Original subtitles

Welcome to the audio commentary for Bohachi Bushido

I am editor and film lover, Yoshiki Hayashi.

Today, we are speaking with film director and writer Takao Nakano

and screenplay writer and director J-Taro Sugisaku.

We'II discuss the back stories of "Bohachi Bushido.“

I'll let everyone introduce themselves.

Oh, me first? Okay, I'm director and story writer, Takao Nakano.

I'm very excited to be able to comment on one of my favorite movies.

My blood is boiling right now, seriously.

Blood will spurt everywhere. Thanks for listening. I'm Nakano.

I'm film director J—Taro Sugisaku. I work through Otoko no Hakaba Productions.

So I guess we've started then. Thanks for listening.

They're already being super—violent just in the introduction.

Well, that's the kind of film it is.

It was filmed entirely in Kyoto, right?

If you look at it artistically, Kyoto is the only place that can come to mind, really.

Yes, when I saw it for the first time, I was overwhelmed by its beauty.

Especially the sparks.

Well, there were real sparks in the film.

I remember vacationing there later and having flashbacks.

Lots of sparks.

Well, sparks do fly when metal clashes.

Very realistic.

Yes.

— Look at the colors, they're very clear. — It is amazing.

Only Teruo Ishii could make one feel so grossed out by these beautiful colors.

Yes, everything is dyed in red.

Very scary.

Everything was just red.

Amazing colors.

This film really does come at you, though, doesn't it?

I think the adaptation of Kazuo Koike's manga is very authentic here.

Yes, even in the introduction, all the titles come flying out at you.

It's really powerful.

What the hell is that?

Oh, there's a flying head.

Well, films of that era always seemed to like flying heads and dismemberment.

Like "Zatoichi“ and “Lone Wolf & Cub."

Ahhhh! There goes a head!

Reiko Komaki isn't very pretty, is she?

No, not really.

A name that really stands out for me in this film is Shunji Hayasaki.

He got known in America from this film.

You know, with Takuzo Kawatan's mother and all.

Oh, her name was Make Hattorl.

Mako Hattori? Ohhh, I've heard of her.

Oh! This part is really pretty!

The paper lanterns!

Yes, the paper lanterns. I think people forget just how pretty paper lanterns are.

It almost looks like Ishii-san didn't make this film.

It looks like Tai Kato made it.

Yes, or like Eiichi Kudo made this film.

It also kind of looks like kabuki what with characters flying in from right and left

and with how focus is played with.

What's funniest, though, is that this is a porno for men, right?

But so far, all we've seen on the screen are men.

Haha, you're right.

And there are also flying heads. Not very stimulating.

It's still not for people under age 18 in Japan.

AII there's been so far is maiming.

Though films with violence and gore are also considered to be very masculine.

Though now they don't cut monsters into little pieces

they become friends or something.

Oh, here we go.

What did you think it was?

I was wondering when an actress would come on the screen.

I heard at first he didn't want to use her in this film.

Ah, yes, but I really do like this actress.

People say she's a lot like Chie Kobayashi.

There was a film, no, a TV show called "Play Girl"

and a lot of the women in that are in this film as well.

Yes, but it's not all the main characters in Play Girl.

It's actually all the villains of Play Girl that are in this film.

So they brought them all to Kyoto, I guess.

Ah, from Tokyo, you mean.

And ifl had to compare her to today's actresses, I'd say Chie Kobayashi.

Ahhhh, yes, this is very nice.

It's really "cool,“ but I wonder if it's OK to call it "cool."

I think viewers are probably confused

about how they feel about the film at this point.

It's very yellow.

Life is full of yellow, isn't it?

I think the sort of filmgoer who gets a little squeamish about such things...

probably would have left by now.

But wow, would you look at that amazing makeup job!

They won't last longer than ten minutes.

I guess this part of the film is a “let's see who stays alive“ game.

Even though it's technically a porno I can hear the announcer now:

"The game to see who stays alive the longest has just begun, viewers."

WOW!

This is really amazing.

Looks like he's slashing at nothing.

Yes, but that sort of thing was popular in Japan.

Yeah, but not so much today.

When I was younger, I liked "Lone Wolf & Cub" fighting against Nosuke Moyo.

Ah yes, Nosuke Moyo.

And he was very popular even with little kids in Japan.

Nosuke Moyo was.

— Ah, there it is! - That's a lot.

Whoa, what this? Boobies?

That man is Kyoichi Sato, right.

If there are any ladies out there, don't look.

— It's all boys here. — Yes, all boys.

But some women do watch this and I hope they don't feel inadequate

Kyoichi, shall we help you see them better?

