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JUZO ITAMI'S SHOOTING DIARY
MAKING OF TAMPOPO
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This is Juzo Itami.
3
00:00:11,039 --> 00:00:14,000
I'd like to show you around
as we shoot my film Tampopo.
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00:00:14,496 --> 00:00:16,479
For people outside the industry
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00:00:16,480 --> 00:00:20,449
a film set might seem
like a frivolous place.
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00:00:20,450 --> 00:00:22,433
The cast and crew
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00:00:22,930 --> 00:00:25,908
sometimes seem
very serious about their work,
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00:00:25,909 --> 00:00:29,381
but other times
they seem to be goofing around.
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00:00:29,879 --> 00:00:32,357
But please spend
some time with us.
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00:00:32,358 --> 00:00:34,840
They might seem
laughable or pitiful,
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00:00:35,337 --> 00:00:37,487
but before long you'll notice
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00:00:38,809 --> 00:00:41,049
they share one thing in common:
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00:00:42,284 --> 00:00:44,479
a burning love for filmmaking.
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00:00:51,712 --> 00:00:54,190
So let's venture on set
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00:00:54,191 --> 00:00:57,665
where we make
the manmade dreams known as movies.
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00:00:59,649 --> 00:01:02,131
I wrote the script in June.
17
00:01:02,132 --> 00:01:04,610
I'd been thinking for years
18
00:01:05,107 --> 00:01:08,086
about making a film
about food and eating.
19
00:01:08,580 --> 00:01:10,566
I wrote the script,
found a distributor,
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00:01:11,560 --> 00:01:14,038
set up the production company,
put together the crew
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00:01:14,038 --> 00:01:17,512
and started scouting
locations and cast.
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00:01:17,513 --> 00:01:19,993
I began laying
the foundation for the dream.
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I found time to draw posters.
DIRECTOR'S POSTER SKETCHES
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00:01:23,964 --> 00:01:25,947
Perhaps it was a way
of taking my mind
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00:01:26,445 --> 00:01:29,419
off my impatient desire
to start filming.
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00:01:29,420 --> 00:01:31,901
I worked like a man possessed.
27
00:01:32,895 --> 00:01:34,878
I asked Shintaro Ajioka,
28
00:01:35,871 --> 00:01:38,848
a typographic designer
I'd long respected, to design the title.
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00:01:39,840 --> 00:01:42,322
When the poster was done
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00:01:44,307 --> 00:01:47,284
the production was already in full swing.
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00:01:48,774 --> 00:01:51,748
In brief,
the film is about a truck driver
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00:01:51,749 --> 00:01:53,734
who appears out of nowhere,
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00:01:54,232 --> 00:01:56,710
falls for a widow who runs
34
00:01:56,711 --> 00:01:58,201
a deserted ramen shop,
35
00:01:58,202 --> 00:02:02,667
helps turns it into the best shop
in town, then drives off.
36
00:02:02,668 --> 00:02:05,147
You might say
it's Shane with ramen.
37
00:02:05,644 --> 00:02:08,124
It's a combination
of disparate genres
38
00:02:08,125 --> 00:02:10,500
It combines ramen and the Western.
39
00:02:11,597 --> 00:02:15,071
I guess
that's my approach to creation.
40
00:02:19,042 --> 00:02:21,519
More than anything,
a film is made of images,
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00:02:24,003 --> 00:02:27,475
from locations to sets to actors' faces,
42
00:02:27,476 --> 00:02:32,976
to costumes to props -
everything is important.
43
00:02:33,430 --> 00:02:35,415
Here we're fitting costumes.
44
00:02:35,416 --> 00:02:37,399
As an integral part of the image,
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00:02:37,400 --> 00:02:39,880
costumes are very important.
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00:02:40,873 --> 00:02:44,842
Yeah, getting warmer.
GORO - TSUTOMU YAMAZAKI
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00:02:48,811 --> 00:02:52,782
- The bosom needs to be bigger.
- Bigger?
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00:02:54,270 --> 00:02:57,246
There's already padding in there.
TAMPOPO - NOBUKO MIYAMOTO
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00:02:58,239 --> 00:03:01,154
At first she should have
a buttoned-up collar.
50
00:03:03,203 --> 00:03:06,674
Like this?
The collar conveys her primness.
51
00:03:07,172 --> 00:03:09,097
Button it up a bit more.
52
00:03:10,148 --> 00:03:12,163
Now it's a bit too unsexy.
53
00:03:13,126 --> 00:03:15,186
It should be prim yet sexy.
54
00:03:18,089 --> 00:03:22,056
Like the grammar school teachers
in Westerns.
55
00:03:22,553 --> 00:03:26,523
Tampopo, the lead character,
appears in many scenes.
56
00:03:26,524 --> 00:03:28,011
She's resolute and sincere,
57
00:03:28,012 --> 00:03:30,986
determined, cheerful, energetic.
58
00:03:31,485 --> 00:03:33,469
She's modest,
yet goofy and funny.
59
00:03:33,470 --> 00:03:35,949
But she's also shrewd and realistic.
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00:03:36,447 --> 00:03:38,928
It's difficult choosing costumes
for such a multifaceted character.
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00:03:38,929 --> 00:03:39,909
No.
62
00:03:40,912 --> 00:03:43,062
That's not her general style.
63
00:03:45,377 --> 00:03:48,354
She needs to be
a bit self protective.
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00:03:51,332 --> 00:03:53,317
Make her seem
a bit more guarded.
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00:03:53,318 --> 00:03:57,782
Thai might work.
Something laced up like that.
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00:04:02,248 --> 00:04:04,233
This was the first day of fitting.
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00:04:04,732 --> 00:04:08,203
Film is a concrete art
so she had to try everything on,
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00:04:08,204 --> 00:04:11,675
as we groped our way
to discovering her character.
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00:04:11,676 --> 00:04:14,156
You have to see things
before you decide.
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00:04:14,157 --> 00:04:16,142
There's no other way.
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00:04:16,637 --> 00:04:19,615
The costumes were assembled
by the stylist, Ms. Koai.
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00:04:19,616 --> 00:04:23,087
With over a hundred characters
in the film,
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00:04:23,088 --> 00:04:25,913
she had to prepare
several hundred costumes.
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00:04:27,000 --> 00:04:33,074
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75
00:04:34,006 --> 00:04:36,486
Yes, something like that.
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00:04:46,411 --> 00:04:48,606
Try to stop right on the line.
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00:04:51,371 --> 00:04:54,348
Yamazaki was at driving school.
TOKYU DRIVING SCHOOL
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00:04:54,846 --> 00:04:56,830
Since he plays a truck driver,
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00:04:57,327 --> 00:04:59,806
he needed a special license.
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00:04:59,807 --> 00:05:02,784
Actors have to study for their roles,
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00:05:02,785 --> 00:05:07,746
singing, dancing, martial arts.
And many types of jobs.
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00:05:07,747 --> 00:05:09,729
This is one such example.
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00:05:11,220 --> 00:05:13,701
He received no special treatment,
84
00:05:13,702 --> 00:05:17,670
yet he passed the test
with 17 hours of training.
85
00:05:21,145 --> 00:05:23,623
Turn your head more fully.
86
00:05:25,112 --> 00:05:26,227
Sorry.
87
00:05:28,092 --> 00:05:31,564
Yamazaki likes being
high up in a truck.
88
00:05:32,556 --> 00:05:35,532
It's calming being able
so far ahead, he says.
89
00:05:36,028 --> 00:05:39,502
He has already started thinking
like a truck driver.
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00:05:39,998 --> 00:05:42,823
He's using this time
to nurture in his heart
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00:05:45,456 --> 00:05:49,426
the affection a truck driver feels
for his work.
92
00:05:50,417 --> 00:05:52,900
Go left.
Now turn the wheel back.
93
00:05:52,901 --> 00:05:54,885
You hit the brakes too hard
94
00:05:57,863 --> 00:06:01,830
Yes, just like that.
Don't turn the wheel.
95
00:06:11,259 --> 00:06:12,747
Actresses' makeup.
NIKKATSU MAKEUP ROOM
96
00:06:12,747 --> 00:06:14,897
Here's actress Fukumi Kuroda.
97
00:06:17,709 --> 00:06:19,197
She's a classic Japanese beauty
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00:06:20,191 --> 00:06:22,670
with long hair all the same length.
99
00:06:22,671 --> 00:06:27,136
But her face is so perfect that,
paradoxically, it makes no impression.
100
00:06:27,137 --> 00:06:31,603
Can we give it a slightly
off kilter sense of individuality?
101
00:06:31,604 --> 00:06:34,579
That's what Kenji Saiga,
who worked in London
102
00:06:34,580 --> 00:06:36,460
and I are trying to do.
103
00:06:41,528 --> 00:06:44,006
This lipstick isn't too flashy.
104
00:06:44,007 --> 00:06:46,985
Let's emphasize the red more.
105
00:06:47,483 --> 00:06:50,953
I think it should be
a bit darker here.
106
00:06:51,948 --> 00:06:53,513
A bit less here.
107
00:06:54,925 --> 00:06:58,396
A bit more pointed.
And less here.
108
00:06:58,397 --> 00:07:00,382
The upper lip will go
beyond the natural line.
109
00:07:01,871 --> 00:07:04,846
Faces can be made
to look so different!
110
00:07:04,847 --> 00:07:06,592
It's really amazing!
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00:07:09,312 --> 00:07:11,297
It's really quite amazing.
112
00:07:17,749 --> 00:07:20,725
The most conspicuous thing on-screen.
SETSUKO SHINOI
113
00:07:22,711 --> 00:07:27,672
I go for faces that express everything.
In a single glance, without words.
114
00:07:27,673 --> 00:07:31,642
Jazz dancer Setsuko Shinoi's face
does just that.
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00:07:33,132 --> 00:07:36,106
She plays Mr. Otaki's mistress,
CASTING
116
00:07:36,107 --> 00:07:41,069
and I wanted their relationship
to be clear without explanation.
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00:07:42,063 --> 00:07:44,543
An actor who needs no introduction.
HIDEJI OTAKI
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00:07:45,041 --> 00:07:48,513
Head of the beggars, and broth master.
YOSHI KATO
119
00:07:48,514 --> 00:07:52,483
Tampopo's childhood friend, Pis-Ken.
RIKIYA YASUOKA
120
00:07:53,475 --> 00:07:56,947
Played an Incan in the play Pizarro.
KEN WATANABE
121
00:07:57,446 --> 00:08:00,916
Noodle fanatic and versatile entertainer.
KINZO SAKURA
122
00:08:00,917 --> 00:08:02,903
Taken as a group,
123
00:08:03,399 --> 00:08:05,880
they make an impact
unusual for a Japanese film.
124
00:08:06,375 --> 00:08:10,345
The boss of Big Three Dragons,
who could deliver long lines
125
00:08:10,346 --> 00:08:13,323
in one breath.
