Sunday, September 20, 2015
September 17, 2015
Q&A guests: Director Takuya Misawa and producer-star Kiki Sugino
The producer and director share one of many laughs during the Q&A session.
After playing at major film festivals around the globe for the past 10 months, scooping up the Best Screenplay Award in the Future Forward Section of the Beijing Film Festival, and earning accolades for being such a congenial homage to Yasujiro Ozu, Chigasaki Story finally arrived at FCCJ for a sneak preview ahead of its theatrical debut in Tokyo over the weekend.
Our announcement had trumpeted: “There’s nothing like an effervescent comedy of manners to cure the late-summer blahs… Inspired both visually and musically by Yasujiro Ozu (with a little Woody Allen thrown in), the tale is infused with light, bright sentiments and low-key mellow-drama, anchored by a charming young cast.”
We also mentioned that Chigasaki Story is set in the beautiful 115-year-old Chigasaki Inn near Shonan Beach, the actual retreat where Ozu wrote some of his greatest works, including Late Spring (1949), Early Summer (1951) and the masterpiece Tokyo Story (1953). And we highlighted the director’s use of frames-within-frames and “pillow shot” interludes eliding time, favorite Ozu devices.
Misawa had assisted Sugino on two prior films, the extent of his apprenticeship before taking the directorial reigns himself.
So there were some surprises in store during the Q&A session after the screening, when first-time feature director Takuya Misawa was asked whether he’d planned to pay homage to the classic master from the beginning. “We didn’t actually set out to make a story about the Chigasaki Inn,” he admitted. “That only came about later in the production process. The original script stipulated ‘an inn’ for the location, and it wasn’t until we went location hunting and found the Chigasaki Inn, which luckily gave us the okay to shoot, that we made changes to the script so it was set there.”
Then came the kicker: “I wasn’t necessarily trying to pay homage to Ozu while we were shooting. But during the editing process, I started feeling that it seemed a bit like an Ozu film. So I made some changes to certain scenes to improve [the similarities], but without deconstructing what I set out to do. Some of the ‘pillow’ scenic shots were filmed during post-production.”
A young Japanese man in the audience noted that he found the film to be more like an Eric Rohmer or a Woody Allen work, and Misawa was pleased: “One of my favorite directors is Woody Allen, especially the way his characters aren’t quite what they seem.”
Misawa gave his producer one of the juiciest roles in the film,
and she nailed it. Bottom photo ©Mance Thompson
While the maturity of his vision belies his age and experience — Misawa is still a student at the Japan Institute of the Moving Image, the film school begun by Shohei Imamura — Chigasaki Story does focus almost exclusively on the under-30 set. Innkeeper Risa, who’s inherited a traditional guesthouse from her parents, is hosting a group of archaeology students led by Prof. Kondo, and awaiting the arrival of her former airline colleagues Karin (a terrific Ena Koshino) and Maki (a deliciously uptight Sugino). They’re coming to attend Risa’s wedding party, which is being held several weeks after the actual wedding in Hawaii. Risa’s staff includes the shy student Tomoharu, who immediately attracts the attentions of the flirty, long-legged Karin. Tomoharu is also the object of fellow student Ayako’s secret affections, and he ping-pongs between the two women without noticing their increasing jealousy. Maki begins her own seduction of Prof. Kondo, with whom she had studied eight years earlier, but the professor has someone else in mind. The friendships, feuds and flirtations, fueled by drink, finally erupt on the eve of Risa’s Hawaiian-themed wedding party.
As critic Derek Elley earlier noted, “This type of film is much more difficult to pull off than it seems, but Misawa shows a remarkable assurance in both writing and direction, helped by an expertly picked cast.” He was also helped by Wa Entertainment, a boutique production-distribution company that hired him as an intern in 2012. He served as Sugino’s producing assistant on the Koji Fukada comedy Au Revoir l’Ete (which we screened at FCCJ in January 2014), and then served as her assistant director when she made her Indonesia-set film Taksu last year.