It must be painful.

Kyoichi Satoh is losing to the pain.

When there's bare breasts on screen, it's hard to focus on anything else.

Whooooaaah, that's awful! Horrible!

Even though he's not really hurting her, it IS hot.

And this was also an era when S&M wasn't as regulated.

That's intense.

Very scary.

Shiro Kuno-san seems to have a pretty broad range here, too.

Yes, I see him almost as a sort of bland office man type character.

You wouldn't think to see him playing this sort of savage character.

I almost can't believe it.

He's very excellent in this film, though.

This sort of thing is done in all Japanese homes.

Yikes, don't say that.

We don't want to misrepresent Japan.

It really is amazing. All the actresses in this film are so atypical.

I mean, today's porno is really soft and gentle.

But really, seeing this sort of situation where the male is the sadist

really illustrates Japan's views of sex.

That's probably it.

I mean, this situation where women really are just totally tortured.

This is a very brutal movie.

That face is also very tortuous.

Very painful face.

Oh, damn, wow!

So far, we've seen nothing but really intense stuff.

Well, Ishii-san would tell the actor here, "look like you're sick“

He'd say something like that.

But if you combine the sickness and the torture, it can end up looking comical.

That's the magic of Teruo Ishii.

Much different from giant robots and all that.

Sort of a “don't mess with me!" kind of thing.

This sort of "messing around" kind of thing

is very typical of Tanba—san and Ibuki-san.

That, what should I call it? "Teruo size" they have.

Teru 0 . Size,“ eh?

The Teruo-sized screen.

Like super—close ups in the intense sections; the way they zoom in and out.

Today's camera men in Japan don't get that close anymore, do they?

I mean, nowadays when you tell them to get closer,

you have to keep telling them or they won't understand.

It's kind of hard to explain, though.

Get closer! Closer! Closer! Might as well just drag him over.

But you have to change the lens, too, you know. When you zoom and all.

They think getting too close is weird.

Ah, Shiro Kuno—san.

Yes, we were talking about Shiro Kuno, weren't we?

Amazing.

Ah, there she is.

She's really cute.

Yes, she also appears in the other extras on this disc, Yuriko Hishimi.

When her name comes up, I always think of Anne in "Ultraseven."

She's considered one of the best.

She was really popular at the time, right?

Doing all that sexy stuff.

I thought she was also good in the films of Yamane she appeared in.

But it's strange that she's in so many Toei films as well.

Toei, right.

She was in "Play Girl“, too, right?

It's strange that Toei would have her.

Or rather, it seems she really can only fit one type of character,

so it's surprising to see her in such variety.

Ah, the sword fights start soon.

Yes, with Tetsuro Tanba.

Ah, this part here. The falling must have been difficult to do.

This is amazing.

I don't think Tanba-san was coached that much during rehearsals, either.

But his acting from the eyes up has a very different feel.

It looks like some of these shots were filmed on a completely different day.

ReaHy?

That's amazing.

Some people think doing a film like this is really trivial, but he's dedicated to it.

The design team put a lot of work into the “frightening beauty" in the film.

And those characters (on the back of his jacket) never existed in Japan.

So I guess people from other countries won't get it,

but to the Japanese, those letters written on the back are really frightening.

In the past, this would sort of be a design that would

send chills down your spine if you saw it on someone in the street.

It's frightening.

“I sure don't want to wear a character like that" kind of thing.

You don't want to wear it?

It's kind of even more scary when it's half-hidden.

This is very Teruo. Almost like he's half—joking.

Well, this entire film is half-joking, really.

You need a sense of humor to appreciate it.

But it's also very adult.

Ishii-san is so intense you need a strong stomach for it as well.

He's very smart in his methods. Very silly.

So which is he? Smart or silly?

This is what's great about Ishii-san.

The filter he used on the lights here is wonderful. Great lighting.

I think this is how many people learned about sex.

That was probably Ishii-san's main goal in life.

That makes him sound gross!

It's a special method of sex education.

Joji Akiyama, this comic creator in Japan several years ago...

- He wrote "Zankoku Baby" - "Zankoku Baby," eh?

"Zankoku Baby“ was really crazy.

I think Teruo Ishii really liked "Zankoku Baby.“

When I was watching "Death Pro" earlier,

I thought for sure that was adapted from a Joji Akiyama comic.

But “Zankoku Baby“ was probably his most notable work.

There really is a difference between stuff for kids and stuff for adults.

There's the innocence of children and the brutality of adults.

And Ishii portrays both of those in a really morbid way in his stuff.

Like his yakuza stories.

