” he half-joked, “But I heard the news at 4 am this morning, and even though I was confident we would win, I have to admit I was a bit nervous.” He added, “As you all know, Brussels was the site of a recent tragedy, and I praise the festival’s courage in going forward with it as planned. To win an award at such a special moment in time, at such a respected festival, is very gratifying for me.”

Sato, who is known for his CG prowess and big budgets — he’s the mastermind behind recent megahit series Gantz and Library Wars, and is helming the much-anticipated Death Note 2016 — admitted that his latest film was also costly. One reason, his star couldn’t help suggesting, is that “[Sato] never compromises. He’s a perfectionist, and we had to do so many takes that we often wound up working really late hours. We all wanted to quit, but he never let us quit. To make matters worse, he was working with his usual cinematographer, who also has ideas about what he wants, so after we finished with the director’s shots, we had to do [the cinematographer’s], and it was endless.”

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                               Sato transformed Oizumi into an unwilling but thoroughly convincing action hero. ©Mance Thompson

Perhaps the overtime was worth it. Based on the blockbuster manga series of the same name by Kengo Hanazawa, I Am a Hero is that rare big-budget commodity that manages to be gruesomely frightening, darkly funny and hair-raisingly realistic. And it’s anchored by an astoundingly committed star turn from Oizumi. The everyman character he plays, Hideo Suzuki, is a lowly manga artist’s assistant at the age of 35, but he tells everyone his name is spelled with the characters for “hero,” and he nurses big dreams. Then one day, a mysterious virus, dubbed ZQN (pronounced “zokyun,” perhaps playing off the onomatopoeic expression for “goosebumps;” or perhaps echoing the 2-Channel slang dokyun, or DQN, meaning dumbass ), makes men bite dogs and turns his girlfriend into a drooling, double-jointed freak. With doomsday scenarios playing out across Japan, Hideo escapes the general carnage in a runaway taxi with schoolgirl Hiromi (Kasumi Arimura) in tow, and they start climbing Mt. Fuji in hopes the virus can’t survive that high. But it turns out Hiromi has been infected, too, yet she only partially turns. They seek refuge with other survivors on the roof of the Fuji Outlet Mall, and meet former nurse Tsugumi (Masami Nagasawa). Suzuki is soon bullied into giving up his shotgun — an amateur skeet shooter, his crack-shot skills will come in very handy later — while Hiromi’s secret threatens to be spilled, and meanwhile, there’s one zombie whose backflips are getting him dangerously close to the roof’s safe zone.

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Will there be a much-wanted sequel? Sato's keeping mum.   ©Mance Thompson (Sato)

Surprisingly, the film’s pivotal outlet mall scenes proved impossible to shoot in Japan, and the production eventually wound up staging them at an abandoned mall in Korea. “We did things that we’d never done before,” the director said. “We wanted to do things that we’d never done before. It was a challenge for me, my crew and the actors, but it was a very rewarding experience and we’re all glad we could have it.”

Both men were clearly impressed with their Korean counterparts. Sato lauded their resourcefulness and their frequent creative input: “They went out of their way to realize my vision… and the shoot in Korea was a wonderful experience for me.” For Oizumi, “The difference between Japanese and Korean crews is that the Japanese will always wait to eat if the shoot runs long. Even if they get hungry, they’ll keep on working without complaining. The Korean crew members get angry.” A beat. “I’m with the Koreans.”

hero7kmA partnership we hope to see continue.  ©Koichi Mori

 But Oizumi also fondly recalled how relaxing it was to be in a place where he and his two famous female costars went unrecognized. “There was this convenience store across from our hotel, with tables and chairs in the front where you could sit. We used to go there after shooting and buy some drinks and food, and we’d just hang out with the crew, chatting and eating. That’s unthinkable in Japan. It was a lot of fun.”

The casting of Oizumi, a ubiquitous presence in Japan on stage, screen and TV who is especially known for comical roles, was an unusual choice. Sato had worked with him previously, and explained it this way: “You could say that Mr. Oizumi is just about the opposite of the character he plays. In my mind, he’s so cool, he’s like a real hero. And the role is a guy who doesn’t seem heroic at all. But I knew he would bring all of his acting talent to the character. Also, I really felt like the combination of Mr. Oizumi and zombies would be the best match in Japan. No one else can make as many expressions as he can when he’s surprised — it’s a Guinness record-breaking number.”

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Oizumi was eager to join the project since he knew the studio, Toho, would put all their might behind it, and “I thought that if a really handsome actor took the role, people wouldn’t like Hideo or be able to relate to him. So I figured my funny face would fit the part perfectly, and add reality to the character.”

By the end of the evening, it was clear that FCCJ’s audience was not as genre-averse as imagined. It remains to be seen whether the film does as well at home as it’s doing abroad (foreign sales are coming as fast and furious as a zombie attack), but as one seasoned film critic put it during the Q&A session, “I’ve sat through a lot of big-budget Japanese movies, and been disappointed most of the time. I’ve been waiting for a film that would prove my expectations wrong. I’m very happy to say that this was that film.”

Photos by Mance Thompson, Koichi Mori and FCCJ.

IAAH poster
©2015 “I AM A HERO” Production Committee

Media Coverage

TV Exposure

  • テレビ朝日 [芸能特報] 大泉洋、世界三大映画祭を制覇!顔が勝因?
  • テレビ朝日[ワイドスクランブル] 大泉洋・世界三大ファンタスティック映画祭制覇!
  • フジテレビ  [めざましテレビ] めざましSEVEN 大泉洋映画・海外でグランプリ
  • フジテレビ[めざましテレビアクア] 大泉洋・3つの国際映画祭で栄冠
  • 日本テレビ[PON!] 大泉洋・主演映画・映画祭で快挙
  • TBS [はやドキ! はやドキ! エンタメワイド] 外国人記者も爆笑
  • TBS [はやドキ! はやドキ! スポーツ紙 まるごとチェック] ジョニー・デップを押しのけた

 

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