Even in Japan’s independent film community, a chance like that given to Misawa is exceedingly uncommon. As Sugino explained, “I’ve been working as a producer, as well as acting, since I was 25, and I often met with cynical comments and attitudes from people in the industry. So I really wanted to break through that wall. Because I think, if there’s something you want to do, why not do it? Why not take on the challenge? I really relish working with young people who have the passion and the energy to do that.”
Misawa described being given just three requirements for his script — summer holiday, beach, students gathering — and Sugino interjected, “ This all started because we [Wa Entertainment] really wanted to do something for him. We provided the framing for the project, but as the executive producer, I wanted him to bring as much of himself into the film as possible, to give it his own flair.”
Wa Entertainment head Sousuke Ono (in red tie) and Chigasaki actress Juri Fukushima
(to his left) join Sugino and others in the bar following the event. ©Mance Thompson
After an audience member praised him for the film’s dialogue, Misawa admitted that he’s always eavesdropping on conversations in family restaurants, since they’re a good source of chit-chat, and he paid tribute to the improvisatory skills of his actors, hinting that several of the scenes were heavily ad libbed.
As for the catchy score, he explained: “The music came about during post-production. I did try matching the visuals with classical music, but I ultimately chose to use jazz, which Woody Allen does. He uses ragtime, which arrived early in jazz history. It came on the scene around the time that the Chigasaki Inn started business, and I thought that was relevant, as well.”
After what will surely be a successful theatrical run for Chigasaki Story, Misawa’s next milestone will be film school graduation next spring, but he is already working on several new scripts. It’s not often that a first feature feels like a mid-career high mark, and we can’t wait to see what he directs next.
As for Sugino, who has won Best Actress awards in Japan and a 2014 Rising Director Award at the Busan Film Festival, as well as been the focus of special sections devoted to her work at the 2011 Tokyo International Film Festival and the 2013 Taipei Film Festival, she is eager to continue having it all. She has finished six projects in the past 18 months, including acting in upcoming films from Kiyoshi Sasabe and Ronan Girre. “I really don’t have a favorite genre,” say Sugino. “I want to try all types of films and roles, whether they be quiet and nice, or angry and hysterical. And I want to work with people from many other countries as well.” International directors, take note!
— Photos by Mance Thompson and FCCJ.
©2015 wa entertainment, inc.
Thursday, November 06, 2014
FUKU-CHAN OF FUKUFUKU FLATS
NOVEMBER 4, 2014
Q&A guests: Star Miyuki Oshima, director Yosuke Fujita and producer Adam Torel
Comedienne Miyuki Oshima discusses her first leading role... as a man.
Miyuki Oshima dreams of winning a Japan Academy Award for Best Actor for her performance as the middle-aged male title character in cult comedy director Yosuke Fujita’s new film, and if anyone deserves it more than she does, let him come forward. Remember Jaye Davidson in Neil Jordan’s The Crying Game? Oshima is that good. Good enough to fool the Western journalists in the audience who had never seen the comedienne on TV, where her Morisanchu trio is ubiquitous. She’s already won a Best Actress trophy at Montreal’s Fantasia Film Festival for her gender-bending feat; if the Japanese media turnout at FCCJ is any indication, her role is already earning her enormous attention at home.
Looking like herself, ie., lovely and feminine, at the Q&A following the screening of the tongue-twisting Fuku-Chan, Oshima smiled happily as her director explained just how she came to play the unusual role: “The genesis of the project came from the idea of having Ms. Oshima play a man,” explained Fujita. “If she had said no, I really can’t think of any other actress or actor who would have been suitable.” Why? “It’s her face that attracted me. She has the kind of face the Japanese really love, a really familiar face. I think she has the perfect face for a comedy that people can relate to and enjoy … It is truly nostalgic [natsukashii]” He also admitted that he’d wanted a woman for the role, so Fuku-chan would be less lewd than if a man played him.