That's "Otoko/Onna“ (Man/ Woman ) in the characters there.

Oh, this is very strong. That “man among men“ image he has.

So now he's explaining the origin of the characters on his back.

Or rather, he's explaining it to us.

It's sort of like a narrator's job, really.

Actually, when I was at Nikkatsu studios long ago with Teruo Ishii,

having dinner, we were talking about editing then.

I went out to dinner with the composer, Kaburagi... Yes, and Ishii-san.

So anyway, this was while some post-production was going on.

And Kaburagi-san ordered coffee and sandwiches.

And I thought, "now that's the meal of a composer."

Very tidy.

It was a romantic thing to order and I thought he was very much a gentleman.

So I asked Ishii-san what he was going to order. And he said, "curry and ramen."

So when he had his curry rice and ramen lined up in front of him, eating it,

I thought, “Yeah, he really is still a child at heart."

I thought it was really interesting, eating with the two extremes

in childishness and adultness.

It's really difficult pinpointing Teruo Ishii's personality, though.

You know, when Japanese men grow up and get lots of money and power...

- they like doing "adult" things, right? — yes, like having a cruiser.

And buying a private jet and whatnot.

But Teruo...

We keep calling him "Teruo".

I mean Teruo Ishii really was still a child at heart.

Maybe I'm not really in a good position to say this,

but the style of acting in his films is unique.

I took a look through the books Ishii had, though.

Like "Carter Brown" novels or 19605 Playboys.

Those are things that boys in high school tend to read.

I thought, "So this is the kind of man he is.“

Very stylish and young. Spy stories and so on...

The sort of man that virgin boys in junior high and high school idolize.

Oh, you're probably right.

That's the kind of boy who gets into sadism.

Boys who get into sadism are sort of trapped in childhood.

Good point.

It's just the repressed sexual side of the boys showing up in fiction.

Yes, that's true.

I see.

- Ah, this is a really good scene. - Very good.

I didn't think Toei would let them put that birds—eye view in.

Yes, usually when it's a birds—eye view

it tends to be something like ninjas hiding and plotting something.

Oh, and also...

Hishimi-san is coming.

Right there.

That was very interesting.

Weird.

Was that Seirin?

Ah yes, Seirin Yottai.

Whoa, everyone has such amazing expressions.

Oh, and that glass at the bottom was hard to get just right, I'm sure.

This is like something Tarantino would do.

Oh, I see.

But Teruo Ishii was already doing things like this. Be it a violent film, or whatever.

That glass technique.

- Glass technique. - Filmed from below.

They used a similar technique in “Play Girl“, though.

At the very end, they had lots of shots taken from down below.

I think that was a pretty typical 605 thing in Japan, though, filming from the bottom.

That's because going against the flow in Japan is against the law.

About Teruo Ishii, I think his way of showing emotion in actors is really odd.

I mean, usually on the set, we use a special kind of ladder.

You know, on the set, there's usually that mysterious, dark—looking area

no one wants to go near. You climb up behind back there.

But then there's a right and left side to it so you get confused.

Kind of like a kaleidoscope.

Other directors did that, too.

But that sort of technique really evolved over the years.

We're watching this without listening to the lines.

Yes, we won't shut up.

So we actually have no idea what's going on.

But Shiro Kuno is with us, so we're okay.

Ashita Shino paid so much money to hire Yuriko Hishimi,

but he doesn't end up doing anything with her.

But she sure is pretty.

Yes, Hishimi-san is pretty but I mean...

in person, she actually isn't sexy; you wouldn't melt seeing her.

She's actually pretty plain-looking.

If I ran into her at the grocery store, I might be disappointed.

- Because she's very serious. - Yes, almost too serious.

At least she is now.

She's very boyish.

When she was in "Play Girl"...

This is actually a recent story.

This was years after “Play Girl“, and they had a screening

where they all watched the film together. The girls apparently got into a fight.

— The girls from "Play Girl"? - Yes. Yuriko Hishimi did.

— With whom? - With the other Play Girls.

They apparently wanted her to leave.

- Who did'? - The other girls in the film.

That's amazing.

Aaaargh! There goes an ear!

Oh mannnnn, my ears hurt.

An ear got cut off.

This is really impressive.

It's done very well.

Kyoichi Sato.

That's a pretty good face, considering this story used to be a manga.

He does look like a manga character.

Yes, this all used to be a manga.

But Kyoichi Sato is the only person who really sticks out.

Watching Kyoichi Sato and Goro Ibuki really gets me into the mood.

I guess that's true.

— He doesn't use special effects. - That's true.