AKIRA KUBO
126
00:08:13,324 --> 00:08:15,804
There were many ramen cooks in the film.
127
00:08:15,805 --> 00:08:19,772
Two true masters.
UTAROKU MIYAKOYA
AND SABURO SATOKI
128
00:08:19,773 --> 00:08:21,262
Chef in the shady shop in Chinatown.
129
00:08:21,263 --> 00:08:23,743
Chef in the shady shop in Chinatown.
130
00:08:28,705 --> 00:08:32,176
The Chinese noodle master.
KIO YOKOYAMA
131
00:08:32,177 --> 00:08:37,140
In his film debut, the gangster in white.
KOJI YAKUSHO
132
00:08:37,141 --> 00:08:41,108
My costar in Bumpkin Soup.
YORIKO DOGUCHI
133
00:08:41,607 --> 00:08:45,575
I'd hoped to play the guy
with the toothache myself.
TOSHIYA FUJITA
134
00:08:46,072 --> 00:08:48,055
Izumi Hara's face is a film in itself.
135
00:08:49,048 --> 00:08:53,016
The inveterate cinephile
who played the supermarket manager.
MASAHIKO TSUGAWA
136
00:08:53,017 --> 00:08:55,497
The aging conman.
NOBUO NAKAMURA
137
00:08:55,498 --> 00:08:56,988
And the conman
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00:08:57,982 --> 00:09:00,955
who ended up conned.
NARITOSHI HAYASHI
139
00:09:00,956 --> 00:09:05,423
Kenzo Tabu, the perennial detective.
They don't make 'em like him anymore.
140
00:09:05,424 --> 00:09:07,904
The running man.
HISASHI IGAWA
141
00:09:07,905 --> 00:09:10,706
For this role he won the Mainichi
Film Award for Best Supporting Actor.
142
00:09:13,858 --> 00:09:15,843
Costuming the bit parts
was also hard.
143
00:09:15,844 --> 00:09:18,819
The man in White's henchmen,
nattily dressed.
144
00:09:18,820 --> 00:09:21,796
Pis-Ken's henchmen
in black and leather.
145
00:09:24,774 --> 00:09:27,750
The gourmet beggars
are a masterpiece of costuming.
146
00:09:30,729 --> 00:09:33,734
The executives and employee
dining at the hotel.
147
00:09:35,690 --> 00:09:39,164
The young women
in the etiquette class
148
00:09:39,165 --> 00:09:43,134
came from the famous acting troupes
Haiyu-za and Yume no Yumin-sha.
149
00:09:49,088 --> 00:09:51,568
The dentist and his sexy assistants.
150
00:09:54,547 --> 00:09:56,967
Tampopo's son
was played by my son.
151
00:09:59,013 --> 00:10:01,987
The Big Three Dragons boss
and his three sons
152
00:10:01,988 --> 00:10:05,462
reflect the influence of John Ford's.
Grapes of Wrath
153
00:10:06,951 --> 00:10:08,935
The running man's family.
154
00:10:08,936 --> 00:10:12,904
It was hard to find actors
who looked like a family.
155
00:10:17,867 --> 00:10:20,844
This doctor and nurse
really looked the part.
156
00:10:21,836 --> 00:10:25,807
No one has her piercing gaze.
MARIKO OKADA
157
00:10:26,799 --> 00:10:30,767
The ramen master, now deceased.
RYUTARO OTOMO
158
00:10:35,235 --> 00:10:37,713
The day after the shoot ended,
159
00:10:38,211 --> 00:10:40,691
Otomo commited suicide
by jumping off a' building.
160
00:10:40,692 --> 00:10:42,675
This was his final film.
161
00:10:43,172 --> 00:10:45,654
It was impossible
to tell during filming
162
00:10:46,150 --> 00:10:49,126
that he carried
such a heavy weight in his heart.
163
00:10:49,127 --> 00:10:52,601
I truly regret
not being able to help somehow.
164
00:10:53,095 --> 00:10:54,795
Let out a big sigh.
165
00:10:55,578 --> 00:10:58,553
You've talked about the pork.
166
00:10:59,050 --> 00:11:01,500
How great ramen is, and so on.
167
00:11:06,495 --> 00:11:08,195
You sigh longingly.
168
00:11:10,959 --> 00:11:12,944
Once again after the clapper.
169
00:11:14,432 --> 00:11:16,914
Otomo was very anxious
170
00:11:16,915 --> 00:11:20,386
about forgetting
or fumbling his lines.
171
00:11:20,884 --> 00:11:24,356
He'd always mouth them
while waiting for a take,
172
00:11:24,357 --> 00:11:26,822
as if there were
a voice in his head
173
00:11:28,328 --> 00:11:31,303
incessantly scolding
and terrorizing him.
174
00:11:32,793 --> 00:11:36,264
Now then, with the tips
of your chopsticks..
175
00:11:43,213 --> 00:11:46,188
Now then, with the tips
of your chopsticks..
176
00:11:46,685 --> 00:11:52,745
He has nightmares about fumbling
his lines, but he never does.
CONTINUITY - SHOKO HORIKITA
177
00:11:58,098 --> 00:12:00,083
Three slices of roast pork..
178
00:12:03,556 --> 00:12:06,591
Now then, with the tips
of your chopsticks,
179
00:12:09,015 --> 00:12:10,895
smooth out the surface,
180
00:12:11,990 --> 00:12:14,472
and caress the ramen.
181
00:12:18,444 --> 00:12:19,649
And cut!
182
00:12:21,915 --> 00:12:23,390
And nestle it.
183
00:12:25,390 --> 00:12:27,373
And nestle it.
184
00:12:32,830 --> 00:12:35,809
This next part is very important.
185
00:12:35,810 --> 00:12:38,635
I want you quietly
to apologize to the pork.
186
00:12:40,771 --> 00:12:43,250
"Until we meet again."
187
00:12:46,726 --> 00:12:48,708
How was it?
A bit too much.
188
00:12:50,694 --> 00:12:52,394
Tone it down a bit.
189
00:12:53,175 --> 00:12:55,656
"Until we meet again.“
Like that?
190
00:12:56,153 --> 00:12:58,632
From "Until we meet again..."
191
00:12:58,633 --> 00:13:02,107
Ready for another take.
A bit more quietly.
192
00:13:09,053 --> 00:13:12,030
A day like this is called
a "ramen day."
193
00:13:14,015 --> 00:13:16,300
Look up and then down like this.
194
00:13:21,955 --> 00:13:23,070
Ready!
195
00:13:38,330 --> 00:13:41,802
A day like this is called
a "ramen day."
196
00:13:51,229 --> 00:13:53,214
Thanks everyone!
197
00:13:54,208 --> 00:13:56,687
This take
in front of the ramen shop
198
00:13:56,688 --> 00:13:59,665
was the last performance
Mr. Otomo ever gave.
199
00:14:00,162 --> 00:14:02,267
He seemed to really enjoy it
200
00:14:03,635 --> 00:14:06,610
and chatted happily
in the car on the way home.
201
00:14:07,604 --> 00:14:09,589
That's our only consolation.
202
00:14:09,590 --> 00:14:12,069
May he rest in peace.
203
00:14:18,521 --> 00:14:21,002
The story begins on a rainy night,
204
00:14:21,003 --> 00:14:25,467
with Goro and Gun stopping
at a ramen shop on the road.
205
00:14:28,940 --> 00:14:33,406
They enter to find a group
of shady guys lounging around
206
00:14:33,407 --> 00:14:37,378
and they suddenly find themselves
in a volatile situation.
207
00:14:37,872 --> 00:14:40,353
Packed with stinky naruto.
NIKKATSU SOUNDSTAGE 11
208
00:14:40,353 --> 00:14:44,323
You're behind the times.
That's why business is bad.
209
00:14:45,315 --> 00:14:48,290
Call it quits or I'll force you out!
210
00:14:48,291 --> 00:14:50,276
Just shut up!
211
00:14:50,277 --> 00:14:52,292
I'll use naruto if I want.
212
00:14:54,247 --> 00:14:56,727
This is Tampopo's first appearance
213
00:14:56,728 --> 00:14:59,704
and also our first time
on the main set.
214
00:15:00,201 --> 00:15:03,178
Because this scene
is the keynote of the film,
215
00:15:03,179 --> 00:15:05,162
cast and crew practiced
anxiously and carefully.
216
00:15:08,141 --> 00:15:11,117
I'm offering to help
by buying you out of this flop.
217
00:15:11,118 --> 00:15:14,093
Would you keep it down?
We're trying to eat.
218
00:15:14,094 --> 00:15:15,614
Shut your trap!
219
00:15:19,057 --> 00:15:21,040
I'll use naruto if I want.
220
00:15:21,537 --> 00:15:24,513
What's it to you
if business is bad?
221
00:15:24,514 --> 00:15:26,889
Say it with a sort of angry smile.
222
00:15:28,982 --> 00:15:30,964
Like Angie Dickinson does.
223
00:15:32,950 --> 00:15:36,422
Just shut up!
I'll use naruto if I want.
224
00:15:36,423 --> 00:15:39,400
What's it to you if business is bad?
Dumb broad!
225
00:15:39,401 --> 00:15:42,377
Say "Ken!" as if scolding a child.
226
00:15:42,378 --> 00:15:44,859
Ken!
That's right.
227
00:15:45,850 --> 00:15:46,875
Ken!
228
00:15:52,301 --> 00:15:54,783
Be lighter, more comical
229
00:15:57,263 --> 00:15:59,238
Ken! I'm sorry.
230
00:16:07,187 --> 00:16:09,022
This bothers me a bit.
231
00:16:10,661 --> 00:16:13,141
What's it to you
if business is bad?
232
00:16:13,142 --> 00:16:15,622
Try putting
your hands on your hips.
233
00:16:17,607 --> 00:16:19,591
Like a mother in a Western.
234
00:16:31,004 --> 00:16:33,485
- Call it quits or I'll force you out!
- Just shut up!
235
00:16:33,485 --> 00:16:35,966
I'll use naruto if I want.
236
00:16:36,960 --> 00:16:38,942
What's it to you
if business is bad?
237
00:16:38,943 --> 00:16:41,768
As I collaborated
with the actors like this,
238
00:16:43,409 --> 00:16:45,891
Tampopo, who had
only existed in the script,
239
00:16:45,892 --> 00:16:48,369
gradually took on
a more concrete form.
240
00:16:48,866 --> 00:16:51,347
To elicit performances
from actors
241
00:16:51,348 --> 00:16:53,828
directors use different language
with each actor.
242
00:16:53,829 --> 00:16:58,296
Here the actress is my wife
and we've made many films together.
243
00:16:58,297 --> 00:17:01,769
A few simple, specific words
do the trick.
244
00:17:02,265 --> 00:17:04,280
I'll use naruto if I want.