Oshima said she was surprised to hear that Fujita needed her face to bring Fuku-chan to life. “As a matter of fact,” she pointed out, “Yoshiyoshi Arakawa looks a lot like me, and I think he could’ve done it.” (She’s known for her self-deprecating humor.)
How did Oshima prepare for the role? “Even before we started shooting, I tried to do manly things,” she said. “I never took a bath, I just took showers; I didn’t have any massages or eat any organic food. I also stopped sleeping in bed and just slept on the floor.”
Torel (left) helped Fujita complete his first feature-length film in six years.
Producer Adam Torel piped up: “Do men not take baths? I’ve done it. And had a massage. And eaten organic food.”
Oshima admitted she also took cues from Tora-san, the beloved (and very natsukashii) character in Yoji Yamada’s long-running series It’s Tough Being a Man. “It was the director’s suggestion that I watch him,” she said, “and I watched the whole series. It was very educational, in the sense that I wanted to know how to depict a very lovable character.”
Fuku-chan is also a very lovelorn character, after his junior high crush turns up at his rundown apartment building (that would be “Fukufuku Flats”) one day, two decades after being the agent of some painful bullying. Tatsuo Fukuda — “Fuku-chan” to his friends — has spent the years since then painting buildings by day and beautiful kites by night. But his greatest artistry is reserved for mediating disputes and helping those in need. The misfits in Fukfuku Flats keep his loneliness at bay, and his pal Shinmachi (Arakawa) tries to light a fire under his love life. But his timidity around women is downright unnatural until a budding photographer named Chiho (Asami Mizukawa) enters his life, and attempts to make amends for the past.
Fujita, Oshima and Toel flank Fuku-chan.
Yosuke Fujita proved in 2008 that no one can make an audience love a loser the way he can. His Fine, Totally Fine (Zenzen Daijobu, starring the oddball Arakawa) was a deadpan delight about two sadsack best friends who woo the same klutzy girl, punctuated by outlandishly ghoulish pranks. It had a wildly successful ride on the international festival circuit, scooping up numerous awards and several foreign distribution deals.
The equally offbeat Fuku-Chan has also been rapturously received overseas ahead of its Japanese debut, disproving the old saw that comedy is the most difficult genre for crossing borders. Thanks to its pioneering coproduction scheme, it is also already set for release in half a dozen countries, an unprecedented feat for a small Japanese film without Kurosawa or Miike at the helm.
Marking the first-ever Japan-UK-Italy-Taiwan-Germany coproduction, Fuku-chan was backed from the script stage by veteran distributors of Asian film who are hoping to “change the entire playing field and help Japanese non-genre and independent films reach the largest international audience possible,” according to their press release. Producer Adam Torel, head of the UK’s largest contemporary Asian cinema distributor, Third Window Films, and a driving force behind the collaborative project, was asked about the difficulty in financing the film. “I think it can be hard for a midlevel-budget film, but obviously, having someone like Oshima-san attached, a star like that, it’s not quite as hard.”
Hirobumi Watanabe, director of the 2013 indie hit And the Mud Ship Sails Away, tells Oshima
that he's from her small hometown in Tochigi.
Fujita concurred: “The film production scene in Japan right now is very polarized. It’s either films with big budgets coming from TV stations, or small independent films with budgets of around ¥1 to ¥2 million. Midsize films like this one are very hard to make these days, so I’m very grateful that all these international parties came onboard to make this work.”
Torel added, “It was done to create a [coproduction] formula … so people on both sides could see — the Japanese producers would realize that it could be done, and distributors overseas would realize that non-genre Japanese films could be released overseas.”
Time will tell whether the formula helps revive a seriously flagging indie film scene in Japan. Meanwhile, we’ll soon have a chance to see whether Miyuki Oshima can make history at the Japan Academy Awards. Nominations for Best Actor (and other categories) are due out in January.
— Photos by Koichi Mori and FCCJ.
©2014 'fukufukuso no fukuchan' film committee
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