Yes. That's what he really looks like.

And incidentally, the people on screen now, excluding the women,

they were all just office workers from the Kyoto studio area

I can't exactly say this of present-day Japan,

but I think that could only have been done in the seventies.

Yes, because they were able to wake up and come right down.

They lived in the neighborhood and they just got on their bicycles and came down

Were they in junior high?

Yes, I don't think they would have been able to make this without them.

No, they couldn't.

So while this scene was being filmed, another group was also being filmed.

Yes, yes.

That's how it was done?

I guess they just came in for a little bit and then left when they were done.

They didn't really have to come to rehearsals.

Ah, and those paper lanterns.

Those were ready in the studio each day.

So they never had to re-make those.

That's what happens when you film everything separately.

But that's another way of doing it, having many copies of all the sets

and just filming all the scenes of different groups at the same time.

Seizo Fukamoto is another name that comes to mind with this style of filming.

But Ishii's way is even a little different from that. What was it?

Great masochism in this film, too.

Oh, but I think that's probably a different person.

Oh, there it is!

I love this part.

Tatsuo Endo.

That man wearing the hat is Tatsuo Endo, of course.

It looks really cold.

He always plays the evil head of a gang in many films, the other man too.

— Shoki Fukae-san. - Ah, Shoki Fukae.

And the other guy was Ryota Tamagawa, right?

Right now he's producing many violent films.

Wow, what amazing makeup.

Yes, Tatsuo Endo has an amazing makeup job.

He kind of looks like a cat.

Like a wild cat.

Oh, and he was also head of a restaurant.

Oh, really?

He didn't come into his own as an actor

until he developed a passion for it later in life.

You know, he always seems to play the same role in films.

Always a Dark Lord of some sort.

Fukae—san on the screen right now was making a bit of a comeback.

And the Nikkatsu porn industry was actually in a bit of a slump back then.

He was in a lot of stuff for Toho, too.

Yes, he was working for Toho in a lot of their films for a while.

But then, he was hired on at Toei and his first role was all of a sudden in a porno.

Finally, an interesting job.

I'm getting wrinkles from all this laughing.

You know, this is kind of strange to discuss...

But there's something different about porno.

I mean, like if you're just minding your own business reading a newspaper

and you see porn.

But this is what I'm saying; this film isn't just a porno. It fits both categories.

It's just kind of funny that we're doing a serious commentary track

on something people wouldn't normally consider doing a commentary track on.

But back to Tatsuo Endo. I feel like talking about him right now.

The way he says his lines is influenced by Rokyoku.

That's the original, “legendary" way of pronouncing speech in Japanese acting.

Yes, the traditional acting method of Rokyoku.

Yes, Rokyoku.

I'm sort of wondering if it's even okay for us to be talking about this.

Yes, but you do see it. With Jiguchi and Dodoitsu and the like.

People in the olden days used to hum naturally when they talked.

Yes, like the kings and noblemen.

They sort of sang their lines.

I also heard Tanba-san had a difficult time memorizing his lines.

Director Karasaki told me the same thing. He said something like:

"if you're wearing a blank suit and you have blank feelings,

"you'll have blank lines.“

Wow, this is amazing. Amazing.

- This is from "Musashi Miyamoto“. — That got used a lot.

It's very useful.

That's how Toei did their films, though; using whatever they could.

And this is not “Musashi Miyamoto...

He's not even that good looking.

Ah, this angle.

The one coming from the back is a sort of “gang movie star...

Who's that female in the front?

I don't think she's anyone important.

Of course she's SOMEWHAT important.

I think she probably worked in a coffee shop or something before this job.

What a face.

And back to the previous scene...

Ishii-san liked to film different scenes in little snippets here and there.

It's faster that way.

Well, this is a lot like the previous scene.

It really is true that the camera has a mind of its own.

People don't use that technique anymore.

Well, take for example Norifumi Suzuki's films.

The sword fighting in there is all done in the nude.

And no one does that anymore.

Many people will be nude, but none of them can sword fight.

And plenty of people can sword fight, but won't be nude.

So what we're doing right now is not really what's done in a normal porno,

but in a sword-fighting movie instead.

So people who would normally be in a sword fighting movie are in this film.

You can see they hide their faces a lot

Yes, you're right.

- You mean Fukumoto-san, right? — Yes, Fukumoto—san.

See? He's hiding his face.

You're right.

He really just wants to sword—fight.

Guess we're watching something that's difficult for him to do.

Now I feel kind of bad.

But I really like Toei for doing this.

I mean, usually when you watch historical dramas

and even children's programs on TV and such,

you see certain actors playing the heroes of those shows.