245
00:17:05,242 --> 00:17:07,226
What's it to you
if business is bad?
246
00:17:07,724 --> 00:17:10,699
Dumb broad!
I'm offering to help,
247
00:17:11,196 --> 00:17:13,181
by buying you out of this flop.
248
00:17:13,182 --> 00:17:16,158
Would you keep it down?
We're trying to eat.
249
00:17:16,654 --> 00:17:18,639
Shut your trap!
Ken!
250
00:17:20,127 --> 00:17:22,609
Pis-Ken, enough!
251
00:17:22,610 --> 00:17:25,088
Don't offend my customers.
252
00:17:35,013 --> 00:17:39,479
You itching for a fight, pal?
Just ask.
253
00:17:40,471 --> 00:17:42,456
That's a bit much
254
00:17:46,427 --> 00:17:48,906
Try it again.
A bit more hammy.
255
00:17:55,853 --> 00:18:00,319
You itching for a fight, pal?
Just ask.
256
00:18:04,290 --> 00:18:06,125
Yamazaki's hand was up
257
00:18:07,266 --> 00:18:09,746
because he flicked
some naruto at Pis-Ken.
258
00:18:09,747 --> 00:18:12,226
Let's read the script.
259
00:18:12,227 --> 00:18:15,701
Shut your trap!
Pis-Ken slams his cup and stands up.
260
00:18:15,702 --> 00:18:18,676
Gofo flicks some naruto,
which sticks to PIS-Ken's face.
261
00:18:20,663 --> 00:18:23,639
Where?
Right at the lens.
262
00:18:25,626 --> 00:18:28,105
Bull's eye!
Did it work?
263
00:18:29,595 --> 00:18:31,340
I practiced at home.
264
00:18:44,977 --> 00:18:47,458
Here?
That's good.
265
00:18:47,459 --> 00:18:49,729
A bit higher, right there.
266
00:18:51,924 --> 00:18:55,396
It's time to flick the naruto.
ASSISTANT DIRECTOR
NOBUHIIRO KUBOTA
267
00:18:55,397 --> 00:18:58,372
Pis-Ken's face is on-screen.
The naruto flies in from offscreen.
268
00:18:58,869 --> 00:19:00,854
Assistant Director Kubota
will do the honors.
269
00:19:01,351 --> 00:19:04,824
This kind of thing
is often the AD's job.
270
00:19:30,626 --> 00:19:32,236
This is hopeless.
271
00:19:41,541 --> 00:19:43,646
In comes the relief pitcher.
272
00:19:45,017 --> 00:19:47,000
He'll practice on Kubota's face first.
273
00:19:58,909 --> 00:20:00,114
Clapper.
274
00:20:04,865 --> 00:20:07,839
You're good. Nice and calm.
275
00:20:13,299 --> 00:20:15,284
Clapper again.
276
00:20:21,735 --> 00:20:23,615
This has possibilities.
277
00:20:30,666 --> 00:20:31,871
Clapper.
278
00:20:35,131 --> 00:20:37,116
A bit closer to the nose.
279
00:20:53,986 --> 00:20:55,191
Clapper.
280
00:21:01,927 --> 00:21:04,405
Perfection followed
by spontaneous applause.
281
00:21:04,406 --> 00:21:07,384
When the whole crew
is happy like this,
282
00:21:07,385 --> 00:21:09,863
the fatigue of shooting
is banished.
283
00:21:12,347 --> 00:21:14,330
Pis-Ken, enough!
284
00:21:16,813 --> 00:21:19,953
I'm not bowing down
to a couple of sweaty truckers.
285
00:21:27,232 --> 00:21:31,200
You itching for a fight, pal?
Just ask.
286
00:21:41,621 --> 00:21:45,095
No need to bust up the shop.
Let's take it outside.
287
00:21:45,096 --> 00:21:49,560
Pis-Ken picks a fight with Goro
and they take it outside.
288
00:21:49,561 --> 00:21:51,261
A brawl breaks out.
289
00:21:52,040 --> 00:21:55,019
But the brawl isn't shown on-screen.
290
00:21:56,011 --> 00:21:57,995
The fighting is only
reflected in the faces
291
00:21:57,996 --> 00:21:59,980
of Tampopo and Tabo.
292
00:22:00,477 --> 00:22:03,949
The actors make commotion
and shout offscreen,
293
00:22:04,447 --> 00:22:06,926
but the camera looks the other way
294
00:22:07,920 --> 00:22:10,897
and draws closer
to the observing mother and son.
295
00:22:18,835 --> 00:22:22,803
By the way I wasn't watching
through the camera,
296
00:22:22,804 --> 00:22:26,279
but on this monitor,
as you can see.
297
00:22:26,280 --> 00:22:28,758
It's easier to communicate
with the cameraman
298
00:22:28,759 --> 00:22:31,241
and it makes
the process more efficient.
299
00:22:31,738 --> 00:22:35,706
But you can't see
subtle expressions on the monitor.
300
00:22:36,203 --> 00:22:41,164
Here I observe the child's expression
directly with my own eyes.
301
00:22:54,561 --> 00:22:56,547
After being beaten up by Pis-Ken
302
00:22:57,043 --> 00:22:59,521
Goro spends the night in the shop.
303
00:23:10,440 --> 00:23:13,417
The breakfast discussion turns to ramen.
304
00:23:13,915 --> 00:23:16,890
Struck by the depth
of Gore's feelings for ramen.
305
00:23:17,388 --> 00:23:21,355
Tampopo resolves to turn
her ramen shop into the real thing.
306
00:23:22,349 --> 00:23:24,499
Please make me your disciple.
307
00:23:28,304 --> 00:23:31,775
I'll be waiting,
pickles always at the ready.
308
00:23:33,266 --> 00:23:37,234
Tampopo becomes Goro's pupil.
NIKKATSU SOUNDSTAGE 11
309
00:23:39,220 --> 00:23:42,195
If you greet him, look at him.
Otherwise just keep working.
310
00:23:43,686 --> 00:23:46,660
Now's the time to look at him!
311
00:23:47,158 --> 00:23:49,143
If you care about your ramen,
312
00:23:49,144 --> 00:23:52,119
you want to see how he reacts!
313
00:23:55,099 --> 00:23:57,081
What's he doing?
Sipping the broth.
314
00:23:59,067 --> 00:24:01,050
It's very odd!
315
00:24:01,051 --> 00:24:03,035
It should be too hot to sup,
316
00:24:03,533 --> 00:24:05,548
yet he's slurping it down!
317
00:24:07,006 --> 00:24:11,472
That's a fatal flaw!
Lukewarm ramen isn't ramen!
318
00:24:16,435 --> 00:24:19,906
When the Customer starts eating,
you start doing something else.
319
00:24:20,899 --> 00:24:24,372
Shall we do it that way?
Like cleaning up.
320
00:24:24,373 --> 00:24:27,543
Then you say:
"Now's the time to look at him!"
321
00:24:34,297 --> 00:24:36,777
Now start doing something else.
322
00:24:36,778 --> 00:24:39,258
Now's the time to look at him!
323
00:24:39,755 --> 00:24:44,220
If you care about your ramen,
you want to, see how he reacts!
324
00:24:46,206 --> 00:24:49,678
That's better.
The meaning's clear.
325
00:24:56,129 --> 00:24:59,105
Now's the time to look at him!
326
00:25:00,099 --> 00:25:04,562
If you care about your ramen,
you want to see how he reacts!
327
00:25:10,519 --> 00:25:12,503
What's this? Put it back.
328
00:25:12,504 --> 00:25:14,982
We'll do this
till you get it right!
329
00:25:15,480 --> 00:25:16,730
Get set..
330
00:25:21,434 --> 00:25:23,916
Get set... go!
331
00:25:30,366 --> 00:25:32,351
Since the film is about ramen
332
00:25:32,352 --> 00:25:34,772
you may wonder how much we prepare.
333
00:25:36,818 --> 00:25:39,794
Here's Seiko Ogawa
in a corner kitchen of the studio
334
00:25:39,795 --> 00:25:42,274
making ramen
from morning to night.
335
00:25:42,772 --> 00:25:45,747
The crew loves this "Seiko Ramen."
336
00:25:45,748 --> 00:25:47,733
The lighting and sound guys
337
00:25:48,229 --> 00:25:51,206
would flock
to her ramen at mealtime.
338
00:25:51,207 --> 00:25:54,680
The broth today is seven parts pork
and three parts chicken?
339
00:25:54,681 --> 00:25:57,159
No it's equal parts both
340
00:25:57,160 --> 00:25:59,145
Where are the pork bones?
Here.
341
00:26:02,619 --> 00:26:05,100
If you stir it, it'll cloud up.
342
00:26:07,084 --> 00:26:09,070
That's even in the script.
343
00:26:10,063 --> 00:26:12,540
Unfortunately you can't taste it.
NIKKATSU SCREENING ROOM
344
00:26:14,527 --> 00:26:18,000
So before filming,
we did a lot of camera tests
345
00:26:18,497 --> 00:26:22,465
for things like broth color
and thickness of the noodles.
346
00:26:22,466 --> 00:26:26,437
We discovered lots of things.
Less broth looks less tasty,
347
00:26:27,429 --> 00:26:30,405
and if you get too close up,
it looks like udon.
348
00:26:30,902 --> 00:26:34,374
These noodles are thick.
They look tasty.
349
00:26:35,369 --> 00:26:37,847
We fussed
about the table ware as well.
350
00:26:38,839 --> 00:26:41,322
We assembled every kind
of ramen bowl.
351
00:26:41,323 --> 00:26:43,928
Ms. Ishimori did a great job.
352
00:26:46,285 --> 00:26:48,268
All her tableware was great.
353
00:26:48,269 --> 00:26:51,743
She was excited to even find
some excavated pieces
354
00:26:52,239 --> 00:26:54,719
for the beggars' bowl fragments.
355
00:26:56,208 --> 00:26:59,182
There are lots
of different foods in the film.
356
00:26:59,183 --> 00:27:01,169
Chinese dim sum,
357
00:27:01,170 --> 00:27:04,146
summer oysters, Peking duck,.
358
00:27:05,139 --> 00:27:07,620
egg and fried rice
with Szechuan pickles,
359
00:27:08,118 --> 00:27:09,603
Korean barbeque ribs.
360
00:27:09,604 --> 00:27:13,078
But the cast and crew's favorite
was the rice omelet
361
00:27:13,079 --> 00:27:16,055
that a beggar sneaks
into a restaurant to prepare.
362
00:27:16,056 --> 00:27:18,537
This was the kitchen
of Taimeiken in Nihonbashi.
363
00:27:19,034 --> 00:27:22,010
The cooking was done
by Chef Kikuchi.
364
00:27:22,506 --> 00:27:24,986
To commemorate the film
365
00:27:24,987 --> 00:27:27,964
the restaurant added
this omelet to its menu
366
00:27:27,965 --> 00:27:30,443
as the "Tampopo Rice Omelet."
