E-book: 'Battle with the Story!' Otomo-style: The Essence of Direction (2)

<What's interesting is doing things only commercials can do>

&nbsp;

Takasaki:I absolutely love movies. In a way, I started in advertising because I wanted to make films. So, I used to feel a bit guilty about commercials, and for a while, I worked with the mindset of making them like movies, even though they were commercials.

Then, at some point, I stopped trying to make "film-like" things. I gradually came to think it was more interesting to do things only commercials could do. When I made the "d video" commercial, I got an email from Mr. Otomo saying, "I envy you for doing things film can't do." That reaffirmed my belief that you should use 100% of the potential of the medium and do things you can't do elsewhere.

So, while I do admire film, that job was a pretty big event for me personally. It made me feel in my bones that I don't need to live my life wanting to make movie-like things.

&nbsp;

Otomo:That's about when you saw the commercial with Ryuhei Matsuda (hereafter referred to without honorifics) and Robert De Niro, right? For our generation, seeing those two act together is an irresistible combination. Behind Ryuhei Matsuda, of course, lies the story of Yusaku Matsuda. And for those who love films like Taxi Driver, there's the story and world they see beyond De Niro. These actors—Ryuhei Matsuda in Japan and Robert De Niro in America—are the ones who instantly expand your own memories and the world of stories.

In that commercial Takasaki-san directed, these two actors—each carrying such visual allure and narrative weight—share the same frame, conversing in English and Japanese. Though only 30 seconds long, it sends the story hurtling off in countless directions, expanding infinitely.

When I worked with Ryuhei Matsuda on 'Birds of Prey', there was a moment during filming where he snapped, yelling "Don't you mess with me!" – and in that instant, I felt, almost unconsciously, that Yusaku Matsuda had possessed him. It made me truly glad I do this work. That same kind of narrative unfolded in that commercial in just a moment. Simultaneously, it was astonishing to see these two conversing in a place and with a rapport that made you think, "Ah, this could be a movie." Getting Ryuhei Matsuda and Robert De Niro to actually co-star in a film isn't something you can pull off easily. So, I sent my thoughts via email right then. Did the negotiations with De Niro go smoothly too?

&nbsp;

Takasaki:De Niro accepted right away. He seems to make his own decisions. Normally, he's someone who's hard to get in touch with. I feel like we got lucky this time. Actually, I'd heard all sorts of stories about him, like getting angry and leaving during a previous shoot when they were filming behind-the-scenes footage, so I was really scared. About a week before shooting, I went over there and asked the local liaison, "Does De Niro really understand? Does he know we'll be communicating in Japanese and English?" I was getting anxious. Then they said, "The storyboards in his room are upside down, so he's probably looking at them." But I was still worried. However, De Niro came to the set fully switched into movie mode, partly because the product was what it was.

I think most actors on a commercial set don't fully engage, but he was completely switched on, which was fascinating. His acting style wasn't conventional. Whether it's because he's lived on the screen or because he's a master actor, I don't know, but his acting was subtle. He could convey everything just with the movement of his eyes. In the editing room, we'd discover these incredible moments and just go "Whoa!" The cinematographer was the same guy who shot David Lynch's Blue Velvet, and honestly, the American crew was more excited about getting to work with him.

&nbsp;

＜Stimulating the Actor's Switch＞

&nbsp;

Takasaki:I find it boring when it's just the client and me solving things. I want to add another layer of challenge. That kind of pressure triggers a kind of desperate, last-ditch effort, leading to something different from the ordinary. With that mindset, I cast those people thinking, "Let's see what we can do with them."

&nbsp;

Otomo:The behind-the-scenes chaos is just so entertaining, isn't it?

&nbsp;

Takasaki:It brings out strength you wouldn't normally have, and there are moments when you just can't back down.

&nbsp;

Otomo:That story about De Niro flipping the switch is fascinating. Speaking of which, when I was working on the special drama "Shirasu Jiro," I asked Yoshio Harada to play the role of Shigeru Yoshida. Yoshida was 155 cm tall. With that small frame, he supported post-war Japan and worked tirelessly as Prime Minister. Given that character, there aren't many Japanese actors who could pull it off. At first, Beat Takeshi was the only one I could think of. Then, suddenly, Yoshio Harada came to mind. Only Mr. Harada, possessing an actor's dignity, intensity, experience, intelligence, and humor—all combined—could portray the uniquely charming Prime Minister Shigeru Yoshida. So, I immediately asked him. Mr. Harada said, "Well, Shigeru Yoshida was a man on the side of power," and was reluctant to agree. But I couldn't think of any other actor.

"Just one last presentation, please. Then I'll give up," I pleaded. I gathered extensive materials on both Yoshida Shigeru and Harada Yoshio and went in for that final pitch. I talked for four hours, but he still wouldn't say yes. Finally, I said, "I can't give up, but please just look at these photos for a moment," and showed him pictures. Photos of Shigeru Yoshida wearing a white suit, photos of Yoshio Harada wearing a similar white suit, photos of both of them wearing casual kimonos sitting on a veranda. Photos with short hair and round glasses. Basically, I spread out a whole bunch of photos on the table showing how similar they looked, photos taken from similar angles. It wasn't just my imagination; they really looked incredibly alike. No one could deny it. Mr. Harada seemed to find it amusing and kept looking at them. Soon, he started saying things like, "Are these nose glasses?" Then, bit by bit, he switched gears, saying things like, "Yoshida Shigeru loved rakugo, so he spoke fast with that rough, street-wise tone," and began imitating Yoshida Shigeru's speech pattern right there. He had found some kind of appeal in "playing Yoshida Shigeru."

There are various approaches to actors. Physical resemblance is one, and sometimes it's resonating with their way of life. Take Kishibe Ittoku-san, who played Konoe Fumimaro. He'd said he never plays historical figures, but when I showed him a photo, he remarked, "I usually don't do these roles, but I feel like Konoe-san and I share some resemblance." This approach based on outward resemblance—it's, how should I put it?—an extremely physical and cool judgment, and I find it fascinating. It's different from the approach with Masaharu Fukuyama in "Ryōma-den," but creating these points seems to sometimes make it easier for them to flip their own switch.

&nbsp;

Takasaki:Actors are fascinating, aren't they? I imagine they want to be able to clearly articulate why they took on a role. After all, they're the ones out front, and they have to lay themselves bare for that single character.

&nbsp;

(To be continued)

&nbsp;

To read the full text, please purchase the e-book. The e-book is available for purchase below.

&nbsp;