And now they're in a porno. Just like Hishimi-san.

That's true with Hishimi—san.

But Toei's view of Hishimi-san and my view of her are probably quite different.

Speaking in terms of father and son, for example,

the father's perception of Yuriko Hishimi and his son's are completely different

even though she's the same person.

Speaking of my own preferences when it comes to women in pornos,

— I really liked Rena Ichinose. - Ah, Rena Ichinose.

Toei made a good move for her.

I really liked her as Red Baton in “Condorman”.

Her face is very stern.

I'm looking forward to seeing that again.

You mean this? Not that? Not yet, not yet.

Rena's face just sort of pops in, so it takes you by surprise.

Rena's face is also kind of interesting-looking.

It sends shivers down your spine.

She's always a bit of a delinquent girl—actress.

But she's also the type of actress who would be in a "Truck Yaro" type of porno

about a redneck truck driver.

You always need a tough—looking woman for that kind of role.

Oh. This move from Tanba-san was also very much like Ishii—san.

I was noticing this earlier, but whenever there's a shot of breasts on camera,

it tends to pop into a close—up.

That's just fan service. For the men watching.

Tanba—san and Ishii—san were friends, weren't they?

I read something like that in a magazine interview with them.

ReaHy?

He was apparently looking through pictures while casting women,

and their pictures included samples of both their breasts and their faces.

He would paste pictures of these actresses in his script as he worked.

So that way, I guess, when he read through the script,

he could visualize the breasts in the scenes.

Guess I said something cheap.

But you agree with that philosophy.

There it is. That looks great.

Looks like there was really a lot of energy in this take.

It looks like Tanba-san has a pretty easy job here.

Probably reading right now.

From behind the camera, right?

Memorizing lines and all is tough, but reading is fine.

I wonder how the others felt.

"Somethings not right here!"

How old was Tanba—san when this was shot? In his forties?

Ah, but this was in 1973, probably the busiest time for Tanba.

Like with “Key Hunter."

He was in almost ALL the movies at the time. And he was also on TV a lot.

He wasn't limited to any one genre on TV or film, so he was busy.

But I'm sure Tanba—san really wanted to play this role.

I hear Tanba personally requested to play this role.

But you really wonder about Shino Ashita.

Who in the world IS he? I don't really get that man.

Like the heroes of some Westerns. You can't really tell who they are.

Yes, kind of like that.

He doesn't have a name either. I don't really get him.

These people remind me of “Django.

"Shino Ashita“ really does have a nice ring to it as a name, though.

Sho Kyuushi is also a good name, though.

Would "Shino Ashita“ be translated into English? In a translated version, I mean.

Maybe the meaning?

It means he's going to die tomorrow. Like he WANTS to die tomorrow.

“Tomorrow Never Dies“ would be the opposite, I guess.

If he wants to die tomorrow, I suppose it really means he wants to live today.

— Right, if you think in opposites. - Yes, opposites.

Ooooh, he died.

This is where it becomes a murder story.

Whoaaaa. This part makes the blood boil, doesn't it?

This is, after all, his real job.

- Ah, Tetsuo Fujisawa! - There he is.

Doing very well, might I say. Yes, he is indeed a sword master.

Almost like there isn't enough action for him.

Shiro Kuno really is impressive.

I mean, how he seems to make even the forces of nature bow to him.

Well, we can't hear it right now, but his voice is also impressive.

Ah, there's Ryota Minowada.

He finally showed up. He's also in many gang movies.

I think Ryota is also a very good actor.

It's a pretty rare thing to have so many good actors gathered together.

Lots of great actors.

Minowada-san almost seems to have a smile when he talks.

Ah, I see, his face.

Like it's 4:20 on a clock.

Ah! And there's Keishiro Kojima next to him!

Yes, from the comedy team. Very unique.

Keishiro Kojima was another famous one at the time.

I used to watch his show when I was a kid.

I remember Keishiro Kojima's face we”.

Oh, I remember this scene.

Do you remember it?

Oh, wow!

That was really short. Oh, Keishiro Kojima is doing a great job.

Yes, he is. That was a really fancy cutting job right there.

Otherwise, it would have been obvious how he really did it.

Oh wow, this scene.

Yes, no doubt it surprised everyone who was into Kyoto historical dramas then.

At the time, Toei studios had a Kyoto set on it that was pretty decent.

This is something I heard when I went to Kyoto to visit,

but apparently the people in Kyoto loved it.

Well, I suppose just as many people hated it.

Well, there was a lot of skin.

Yes, but I think more people loved than hated it.