367
00:27:31,933 --> 00:27:34,911
Take a look at the script.
TAMPOPO JOGGING, GORO ON BIKE
368
00:27:34,912 --> 00:27:37,392
As Goro puts Tampopo
through her paces,
369
00:27:37,393 --> 00:27:39,873
the film goes off on a tangent
370
00:27:39,874 --> 00:27:43,346
You'll be no match for male cooks.
Fight!
371
00:27:44,340 --> 00:27:45,826
SIX SALARYMEN PASS BY
372
00:27:50,788 --> 00:27:53,766
For some reason,
the camera follows them.
373
00:27:54,264 --> 00:27:55,694
I wrote that.
374
00:27:58,232 --> 00:28:01,208
But it was fiendishly difficult
for me as a director.
375
00:28:01,704 --> 00:28:04,186
I had to shoot
this scene five times.
376
00:28:19,073 --> 00:28:22,047
For some reason,
the camera follows them.
377
00:28:25,027 --> 00:28:27,011
Thus the film goes off
on a tangent,
378
00:28:28,498 --> 00:28:31,477
leading to a series of vignettes,
379
00:28:31,478 --> 00:28:33,460
about different kinds of food.
380
00:28:34,454 --> 00:28:36,439
After these vignettes
381
00:28:36,937 --> 00:28:39,911
we return to the story
of Tampopo and Goro.
382
00:28:39,912 --> 00:28:43,384
After more of the main story
comes another tangent.
383
00:28:43,881 --> 00:28:45,867
This is the syntax of the film.
384
00:28:46,364 --> 00:28:49,337
Since this is the first vignette
385
00:28:49,338 --> 00:28:53,307
the success of the film
hinges on this scene.
386
00:28:53,308 --> 00:28:57,278
On the left,
the managers and the employee.
387
00:28:57,279 --> 00:29:02,241
On the right, the executives
they've invited to the meal.
388
00:29:02,242 --> 00:29:06,210
It's a bit long,
but let's watch the entire scene.
389
00:29:17,624 --> 00:29:21,592
Since this scene is so important.
I took great pains with casting.
390
00:29:22,090 --> 00:29:24,570
There aren't many lines
or much acting,
391
00:29:24,571 --> 00:29:26,946
but I didn't stint on the casting.
392
00:29:35,485 --> 00:29:38,960
Mr. Senior Director?
Well, let me see.
393
00:29:40,943 --> 00:29:42,929
Mr. Executive Director?
394
00:29:49,380 --> 00:29:50,585
Waiter..
395
00:29:53,350 --> 00:29:55,335
I'll have the sole meuniére.
AKIO TANAKA
396
00:29:56,822 --> 00:29:58,807
Soup or salad, sir?
397
00:29:58,808 --> 00:30:01,286
Consommé. No salad.
398
00:30:01,287 --> 00:30:04,762
To drink, sir?
Beer, Heineken.
399
00:30:11,214 --> 00:30:15,181
I'll have the sole too.
MOTOO NOGUCHI
400
00:30:15,678 --> 00:30:17,164
Soup or salad, sir?
401
00:30:17,165 --> 00:30:19,320
Consommé. No salad.
402
00:30:20,640 --> 00:30:23,118
To drink, sir?
Beer for me too.
403
00:30:27,092 --> 00:30:28,577
For you, sir?
404
00:30:29,076 --> 00:30:33,041
Maybe I'll try the sole as well.
ZENPEI SAGA
405
00:30:33,042 --> 00:30:34,532
Soup or salad, sir?
406
00:30:34,533 --> 00:30:37,014
Maybe I'll try the consomme.
407
00:30:37,015 --> 00:30:41,480
To drink, sir?
Maybe I'll have a beer.
408
00:30:46,443 --> 00:30:48,958
Same for me.
TSUGIHO NARITA
409
00:30:57,359 --> 00:30:59,340
For you, sir?
410
00:31:01,328 --> 00:31:03,807
And you, sir?
Just a moment.
411
00:31:11,251 --> 00:31:13,236
Should I have the quenelles?
412
00:31:15,219 --> 00:31:17,279
The boudin style quenelles,
413
00:31:19,192 --> 00:31:21,297
are they in a sausage shape?
414
00:31:25,143 --> 00:31:28,673
As I recall, Taillevent in Paris
serves them that way.
415
00:31:30,105 --> 00:31:32,090
You’re well-informed, sir.
416
00:31:32,588 --> 00:31:35,069
Our chef trained at Taillevent.
417
00:31:35,563 --> 00:31:39,534
So it's a caviar sauce?
That's correct, sir.
418
00:31:40,032 --> 00:31:42,014
I'll start with that.
419
00:31:42,511 --> 00:31:44,993
For the main course, escargot pastry.
420
00:31:45,490 --> 00:31:47,473
That's in fond de veau sauce?
421
00:31:47,970 --> 00:31:50,944
Yes, it's escargots
and shimeji mushrooms,
422
00:31:51,441 --> 00:31:55,413
simmered in Madeira
and stewed in fond de veau, sir.
CHOEI TAKAHASHI
423
00:31:55,910 --> 00:31:57,893
I'll have that..
424
00:31:57,894 --> 00:32:00,179
And your apple-and-walnut salad.
425
00:32:02,856 --> 00:32:04,841
Excellent choice, sir.
426
00:32:04,842 --> 00:32:06,824
What about to drink, sir?
427
00:32:07,817 --> 00:32:10,298
You know, I've been craving
428
00:32:10,299 --> 00:32:12,314
Corton Charlemane all day.
429
00:32:14,269 --> 00:32:16,253
Do you have a 1981?
430
00:32:16,254 --> 00:32:18,732
I'll call the sommelier.
431
00:32:18,733 --> 00:32:20,418
Yes, do that.
432
00:32:22,702 --> 00:32:25,680
The employee's ill timed ostentation
433
00:32:25,681 --> 00:32:27,663
leaves the others
flush with embarrassment,
434
00:32:27,664 --> 00:32:30,146
an effect we achieved with makeup.
435
00:32:30,147 --> 00:32:33,120
But since the lighting
had a big effect too
436
00:32:33,618 --> 00:32:36,596
we had to prepare meticulously.
IIDABASHI, HOTEL EDMONT
437
00:32:37,591 --> 00:32:39,573
Before shooting the scene
438
00:32:39,574 --> 00:32:44,535
we tested many tints and lighting setups.
ASSISTANT DIRECTOR KENJI SUZUKI
439
00:32:44,536 --> 00:32:46,521
I went to such lengths
because I'd had
440
00:32:47,515 --> 00:32:50,488
many failed experiments as an actor,
NIKKATSU STUDIOS, TEST SHOOT
441
00:32:50,489 --> 00:32:53,961
trying to get the color right,
whether for blushing,
442
00:32:53,962 --> 00:32:56,941
drunken flush, or sunburn.
443
00:32:58,431 --> 00:33:00,908
When I was in the film
Family Game
444
00:33:00,909 --> 00:33:04,382
I was playing drunk,
and my makeup was that red.
445
00:33:04,383 --> 00:33:07,073
It was so red
that everyone was laughing.
446
00:33:11,330 --> 00:33:13,811
But when we watched the rushes,
it was barely visible.
447
00:33:40,604 --> 00:33:42,589
MAKEUP — MIDORI ONUMA
448
00:33:45,073 --> 00:33:47,551
ls he supposed to be that red?
449
00:33:48,546 --> 00:33:50,531
Is it that red?
450
00:34:16,828 --> 00:34:19,804
I wonder how much
will come through on-screen.
451
00:34:21,791 --> 00:34:25,759
I don't think it's enough.
Choei's is too light.
452
00:34:25,760 --> 00:34:28,237
Can we touch it up a bit?
453
00:34:28,238 --> 00:34:32,210
Everyone's telling me what to do
and making me nervous.
454
00:34:34,195 --> 00:34:36,675
Even this much won't get picked up.
455
00:34:37,668 --> 00:34:39,652
I think it'll come through.
456
00:34:42,631 --> 00:34:45,109
Sure, if you look real close
457
00:34:45,110 --> 00:34:47,593
then it will read clearly.
458
00:34:48,582 --> 00:34:50,912
So when you're feeling mortified,
459
00:34:53,544 --> 00:34:55,530
what do you do?
460
00:34:58,509 --> 00:35:02,477
You make eye contact with Tanaka,
then look down.
461
00:35:02,478 --> 00:35:05,950
Mr. Tanaka, you do the same
462
00:35:24,312 --> 00:35:27,286
and make a come hither gesture.
463
00:35:28,777 --> 00:35:30,758
Then you come in.
464
00:35:31,753 --> 00:35:34,234
Now we're in a hotel room
shooting a love scene
465
00:35:34,732 --> 00:35:37,707
between White Suit and his lover.
466
00:35:37,708 --> 00:35:40,187
I've always thought that a love scene
467
00:35:40,188 --> 00:35:43,165
performed before a large crew
468
00:35:43,166 --> 00:35:46,140
must be the oddest
most unnatural thing to do.
469
00:35:46,141 --> 00:35:48,623
Be like Marilyn Monroe.
470
00:35:50,113 --> 00:35:52,023
Gently, like this.
471
00:35:55,571 --> 00:35:57,554
It's too much of an angle.
472
00:35:57,555 --> 00:36:00,532
Get as close
to the camera as possible.
473
00:36:04,501 --> 00:36:06,483
This will work.
474
00:36:10,953 --> 00:36:13,928
She beckons him, he approaches,
475
00:36:14,426 --> 00:36:16,907
and they embrace and start kissing.
476
00:36:17,402 --> 00:36:20,227
They attempt all this
in a very tight frame,
477
00:36:21,373 --> 00:36:23,298
with no wasted movement.
478
00:36:26,832 --> 00:36:28,813
Since she can't roll over
479
00:36:29,312 --> 00:36:31,792
AD Kubota helps her out.
480
00:36:31,793 --> 00:36:33,538
Watch his right arm.
481
00:36:37,747 --> 00:36:41,219
It was a bit off
when she rolled back,
482
00:36:41,220 --> 00:36:43,700
but that went pretty well.
483
00:36:47,175 --> 00:36:49,654
This is the end result.
484
00:37:20,915 --> 00:37:23,020
I'm watching on the monitor.
485
00:37:24,883 --> 00:37:28,854
An aging man in a hotel room
looking at such images
486
00:37:28,855 --> 00:37:31,830
probably seems
like some obscene pastime,
487
00:37:31,831 --> 00:37:34,313
but I'm as serious as can be,
488
00:37:34,810 --> 00:37:38,778
stone-faced, totally absorbed
in what I'm observing.
489
00:38:07,556 --> 00:38:09,542
Let's take a look at the script.
490
00:38:09,543 --> 00:38:12,517
The man and woman embrace.