They were probably a bit torn on what to think, though.

Wondering if they liked seeing all those naked bodies

in the sacred places where Master Jizo walked.

You do have a point. I think they all liked it, though.

Yes, that's true.

But I suppose everyone has their preferences. Oh, that's Tetsuo Ashida.

And Yasuhiro Suzuki.

Amazing.

His expression looks rather judging.

I think it could be said that his story really started

in Fukasaku's “Battles Without Honor and Humanity."

Ohhhh, now lots of Toei actors have appeared.

Yes, here they are.

But also some unknowns.

The impact of all these faces appearing at once really reflects the power of Toei.

That's true even now.

They all have such nice faces and bodies.

Otherwise, no one would watch.

If they all looked like me, no one would watch.

But if they were all pretty, that would also be a problem.

But I guess if they weren't good-looking

their parents would have their marriages arranged anyway, so they'd be fine.

Arranged marriages were common in Japan for a long time. Until recently.

Love-marriages weren't that common in Japan's history.

Lots of people might be surprised to hear this,

but people marrying whom they wished didn't really become mainstream until...

About 20 to 30 years before this movie was made.

That's amazing.

So films that have people falling in love and getting married were a bit taboo.

Ah, what a really good yakuza actor. Shoki Fukae.

Yes, Shoki Fukae.

Looks kind of like Rampo Tetsusaburo.

It's a comic face.

Yes, a comic face.

You don't see it that much anymore. Everyone has the same face.

Oh, wow!

Ah, Shoki Fukae.

Real Japanese people don't ever really use that kind of weapon.

I don't think I've seen that weapon anywhere else, come to think.

Maybe they found it lying around somewhere at the Kyoto studio.

Maybe it was a reject.

But I like it.

Wow, amazing.

They've captured everyone's faces at their best.

This is wonderful.

I see why this was popular overseas. It's a genre that doesn't exist elsewhere

This is definitely very Japanese.

This is how Japan should be but this isn't how it is in reality.

No, reality just isn't exciting enough.

There's not enough action and excitement in real life.

This is life.

If we made our movies blander and more realistic,

in a way, that would make the sexuality of it seem less realistic.

Yes, I see what you mean there... ah, Takuzo Kawatani.

Yes, Japan's huge shining star, Takuzo Kawatani.

I think Tarantino is a lot like Takuzo Kawatani.

Takuzo is a really good actor.

He has many fans.

I just get the feeling Takuzo's spirit has lodged itself in Tarantino's body.

I mean, Tarantino has a face like his.

Well, looks like that character is finished.

Ah, but it was a very good part. I think it was a very good part at the time.

Yes, I agree.

Though I feel sorry for the poor sap, getting killed off from far away like that.

But he was in "Battles Without Honor and Humanity"

around then, doing well.

This's impressive.

Tatsuo Endo looks like a poet. He's almost artistic. Really amazing.

You were both actor on one of Teruo Ishii's sets,

and I wonder how you felt about his directing from an actor's perspective.

We”, even though I was technically in his last film ("Blind Beast vs. Dwarf"),

It was only for like four seconds, so I don't think my opinion is very valid.

But well, he was very fast. And fashionable.

I almost got the sensation he had a shaving kit stashed away in his suit.

He always wore some sort of designer pants or jacket made of leather

that I don't really know the name of.

But that was him. Really stylish.

And what do you think, Sugisaku-san?

Well, I think that...oh, wait a minute, this is a really cool scene!

Wow, cool!

Wait a minute, I'll answer that after we've seen this scene.

- Time for ninjas to arrive. - Oh, yeah!

There they come!

I like them.

I had forgotten like everything in this film, except for this part.

Me, too. This is my biggest memory of it. I mean, how it's just so.

Oh, this part is awesome.

You know, I've thought this for a while;

Ishii—san had been filming all the scenes before this part in a choppy fashion.

I think this is the scene he was saving up his energy for.

Yes, this scene.

Because you know, Ishii-san loves dance.

I think this sequence took a while to choreograph.

It does seem like a dance, now that you mention it.

Yes, Ishii-san loves dance.

He also seems to like sparkling things.

Like stuff falling from the ceiling. The flowers.

Wow, this is amazing. Practically impossible.

A film where women spin around and put out fire?

This is also the cruelest tale in the world, probably.

I guess if you get fifty—or-so warriors and they spin around putting out flames, it is.

People might interpret this as:"Japanese women will put out all fires in the world."

Yes, this is the way Japanese people put out fire.

Hey, look at that.

That was a mistake.

Tanba—san is just being shocked.

He must be.

Tanba-san is just shocked that he's not shocked.