The man treats the woman
491
00:38:12,518 --> 00:38:15,497
like food he's hungry to devour.
492
00:38:33,856 --> 00:38:36,337
For human beings, the appetites
493
00:38:36,338 --> 00:38:38,318
for food and sex
are fundamentally alike.
494
00:38:38,816 --> 00:38:42,291
The archetype is a baby
suckling at the mother's breast.
495
00:38:42,292 --> 00:38:47,252
When we become adults,
eating and sex become separated,
496
00:38:47,253 --> 00:38:50,230
but in this film
I portray human beings
497
00:38:50,726 --> 00:38:53,207
for whom they remain joined.
498
00:38:59,657 --> 00:39:02,139
Cut! Thank you very much.
499
00:39:19,009 --> 00:39:21,489
Let's return to the main story.
500
00:39:21,490 --> 00:39:26,452
Tampopo goes from shop to shop
in search of the taste of real ramen.
501
00:39:26,453 --> 00:39:28,934
She tries to steal secrets
from the best shops.
502
00:39:29,925 --> 00:39:31,412
Excuse me!
503
00:39:31,413 --> 00:39:33,895
Please tell me
the recipe for this broth.
504
00:39:34,888 --> 00:39:37,368
The recipe for my broth?
Never!
505
00:39:37,369 --> 00:39:39,353
You're a pro.
506
00:39:39,354 --> 00:39:42,826
Where are we going?
This way.
507
00:39:44,813 --> 00:39:47,787
Where are you taking me?
Keep going.
508
00:39:50,269 --> 00:39:52,253
What are you doing?
509
00:39:59,202 --> 00:40:01,186
Look through there.
510
00:40:10,614 --> 00:40:15,079
She rushes back to her shop
to recreate the stolen recipe
511
00:40:15,080 --> 00:40:18,054
but she can't resist
the pull of sleep.
512
00:40:26,493 --> 00:40:29,723
We're here for your
normal ramen made the normal way!
513
00:40:32,446 --> 00:40:35,423
In her dream,
her shop is attacked by rivals.
514
00:40:35,424 --> 00:40:36,912
It won't be long.
515
00:40:36,913 --> 00:40:40,880
This was meant to be like
action scenes from old silent movies.
516
00:40:40,881 --> 00:40:42,865
Too late for excuses!
517
00:40:42,866 --> 00:40:44,461
Goro, help!
518
00:40:48,818 --> 00:40:51,301
I'd always wanted to have a scene
519
00:40:51,302 --> 00:40:54,307
where a dreamer wakes up
to reality with a start
520
00:40:55,768 --> 00:40:59,237
As the director,
this is one of my favorite parts.
521
00:41:00,729 --> 00:41:03,209
Still can't get
the broth right, huh?
522
00:41:06,684 --> 00:41:11,148
The broth has Tampopo stumped.
Goro takes her to Shiba Park.
523
00:41:11,645 --> 00:41:14,620
Yoshi Kate's character,
the broth pro, appears in this scene.
524
00:41:15,117 --> 00:41:17,103
CHAMBER CHOIR NISSHO
525
00:41:19,088 --> 00:41:20,576
Here, in the shadow of Tokyo Tower
526
00:41:20,576 --> 00:41:23,057
the performers are rehearsing
527
00:41:23,058 --> 00:41:25,536
for the scene well shoot that night.
528
00:41:25,537 --> 00:41:28,019
We just saw Yoshi Kato and his wife.
529
00:41:28,517 --> 00:41:31,657
Here we see the lighting crew
erecting scaffolding.
530
00:41:39,927 --> 00:41:42,905
The actors arrive one by one.
531
00:41:49,853 --> 00:41:53,325
Why don't you read some lines?
What?
532
00:41:54,318 --> 00:41:56,300
Nonsense doing it by myself.
533
00:42:00,273 --> 00:42:02,753
You guys are so picky!
534
00:42:03,250 --> 00:42:06,390
What was the story
with that wine we had last time?
535
00:42:11,189 --> 00:42:13,173
Nighttime at last.
536
00:42:14,662 --> 00:42:17,140
With heat packs in their clothes,
537
00:42:17,141 --> 00:42:19,127
everyone gets down to work.
538
00:42:20,616 --> 00:42:23,592
The beggars are having
a banquet in the park,
539
00:42:23,593 --> 00:42:27,561
a gourmet meal of leftovers
scavenged from the best restaurants.
540
00:42:28,057 --> 00:42:30,540
They're rather finicky gourmands.
541
00:42:32,525 --> 00:42:36,495
Their leader is the broth master,
played by Yoshi Kato,
542
00:42:37,982 --> 00:42:39,967
implored by Goro and Tampopo.
543
00:42:40,463 --> 00:42:42,944
He sets out
to become her broth coach.
544
00:42:43,936 --> 00:42:46,266
Let's sing a song to see him off!
545
00:42:48,897 --> 00:42:51,876
The beggars see him off
with a choral rendition
546
00:42:51,877 --> 00:42:53,859
of "Ode to an Old Teacher".
547
00:42:55,847 --> 00:42:58,326
I stole the idea from my father.
Mansaku Itami, who used the song
548
00:42:58,326 --> 00:43:01,800
in one of his films.
Forgive me, Dad.
549
00:43:03,289 --> 00:43:06,474
The singers are members
of the Chamber Choir Nissho.
550
00:43:08,251 --> 00:43:11,723
The main idea was
to record the song as as
551
00:43:11,724 --> 00:43:13,379
right on location.
552
00:43:14,206 --> 00:43:17,166
We could have lip-synced
to a studio recording,
553
00:43:19,661 --> 00:43:23,136
but I didn't want it
to sound that clean.
554
00:43:24,129 --> 00:43:25,514
NORIO MATSUI
555
00:43:47,451 --> 00:43:51,913
The long-faced beggar is famous
street performer Gilyak Amagasaki.
556
00:43:53,901 --> 00:43:57,373
Noburo Sara is a shingeki theater actor.
557
00:43:57,870 --> 00:44:00,740
Ei Takami has done pantomime
on TV for years.
558
00:44:05,809 --> 00:44:07,792
Mahito Tsujimura, short in stature
559
00:44:07,793 --> 00:44:10,772
and Norio Matsui, tall and round,
560
00:44:10,773 --> 00:44:13,251
they all acted their hearts out.
561
00:44:20,199 --> 00:44:25,161
I'd like to digress to introduce
my producer, Yasushi Tamaoki.
562
00:44:25,162 --> 00:44:27,639
The swirl cake
you see everyone eating
563
00:44:27,640 --> 00:44:31,115
is a specialty of Matsuyama
in Ehime Prefecture called "taruto"
564
00:44:31,116 --> 00:44:34,587
Mr. Tamaoki runs a company
that makes these cakes.
565
00:44:34,588 --> 00:44:38,555
I met Mr. Itami when he was
in a commercial for my taruto,
566
00:44:42,527 --> 00:44:44,511
but it was quite a hit.
567
00:44:45,008 --> 00:44:48,013
He made four more commercials
for me after that.
568
00:44:49,970 --> 00:44:53,443
Soon after that, he told me
he wanted to make a feature.
569
00:44:53,938 --> 00:44:55,924
Since the commercials had been hits.
570
00:44:55,925 --> 00:45:00,389
I figured the film would be too,
and I got lured in
571
00:45:00,390 --> 00:45:02,180
was a nationwide hit.
572
00:45:05,850 --> 00:45:08,824
That success has now allowed us
573
00:45:08,825 --> 00:45:10,809
to make Tampopo.
574
00:45:11,307 --> 00:45:13,292
Let's take a look at that commercial
575
00:45:13,787 --> 00:45:16,764
in Matsuyama dialect,
which was such a huge hit.
576
00:45:17,261 --> 00:45:19,244
The dialect may be a challenge.
577
00:45:19,245 --> 00:45:21,229
Back home in Matsuyama?
578
00:45:21,230 --> 00:45:24,207
You should have some
Ichiroku taruto.
579
00:45:24,704 --> 00:45:26,688
How were your grades at school?
580
00:45:27,185 --> 00:45:31,154
Bottom of your class?
Because you're lazy.
581
00:45:31,155 --> 00:45:33,634
You goofed off, right?
582
00:45:33,635 --> 00:45:35,617
It's really too bad.
583
00:45:36,115 --> 00:45:38,597
Not much
you can do about it now.
584
00:45:39,094 --> 00:45:42,566
Well, just work hard
and have some taruto.
585
00:45:43,560 --> 00:45:46,435
Our Matsuyama. Our Ichiroku taruto.
586
00:45:49,019 --> 00:45:51,495
You have to make it work.
587
00:45:51,496 --> 00:45:53,482
"The goal is not to break the yolk."
588
00:45:53,980 --> 00:45:56,457
This was a tough scene,
589
00:45:56,458 --> 00:45:58,941
passing the egg yolk
back and forth.
590
00:45:58,942 --> 00:46:01,915
It's exchanged several times.
591
00:46:02,414 --> 00:46:05,392
Then she gets excited,
bites into it, and faints.
592
00:46:05,393 --> 00:46:07,375
The dripping egg yolk
593
00:46:07,376 --> 00:46:10,353
becomes a kind
of pornography of the edible.
594
00:46:13,828 --> 00:46:15,843
Let it go more forcefully.
595
00:46:19,781 --> 00:46:22,262
She's wearing a raincoat,
596
00:46:22,263 --> 00:46:25,239
in case the yolk breaks
and gets on her clothes.
597
00:46:25,240 --> 00:46:29,208
Seiko provided
the first-class Yodoran-brand eggs
598
00:46:29,706 --> 00:46:33,674
Their yolk is firm, making them
easy to pass back and forth.
599
00:46:38,635 --> 00:46:40,621
That's a tough yolk!
600
00:46:41,615 --> 00:46:43,360
That's quite an egg.
601
00:46:46,081 --> 00:46:49,054
That's when you break the yolk.
602
00:46:50,049 --> 00:46:52,033
On the seventh pass.
603
00:46:52,530 --> 00:46:55,010
And when it dribbles
from your mouth,
604
00:46:55,508 --> 00:46:57,988
you lean back and... faint.
605
00:47:12,379 --> 00:47:14,363
Now start trembling.
606
00:47:14,364 --> 00:47:15,749
That's good.
607
00:47:17,836 --> 00:47:19,818
That's wonderful.
608
00:47:23,295 --> 00:47:26,270
Okay, that was really great.
609
00:47:26,768 --> 00:47:29,247
It's all coming together.
610
00:47:29,744 --> 00:47:33,218
If the sixth pass
is clearly visible perfect.
611
00:48:33,754 --> 00:48:36,234
Fantastic from start to finish!
612
00:48:37,724 --> 00:48:39,244
It was perfect.
613
00:48:44,173 --> 00:48:46,654
This'll be famous
in the history of cinema.
614
00:48:46,655 --> 00:48:48,637
That's right.
615
00:49:05,014 --> 00:49:07,990
The Sunaba Soba Restaurant in Akasaka
616
00:49:08,983 --> 00:49:13,448
The character played by Hideji Otaki
has gout or diabetes
617
00:49:13,449 --> 00:49:14,935
and is strictly forbidden
618
00:49:14,936 --> 00:49:17,419
from eating sweet or fatty foods
619
00:49:17,420 --> 00:49:19,402
Here he yields
to temptation and gorges.
620
00:49:20,394 --> 00:49:21,884
Sensei, no adzuki bean soup,
SETSUKO SHINOI
621
00:49:21,884 --> 00:49:25,355
no duck meat soba, and no tempura soba.
622
00:49:25,356 --> 00:49:27,342
They nearly did you in before.
Be a good boy.
623
00:49:27,342 --> 00:49:30,813
I'm off to the bank.
Shohei, let's go.
624
00:49:34,290 --> 00:49:35,775
Duck-meat soba,
625
00:49:35,776 --> 00:49:38,451
tempura soba,
and adzuki bean soup.
626
00:49:39,747 --> 00:49:40,862
Enjoy!
627
00:49:43,221 --> 00:49:44,606
HIDEJI OTAKI
628
00:49:55,129 --> 00:49:58,105
There are various prohibitions
related to eating,
629
00:49:58,106 --> 00:50:01,578
and those very prohibitions
provoke people to break them.
630
00:50:01,579 --> 00:50:04,556
This allows us to create
various kinds of suspense.
631
00:50:07,534 --> 00:50:11,007
We did two takes,
so Mr. Otaki had to eat
632
00:50:11,008 --> 00:50:13,833
two bowls of duck-meat soba
and tempura soba
633
00:50:14,978 --> 00:50:17,456
and two bowls of adzuki bean soup,
634
00:50:17,457 --> 00:50:20,434
all of which
he devoured with gusto.
635
00:50:20,435 --> 00:50:22,417
Well done, Mr. Otaki.
636
00:50:49,212 --> 00:50:52,190
Gun, flip him upside down!
637
00:50:56,161 --> 00:50:59,136
Excuse me! Make way!
638
00:51:15,015 --> 00:51:16,310
We did it!
639
00:51:33,376 --> 00:51:37,266
In this scene, some mochi
stuck in his throat is vacuumed out.
640
00:51:38,834 --> 00:51:42,803
While shooting, we didn't actually
turn the vacuum cleaner on,
641
00:51:42,804 --> 00:51:45,284
so the sound of the vacuum
642
00:51:45,285 --> 00:51:48,245
and of the mochi popping out
were added in post
643
00:51:49,749 --> 00:51:52,439
by the sound effects
and recording teams.
644
00:51:54,711 --> 00:51:56,591
NIKKATSU DUBBING STUDIO
645
00:52:04,139 --> 00:52:07,114
Excuse me! Make way!
646
00:52:25,477 --> 00:52:29,444
The sound of the mochi...
Doesn't come through
647
00:52:29,445 --> 00:52:31,429
Just a little pop..
648
00:52:31,430 --> 00:52:33,413
How to describe it?
649
00:52:33,414 --> 00:52:36,239
A sucking sound
followed by a popping sound.
650
00:52:38,375 --> 00:52:40,300
It's stuck in his throat
651
00:52:41,355 --> 00:52:43,337
and gets dislodged
with a popping sound.
652
00:52:43,338 --> 00:52:47,307
It doesn't have to be that sound
but that feeling.
653
00:52:47,308 --> 00:52:48,794
That choking sound,
654
00:52:48,795 --> 00:52:50,284
and then it comes loose.
655
00:52:57,728 --> 00:53:01,201
What if we stir these udon noodles?
SOUND FX - MASATOSHI SAITO
656
00:53:02,690 --> 00:53:04,390
This is like mochi.
657
00:53:20,057 --> 00:53:23,034
Earlier you got it
to make that long pop.
658
00:53:23,530 --> 00:53:25,860
You moved the plunger
up and down
659
00:53:27,005 --> 00:53:29,484
and pulled it up, right?
660
00:53:30,476 --> 00:53:33,454
Let's add another sound
right before that.
661
00:53:33,455 --> 00:53:35,933
What you did with your hands.
662
00:53:35,934 --> 00:53:39,903
How about combining those two?
Suck on the straw.
663
00:53:47,843 --> 00:53:51,811
We can use that.
Just needs to be higher.
664
00:53:51,812 --> 00:53:53,377
We can use that.
665
00:53:55,288 --> 00:53:57,766
Here's the finished sound
666
00:54:07,691 --> 00:54:08,986
We did it!
667
00:54:19,601 --> 00:54:24,561
The scene of the men fighting was shot
under a multi-level crossing in Oi.
OI WHARF, PORT OF TOKYO
668
00:54:27,044 --> 00:54:29,524
We used a road
no longer in service.
669
00:54:32,005 --> 00:54:34,740
The setup is that
Goro is a skilled boxer,
670
00:54:36,967 --> 00:54:41,432
while Pis-Ken relies
on his superior size and strength.
671
00:54:42,425 --> 00:54:45,403
Of course, they don't really fight.
672
00:54:45,404 --> 00:54:49,369
They just pretend for the camera.
RIKIYA YASUOKA (38)
TSUTOMU YAMAZAKI (49)
673
00:54:51,356 --> 00:54:55,325
Masatsugu Takase choreographed
the fight and trained the actors
674
00:54:58,303 --> 00:54:59,945
and adapts all the martial arts for film.
675
00:55:01,777 --> 00:55:05,249
Our cinematographer.
MASAKI TAMURA
676
00:55:05,250 --> 00:55:08,723
In fight scenes, teamwork
among the camera crew is essential
677
00:55:14,676 --> 00:55:16,662
Shift to the right.
678
00:55:24,106 --> 00:55:25,761
Then step forward.
679
00:55:31,548 --> 00:55:34,027
Yasuo Ochiai is in charge
of camera movement.
680
00:55:34,028 --> 00:55:36,511
He's setting up the dolly tracks
that the camera will glide on.
681
00:55:58,342 --> 00:56:00,823
We've started shooting.
682
00:56:01,320 --> 00:56:05,786
Mr. Takase decides when to cut
and which takes are usable,
683
00:56:09,755 --> 00:56:11,243
so he's next to the camera,
684
00:56:11,740 --> 00:56:14,422
watching closely and making sure
that the fakery can't be seen.
685
00:56:17,693 --> 00:56:20,670
Seen from this angle,
it's pretty intense.
686
00:56:21,168 --> 00:56:23,648
Yasuoka is an expert
in fight scenes,
687
00:56:23,649 --> 00:56:26,128
but Yamazaki is good too.
688
00:56:26,129 --> 00:56:29,602
I thought he would be,
but he exceeded my expectations.
689
00:56:30,596 --> 00:56:33,073
Fight scenes are tiring,
690
00:56:33,074 --> 00:56:36,053
so we hope to do just one take,
691
00:56:36,054 --> 00:56:38,532
but the camera struggles to keep up,
692
00:56:38,533 --> 00:56:40,519
and many takes are unusable.
693
00:56:41,015 --> 00:56:43,990
After countless tests and takes,
694
00:56:43,991 --> 00:56:46,473
Yamazaki is out of breath.
695
00:56:46,474 --> 00:56:49,074
I dread asking them to do another take.
696
00:56:50,939 --> 00:56:54,908
After five unusable takes,
they're both pretty fed up.
697
00:56:55,405 --> 00:56:57,885
Kubota, was it okay?
698
00:57:06,323 --> 00:57:08,304
This is the scene where
699
00:57:08,305 --> 00:57:12,275
after they fight,
a friendship begins to bud.
700
00:57:14,756 --> 00:57:17,731
You did some fighting before, huh?
701
00:57:20,214 --> 00:57:22,695
Sasazaki Gym, welterweight.
702
00:57:22,696 --> 00:57:24,171
Dirty bastard!
703
00:57:25,175 --> 00:57:28,152
No wonder your hook is so good.
704
00:57:37,085 --> 00:57:40,062
As you see,
a shoot involves lots of people.
705
00:57:40,063 --> 00:57:43,535
Notice the focus puller
next to the camera,
706
00:57:43,536 --> 00:57:46,014
a still photographer
with camera in hand,
707
00:57:46,512 --> 00:57:48,498
and the recordist with the boom mic.
708
00:57:48,994 --> 00:57:52,467
Next it's the lighting crew
for this night location shoot.
709
00:57:52,963 --> 00:57:55,444
A shot of a city at night
without extra lighting
710
00:57:55,941 --> 00:57:58,091
simply won't show up on film.
711
00:57:59,909 --> 00:58:04,375
Here we're lighting up the backdrop
to Tampopo and Gore's date.
712
00:58:04,376 --> 00:58:07,350
It's hard to light up
a background this vast.
713
00:58:07,848 --> 00:58:09,832
On the roof they've placed
714
00:58:10,330 --> 00:58:13,307
a new type of high powered
metal-halide lamp called HMI,
715
00:58:13,308 --> 00:58:16,779
that gives the nightscape
a gentle glow on film.
716
00:58:16,780 --> 00:58:17,985
Tell me.
717
00:58:18,765 --> 00:58:21,140
Why are you doing
all this for me?
718
00:58:25,216 --> 00:58:27,696
Why are you working so hard?
719
00:58:30,673 --> 00:58:32,658
How can I explain?
720
00:58:35,636 --> 00:58:38,611
Everyone has their own ladder.
721
00:58:39,606 --> 00:58:42,582
Some do their best
to climb to the top,
722
00:58:43,078 --> 00:58:46,551
while others don't even realize
they have a ladder.
723
00:58:51,514 --> 00:58:53,664
You helped me find my ladder.
724
00:58:57,965 --> 00:59:01,437
They leave the restaurant
and get caught in a squall.
725
00:59:01,438 --> 00:59:03,919
Goro tries unsuccessfully
to hail a taxi.
726
00:59:03,920 --> 00:59:07,392
Drenched, they go back
to Tampopo's shop
727
00:59:09,377 --> 00:59:10,865
and spend the night together.
728
00:59:10,866 --> 00:59:13,843
This is another important scene.
729
00:59:14,340 --> 00:59:18,308
We're shooting
just as the sun's about to set.
730
00:59:18,309 --> 00:59:21,781
Of course we hope
to get it in one take.
731
00:59:21,782 --> 00:59:24,157
We're on the busy Hamasaki Bridge,
732
00:59:25,749 --> 00:59:28,728
crisscrossed by highways
and a monorail.
733
00:59:29,721 --> 00:59:32,698
The rain and lights are ready to go.
734
00:59:34,683 --> 00:59:38,651
We're just waiting
for the right degree of darkness.
735
00:59:39,149 --> 00:59:42,622
The color of the sky gradually changes.