Shino Ashita doesn't react well to anything. Oops, Shiro Kuno died.

It makes you wonder how much they suffered before this scene.

How heinous.

Tanba—san, while you stood around, something horrible happened here.

Well, Shino Ashita reacts quickly in combat,

but he's a little slow to react to other important things.

Otherwise, he moves at impossible speeds.

That's really pretty.

Yes, it's a pretty scene.

Pretty scene.

It's a fantasy.

It's like chocolate.

Haha, I wish this could be made into chocolate.

There's a lot of sweets in Japan today, if they could put this feeling into chocolate

It would be like Kinder Surprise, I suppose.

I wish there were a Kinder Surprise like this.

I really would like to hear his explanation of this scene.

There's just so much to it.

Yes, I'd like to get some of the unknowns answered.

Most of all, I'd like to hear explanations from the actors.

- Like “mogari—bue“ — Oh, mogari—bue.

Like how the blood from the neck was done.

I'd like to hear from all the people that died, how they died.

Oh dear, oh dear, oh dear.

This is Ishii's makeup, isn't it?

I've only seen that sort of makeup in Ishii's movies.

Yeah. This strange way of using it. I mean, their faces look so unusual

that you wonder if it's a joke.

You can't really tell, can you?

Out of context, it's really weird.

You get something completely unexpected.

It's almost like the actor's faces are 0” paintings.

It reminds me of beef jerky and naked bodies.

You hardly ever see that.

Ah yes, I think three colors were used.

This is amazing.

Nicely shaped breasts.

And Ishii's makeup. Excellent combo.

Oh, this one. Yes, I remember.

- You like her, right? - Yes, I do.

She was called "Red Batton.“

The one on the right?

She played a bat-monster in another film.

Wow, it's cold here.

You can see their breath. Yes, it's very cold.

Kyoto's winters are very cold. And they started filming in December.

I guess they filmed this part around New Year.

Wow, that's impressive.

Well, a lot of this was in a studio, but I suppose it was still cold.

Well, with their breath showing, it must have been below 10 degrees.

They should be dirty right now.

Yes, they've been through a lot by now.

Haven't really seen that before, have we?

No reaction otherwise and it's just the boobs that work, huh?

The breasts are in a really nice place on the screen.

And since it's so cold, they're naturally more firm.

And everyone is so cute with their pink cheeks from the cold.

This reminds me of a Kazuo Koike story.

Yes, this part looks like it jumped right out of the manga.

This technique really isn't used that often. Reminds me of "Sahara."

Ah, there he is! Ryohei Uchida!

This is Japan's unique star, I suppose.

Yes, I agree.

"Musashi the Bee Has Died," as the song he wrote goes.

This man's protégé is a tycoon of sorts,

who actually died in the home of a politician.

So I think he had a very political sort of atmosphere to him.

His father was a political activist, wasn't he?

Uchida also died alone, you know.

Oh, really?

It's just a rumor, actually...

But I hear he was in his room all by himself, watching goldfish as he went.

How very romantic. And there are breasts as well.

But Uchida actually wasn't normally that kind of actor,

it was strange for him to suddenly appear in a porno.

I think it's because he and Ishii—san were such old friends.

It's strange talking about this while we're staring at breasts.

That's a bit blasphemous to say.

Oh, wow, breasts. I wouldn't mind dying that way.

This was a really hard part to film.

This scene would make a good poster, wouldn't it?

Oh, this was really hard to do. It's also very dangerous.

But everyone really has good props.

Yes, they've got great stuff.

Yes, luckily for them.

But you can't help but think that for a regular actress to be in a porno...

might feel a bit sad. Makes you fall in love with her.

Though, of course, it's all just work.

I think this sensation of being blown around by the wind,

if you work in B-movies, is good.

Yes, it's very nice.

But Uchida-san is taking this very seriously.

I wonder why Uchida-san agreed to be in this, though? I don't get it.

He's usually in Teruo Ishii's films anyway, though.

He always takes pride in taking over the screen when he's on it,

no matter what genre.

Even though he does take movie-making seriously,

it's also a bit of a leisure activity for him.

Leisure, eh?

Oh, and then we have this part here.

Looks like a guest coming in for a massage.

Yes, a massage.

"Please, master, work your magic.“

I don't think this was just Ishii's personal preference, though.

I think all movie fans at the time were like that.

Oh, I see.

And I'm not sure about it, but this reminds me of the timing

behind Shingo Yamashirds rise from movie extra to star.

What do you mean by the timing?

I mean, this many minutes into the film. He comes for a massage.

For a massage. I see.