ASSISTANT CAMERAMAN
NORIMICHI KASAMATSU
736
00:59:43,613 --> 00:59:47,583
The cameraman stares anxiously
at his light meter.
737
00:59:52,546 --> 00:59:55,523
Let's do two takes with Yamazaki.
738
00:59:55,524 --> 00:59:58,003
It's best if the taxi goes by quickly.
739
00:59:58,004 --> 00:59:59,164
Places!
740
01:00:00,484 --> 01:00:02,468
Rain, please!
741
01:00:32,242 --> 01:00:35,682
I adore Izumi Hara,
the old lady in the supermarket.
742
01:00:37,204 --> 01:00:39,186
She's joined by Masahiko Tsugawa.
743
01:00:39,685 --> 01:00:43,652
Tsugawa is a real actor
who gets completely into character,
744
01:00:43,653 --> 01:00:46,133
without having to study for the role.
745
01:00:47,623 --> 01:00:50,600
You shouldn't be too ladylike.
746
01:00:51,097 --> 01:00:53,577
Try to look a bit suspicious.
747
01:01:02,012 --> 01:01:03,667
We have this here.
748
01:01:04,990 --> 01:01:08,959
It'll follow you from behind.
Then overtake you.
749
01:01:08,960 --> 01:01:11,545
First like this, then stealthily.
750
01:01:13,923 --> 01:01:15,409
Then the camera overtakes you.
751
01:01:18,387 --> 01:01:20,312
Then you dash after her.
752
01:01:27,319 --> 01:01:30,295
Here you look around
but don't see her.
753
01:01:32,281 --> 01:01:34,762
Ms. Hara passes by
behind Mr. Tsugawa.
754
01:01:34,763 --> 01:01:38,730
He looks around right then
and gets a glimpse
755
01:01:38,731 --> 01:01:40,116
of her face.
756
01:01:40,717 --> 01:01:44,684
Since he's looking back,
he can't quite see where she goes.
757
01:01:44,685 --> 01:01:48,157
We're trying to figure out
how to signal the cues.
758
01:01:57,090 --> 01:01:59,570
Let's rehearse this part.
759
01:02:03,045 --> 01:02:05,285
She passes by and now you look.
760
01:02:24,878 --> 01:02:26,862
Let's give it a shot.
761
01:03:20,450 --> 01:03:22,930
That time was even funnier.
762
01:03:23,428 --> 01:03:25,411
That was even funnier.
763
01:03:26,902 --> 01:03:28,557
That was the best.
764
01:03:30,870 --> 01:03:34,344
Down low?
As low as possible.
765
01:03:34,345 --> 01:03:36,329
Like a witch.
766
01:03:40,300 --> 01:03:44,764
In this shot Ms. Hara pokes
at various baked goods.
767
01:03:50,720 --> 01:03:54,190
Tsugawa finally sneaks up
and gets revenge.
768
01:04:00,643 --> 01:04:05,108
A smooth take with two fine actors
really immersed in their roles.
769
01:04:05,604 --> 01:04:10,069
At times like this, one really savors
the joy of being a director.
770
01:04:10,567 --> 01:04:13,077
Scene change to White Suit being shot
771
01:04:15,032 --> 01:04:17,812
with tanks full of water
ready to make ram.
772
01:04:20,987 --> 01:04:24,082
Prop man Kuranosuke Omata
is holding a contraption
773
01:04:25,452 --> 01:04:29,421
with incense inside,
and with every shot of the pistol
774
01:04:29,422 --> 01:04:31,527
he releases a puff of smoke.
775
01:04:36,369 --> 01:04:39,059
White Suit gets shot
twice in this scene.
776
01:04:40,834 --> 01:04:43,315
Squibs are placed where he's hit.
777
01:04:43,811 --> 01:04:46,787
They're set off
by a switch in his left hand.
778
01:04:47,284 --> 01:04:50,261
During screen tests
instead of squibs
779
01:04:50,262 --> 01:04:53,239
he was fitted with small lights.
780
01:04:58,201 --> 01:05:01,341
Here they're using cigarettes
to burn bullet holes.
781
01:05:02,667 --> 01:05:05,042
Adding blood completes the effect.
782
01:05:06,636 --> 01:05:09,610
The details may not even
be visible on-screen,
783
01:05:09,611 --> 01:05:13,085
but filmmakers
can never cut corners.
784
01:05:18,049 --> 01:05:20,034
Take some in your hand..
785
01:05:26,981 --> 01:05:31,444
Ochiai, introduced earlier,
is the rain specialist.
786
01:05:31,445 --> 01:05:34,423
He's reputed to be
the best in Japan.
787
01:05:34,424 --> 01:05:35,719
Over here!
788
01:05:40,874 --> 01:05:42,754
More in this direction.
789
01:06:06,675 --> 01:06:08,659
At last, the actual take.
790
01:06:08,660 --> 01:06:11,638
We've got the bullet strikes,
the holes in the clothes.
791
01:06:12,134 --> 01:06:15,110
It's all for naught
if the take isn't good.
792
01:06:15,111 --> 01:06:18,087
To ensure that his hat stays on
793
01:06:18,088 --> 01:06:19,968
it's taped to his head.
794
01:06:41,906 --> 01:06:44,011
We got the shot in one take,
795
01:06:44,883 --> 01:06:47,708
but a woman walked past
as we were shooting.
796
01:06:49,844 --> 01:06:53,317
She thought Yakusho
had really been shot.
797
01:06:53,318 --> 01:06:57,285
I saw the police here
and thought it was a murder.
798
01:06:59,270 --> 01:07:02,248
Is he really alive?
Yes, he is.
799
01:07:07,210 --> 01:07:11,180
Are you sure?
Look, he's talking.
800
01:07:11,181 --> 01:07:13,406
It's fake blood, I swear.
801
01:07:16,639 --> 01:07:20,608
This is a camera crew.
I thought it was for real!
802
01:07:20,609 --> 01:07:24,081
Not fully convinced
even after our explanations,
803
01:07:25,074 --> 01:07:27,553
she finally left, still looking doubtful.
804
01:07:27,554 --> 01:07:29,539
She'll have us arrested.
805
01:07:31,028 --> 01:07:34,004
It was already
late autumn and chilly.
806
01:07:34,005 --> 01:07:35,988
Yakusho keeps acting,
807
01:07:36,487 --> 01:07:39,958
but he's drenched and trembling
as his body temperature drops.
808
01:07:40,457 --> 01:07:43,432
His willpower is awe-inspiring.
809
01:07:43,433 --> 01:07:46,906
The second the cameras roll,
he stops trembling.
810
01:08:07,746 --> 01:08:08,951
Darling!
811
01:08:12,709 --> 01:08:14,454
Did I ever tell you?
812
01:08:18,662 --> 01:08:20,587
About hunting wild boar.
813
01:08:25,114 --> 01:08:27,399
There's nothing for boar to eat,
814
01:08:30,075 --> 01:08:32,059
so they root for yams.
815
01:08:33,052 --> 01:08:35,533
All they eat are yams.
816
01:08:37,022 --> 01:08:39,503
So when a hunter shoots one,
817
01:08:40,494 --> 01:08:42,824
he has to quickly slit its belly,
818
01:08:44,465 --> 01:08:46,449
pull out the guts.
819
01:09:01,832 --> 01:09:03,817
Guts, stuffed with yams.
820
01:09:06,297 --> 01:09:08,777
Yam sausages, you see?
821
01:09:14,734 --> 01:09:17,139
Slice them, and eat them hot.
822
01:09:24,657 --> 01:09:26,641
Sounds good, huh?
823
01:09:27,137 --> 01:09:29,152
With soy sauce and wasabi.
824
01:09:34,581 --> 01:09:37,031
My son, who's in fourth grade,
825
01:09:40,039 --> 01:09:42,519
also appears in the film.
826
01:09:44,007 --> 01:09:48,473
In fact, my father
was also an actor for a while.
827
01:09:49,466 --> 01:09:52,442
I made my acting debut
at age two,
828
01:09:52,940 --> 01:09:57,405
playing the child of a samurai lord,
so my son's a third generation actor.
MANPEI IKEUCHI
829
01:09:57,406 --> 01:10:00,381
Your mom's there,
and she looks different,
830
01:10:00,382 --> 01:10:02,863
so you sneak in like this.
831
01:10:02,864 --> 01:10:04,654
Then you peek around.
832
01:10:12,787 --> 01:10:15,764
Whether because
he's a child or a novice,
833
01:10:16,260 --> 01:10:19,237
he sometimes gets nervous
and smiles unthinkingly.
834
01:10:19,238 --> 01:10:21,718
He doesn't realize he's doing it.
835
01:10:24,200 --> 01:10:26,184
See, he's grinning.
836
01:10:26,185 --> 01:10:28,335
It's hard to get him to stop.
837
01:10:32,139 --> 01:10:35,612
Don't grin.
Open your eyes wade.
838
01:11:06,376 --> 01:11:08,856
Mom, you re scaring me.
839
01:11:09,354 --> 01:11:11,336
Today’s the day!
840
01:11:12,331 --> 01:11:14,812
If they eat my ramen,
841
01:11:15,804 --> 01:11:18,284
and drink all the broth...
842
01:11:22,254 --> 01:11:24,854
The day comes
to judge Tampopo's ramen.
843
01:11:26,721 --> 01:11:31,681
It's the climax of the main plot
Will they drink all the broth?
844
01:11:31,682 --> 01:11:33,665
As they drink it down,
845
01:11:33,666 --> 01:11:37,635
the room fills
with a diffuse, divine light.
846
01:11:37,636 --> 01:11:40,614
Turning this handle
makes the light stronger.
847
01:11:44,086 --> 01:11:48,055
In this shot everyone eats
without saying a word.
848
01:11:48,056 --> 01:11:49,544
Let's get a bird's-eye view.
849
01:11:49,545 --> 01:11:52,505
At the bottom
the camera glides along on rails.
850
01:11:54,011 --> 01:11:58,475
As it nears, the AD removes lids,
releasing steam.
851
01:11:58,476 --> 01:12:02,445
If the pots had been left open,
the steam would be very light.
852
01:12:55,539 --> 01:12:57,522
This is it!
She finally did it.
853
01:12:57,523 --> 01:12:59,178
She really did it!
854
01:13:03,478 --> 01:13:04,683
Tampopo,
855
01:13:05,462 --> 01:13:07,446
congratulations.
856
01:13:27,790 --> 01:13:31,760
And with that, it's a wrap
on the film's climactic scene.
857
01:13:32,257 --> 01:13:34,738
We see the shop
as remodeled by Pis-Ken.
858
01:13:35,235 --> 01:13:37,685
When it opens, Goro rides off.
859
01:13:39,204 --> 01:13:41,186
This was it before.
860
01:13:42,181 --> 01:13:45,654
It's actually a barbecue restaurant
on Kyu-Kaigandori near Shinagawa.
861
01:13:46,647 --> 01:13:48,630
It's corrugated metal,
862
01:13:48,631 --> 01:13:50,616
and we just added
a wooden storefront,
863
01:13:50,617 --> 01:13:53,096
that turned it into a ramen shop.
864
01:13:53,592 --> 01:13:57,067
The remodeling involved simply
replacing the wooden front.
865
01:13:58,058 --> 01:13:59,758
But when you enter,
866
01:14:02,027 --> 01:14:04,508
it's suddenly
Tampopo's new restaurant.
867
01:14:09,967 --> 01:14:13,936
Editing makes that easy.
The inside is a set, of course.
868
01:14:14,433 --> 01:14:16,268
NIKKATSU SOUNDSTAGE 11
869
01:14:29,318 --> 01:14:31,423
Thank you for all your help.
870
01:14:32,297 --> 01:14:36,265
A new crowd of regulars throngs
into the new "Tampopo" restaurant.
871
01:14:36,266 --> 01:14:38,250
As Tampopo had hoped,
872
01:14:38,251 --> 01:14:41,227
it's become a real ramen shop
with a line outside.
873
01:14:41,724 --> 01:14:45,196
Even old man Otaki arrives
with his mistress.
874
01:14:52,145 --> 01:14:55,120
As it becomes
a successful restaurant,
875
01:14:55,121 --> 01:14:59,091
Tampopo and Tabo grow
more lively and confident.
876
01:14:59,586 --> 01:15:04,053
Seeing how far they've come.
Goro rides off.
877
01:15:04,550 --> 01:15:06,533
This scene's a bit long,
878
01:15:06,534 --> 01:15:09,511
but let's watch without music
as I discuss the music.
879
01:15:10,007 --> 01:15:12,157
DUBBING PART II
TIMING THE MUSIC
880
01:16:20,963 --> 01:16:23,428
I'd like to add music to this scene.
881
01:16:24,932 --> 01:16:27,910
In most films,
a composer writes music
882
01:16:27,911 --> 01:16:30,885
to match the duration of a scene,
883
01:16:30,886 --> 01:16:34,855
but here my idea was
to use classical repertoire.
884
01:16:34,856 --> 01:16:38,824
The piece I chose for this scene
was Liszt's Les Préludes.
885
01:16:39,322 --> 01:16:41,306
I had a vague idea
886
01:16:41,803 --> 01:16:43,638
of a suitable passage,
887
01:16:44,779 --> 01:16:47,757
but I couldn't be sure it would work.
888
01:16:47,758 --> 01:16:50,733
It's supposed to convey
the "new" Tampopo,
889
01:16:50,734 --> 01:16:54,703
so let's see what happens
If we use the liveliest section.
890
01:17:04,626 --> 01:17:07,107
Starts out well, doesn't it?
891
01:17:14,056 --> 01:17:16,039
Fits their facial expressions too.
892
01:17:38,865 --> 01:17:42,337
This part is also uncannily effective.
893
01:17:44,821 --> 01:17:47,298
This is working very well.
894
01:17:48,789 --> 01:17:50,534
Everything lines up.
895
01:17:55,240 --> 01:17:57,075
Good transition there.
896
01:18:02,185 --> 01:18:04,169
Not a false note yet.
897
01:18:17,569 --> 01:18:20,048
But do we need a crescendo here?
898
01:18:21,041 --> 01:18:23,024
Oh, no..
899
01:18:24,514 --> 01:18:26,619
Now it all just falls apart.
900
01:18:27,493 --> 01:18:29,476
We don't need
that kind of bombast here.
901
01:18:29,972 --> 01:18:31,957
Let's change the starting point.
902
01:18:41,882 --> 01:18:43,627
This is even better.
903
01:18:51,806 --> 01:18:54,285
Hmm, I'm not sure about this part.
904
01:18:56,767 --> 01:18:59,744
This accompaniment is workable.
905
01:19:15,125 --> 01:19:16,780
This part is okay.
906
01:19:20,090 --> 01:19:22,568
This section was better last time.
907
01:19:34,479 --> 01:19:37,454
This is certainly a possibility.
908
01:19:38,945 --> 01:19:40,929
This is pretty good.
909
01:19:41,920 --> 01:19:44,402
Let's give it a bit longer.
910
01:19:46,884 --> 01:19:48,369
Good morning.
911
01:19:48,370 --> 01:19:50,852
You finally did it.
Congratulations.
912
01:19:53,334 --> 01:19:55,814
Again, this part is off.
913
01:19:56,311 --> 01:19:58,056
What a nice counter!
914
01:19:58,792 --> 01:20:00,776
The lighting's great too!
915
01:20:01,770 --> 01:20:04,249
No need for the music
to swell here.
916
01:20:05,242 --> 01:20:07,722
Shoot! It's totally off now.
917
01:20:09,707 --> 01:20:12,189
To tell you the truth,
918
01:20:12,685 --> 01:20:16,654
I have a starting point in mind
that I think will work.
919
01:20:16,655 --> 01:20:19,631
It starts out quietly
but let's give it a try.
920
01:20:37,992 --> 01:20:39,973
This is quite nice.
921
01:20:41,465 --> 01:20:43,450
Matches their expressions perfectly.
922
01:20:45,434 --> 01:20:47,418
This is good.
923
01:20:47,419 --> 01:20:49,898
There's growing anticipation.
924
01:20:51,885 --> 01:20:55,356
Superb! Almost like he's singing!
925
01:21:01,311 --> 01:21:03,793
This works too, doesn't it?
926
01:21:26,617 --> 01:21:29,595
The accompaniment here
is exquisite.
927
01:21:29,596 --> 01:21:32,073
Fits the lateral movement perfectly.
928
01:21:37,533 --> 01:21:39,518
You finally did it.
Congratulations
929
01:21:42,495 --> 01:21:45,473
Yes! Just like this!
930
01:21:45,474 --> 01:21:47,457
What a nice counter!
931
01:21:47,458 --> 01:21:49,441
The lighting's great too!
932
01:21:49,938 --> 01:21:52,418
Yes, this part should be tranquil.
933
01:21:52,419 --> 01:21:53,908
Tabo, I hear
you wrote up the menu?
934
01:21:53,908 --> 01:21:55,397
Yeah.
935
01:21:55,398 --> 01:21:56,884
It's great.
936
01:21:56,885 --> 01:21:58,869
Hey, Tabo!
937
01:21:58,870 --> 01:22:01,351
Hi, Ryuta, Yohei, Uchida.
Let's go.
938
01:22:01,849 --> 01:22:03,335
Bye, Mom!
939
01:22:03,336 --> 01:22:06,810
It's nice how it lilts
back and forth here.
940
01:22:17,230 --> 01:22:19,213
How's the new setup feel?
941
01:22:19,214 --> 01:22:22,688
Unreal.
Like I'm a master chef!
942
01:22:22,689 --> 01:22:24,671
Yes, keep going..
943
01:22:24,672 --> 01:22:26,657
To be honest..
944
01:22:27,154 --> 01:22:30,625
I never thought a woman
could make a great ramen cook,
945
01:22:31,124 --> 01:22:33,603
but now I see how wrong I was!
946
01:22:34,099 --> 01:22:35,799
You’re a superstar!
947
01:22:36,581 --> 01:22:38,461
And awfully pretty too!
948
01:22:44,520 --> 01:22:47,440
The music's building now.
Very good.
949
01:22:49,482 --> 01:22:52,955
We'll slip out
as customers start arriving.
950
01:22:53,949 --> 01:22:56,924
Makes me want to be
a ramen chef again!
951
01:22:57,421 --> 01:22:58,909
Good-bye.
952
01:22:58,910 --> 01:23:01,389
Here they come.
Welcome!
953
01:23:02,384 --> 01:23:05,359
Tampopo Ramen for me.
Lots of scallions.
954
01:23:08,834 --> 01:23:10,039
Welcome.
955
01:23:14,293 --> 01:23:17,267
Same for me Pile on the menma
956
01:23:17,268 --> 01:23:20,740
Uh-oh! It's starting
to build up too much.
957
01:23:20,741 --> 01:23:22,711
Let's take it down a bit.
958
01:23:23,720 --> 01:23:26,199
Thank you for all your help.
959
01:23:27,192 --> 01:23:30,170
He can't have roast pork.
Just plain ramen.
960
01:23:34,636 --> 01:23:36,156
And we're clear
961
01:23:37,116 --> 01:23:39,597
Oh, this works too.
962
01:23:45,552 --> 01:23:47,535
It's good match.
963
01:23:59,941 --> 01:24:01,926
Will we make it to the end?
964
01:24:03,414 --> 01:24:05,399
Yes, just like that!
965
01:24:16,317 --> 01:24:17,612
Crescendo!
966
01:24:27,729 --> 01:24:29,712
This touch of sadness here is nice.
967
01:24:42,614 --> 01:24:44,089
Scallion Soba.
968
01:24:57,003 --> 01:25:00,971
Wow! The music's
following Yamazaki now.
969
01:25:31,737 --> 01:25:34,714
And that's how I chose the music.
970
01:25:34,715 --> 01:25:37,689
It was a perfect accompaniment,
971
01:25:38,187 --> 01:25:41,165
as if written just for this film.
972
01:25:41,166 --> 01:25:43,148
Sometimes you get lucky.
973
01:25:43,149 --> 01:25:47,614
We have the moment when
our two leads exchange glances.
974
01:25:52,577 --> 01:25:55,058
Then Goro is on his way.
975
01:25:55,059 --> 01:25:58,530
It'd be nice if he married her
and settled down,
976
01:25:59,028 --> 01:26:01,012
but it wouldn't be a Western.
977
01:26:01,013 --> 01:26:04,484
Per the rules of the genre,
he can't put down roots.
978
01:26:04,485 --> 01:26:07,957
He's a wanderer to the end
while Tampopo and Pis-Ken
979
01:26:07,958 --> 01:26:11,928
are hard workin' folk
who stay in the same town.
980
01:26:12,921 --> 01:26:17,387
And so it's time to bid farewell to
The Making of Tampopo.
981
01:26:17,388 --> 01:26:18,953
As I always say,
982
01:26:19,868 --> 01:26:22,845
one can only make
one half of a film.
983
01:26:23,341 --> 01:26:25,326
The other half happens
984
01:26:25,327 --> 01:26:29,790
in the darkness of the theater,
in the hearts of the audience.
985
01:26:29,791 --> 01:26:32,661
What form will this film take
in your hearts?
986
01:26:36,243 --> 01:26:38,721
As filmmaker, that's what
I most look forward to finding out.
987
01:26:39,218 --> 01:26:43,686
And so let us meet again one day
in the movie theater.
988
01:26:43,710 --> 01:26:44,960
Farewell.
988
01:26:45,305 --> 01:27:45,865
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