So it's kind of like the moment when a lady's panties are taken off

before a man and woman have sex.

So he came to take off panties?

Yes. But he couldn't have done that earlier on.

Oh, I get it.

But somehow, this concept seems very Asian to me, the way it's portrayed here.

It begins right away. And they do everything so quickly.

So it's very Asian.

I've seen Korean porn too, and it always seems like one kiss and they're ready.

- They're already into it? — Yes.

I mean, usually something weird like a woman coming out naked

and putting out the fire doesn't really happen.

No, it doesn't.

You'll see that sort of thing in Hong Kong films,

but Japanese films aren't usually like that.

Well, if sex is really all the technique and display we see in porn,

then in English, I'd say I'm a "loser".

"Losen"

- Ah, that's really good. — Yeah, I like that.

Which team filmed this part?

Which team?

Special effects? No, not special effects. Action, right?

I think I remember seeing it in the opening credits.

I don't really know.

That's great.

She's on screen now, and Ruriko Ikejima really is cute.

— Yes, she is. — I think cute is good.

That's not the type of face you usually see in porn.

That's more the face of a pop idol.

The type of girl who would be in Morning Musume.

Yes, it's the kind of face with a different personality,

not like Meiko Kaji from "Scorpion," but kind of more like Yumi Takigawa,

or like Yoko Natsuki.

A very precious sort of girl you want to protect, an Emiko Yamauchi.

And director Norifumi Suzuki mentioned this before,

but the actress from the "Scorpion" and other series who stood out the most

and that he liked the most Was Yayoi Watanabe.

Ah, Yayoi Watanabe.

I mean, if you use a cute girl in something like this

and allow her to be cute, you're probably more careful with her than with your star.

Good point.

I mean, it just...

Whoa, that's way out there, Hishimi—san!

Whoa there!

She's trying hard here.

She's really doing a good job here.

I know Ishii—san paid her extra money to be in this.

Wonder how she felt.

This is a scene where Hishimi-san didn't know what was going on

and asked for instructions.

What she's doing now, though, doesn't seem to go with her character so far.

— This is Donna Kay, right? — Yes, Donna Kay.

Sounds like “Danny Kaye," but it's Donna.

Donna Kay also surprised me.

Yes, Donna Kay will do anything you ask her.

Ah, and after she's teased, she's consoled.

I don't really understand what's going on here, but it makes me happy.

This scene was added on the spot, so it has nothing to do with the main story.

Well, I think that sort of sex is good, too.

And now Hishimi-san is touching Donna Kay's breasts.

In her interview, Hishimi-san said it felt she was touching something abnormal.

Meaning her breasts are actually fake; that's what Hishimi-san said.

Oh, now that you mention it, even though she's lying down, they're still sticking up.

And very plastic—looking.

So that means... we”...

I suppose it's just silicon implants.

Maybe her manager had her put them in?

And now they're her own.

Maybe she used to actually be a man...

or maybe not.

That's mean.

Oh, this part was really good.

Cute!

Oh, yes.

Cute! Cute!

Very cute.

Looks like Bettie Boop.

They're all just too cute.

What do you mean by that?

Oh, she's distracting.

Sets you on fire, doesn't she? I'm personally fond of cat fights.

But usually you don't find cat fights that often in Teruo Ishii's films.

Yes, you're right.

I mean, there's group S&M scenes and harem scenes,

but there usually isn't a true one—on-one female fight.

I wonder why that is.

I wonder why they don't do that.

Well, all I do know is that I like it. Let's stop trying to be all intellectual about it.

As I mentioned before, when I acted in Ishii's movie,

I was down there for two to three days. And I felt lucky to be in Ishii's film.

I mean, an actor like me. My debut was in an Ishii film, incidentally.

He called me an amateur.

Back then, I really was half—hearted about it; Ijust liked movies.

And that's why I got into it. And Ishii-san got mad at me.

And the issue came up of how to deal with amateurs on the set

and I thought it wasn't really a big deal.

Ishii-san said that's why he likes actors like Tetsuro Tanba and Ryohei Uchida.

The type that can be consistent.

I mean, he never has to give any acting tips to Tetsuro Tanba.

That's true.

He doesn't have to tell him how his character would move in a certain part.

Come to think of it, this didn't really need a cat fight.

Probably not.

Well, changing the subject, I watch pro wrestling from time to time.

And once, there was a cat fight...

And it made me think of something,

that women crave more instructions from the director than men.

Yes, they're better method actors. They always want to know their motivation.

And we”, pro wrestling is all just an act.

But when you see some wrestlers, you really believe they're seriously fighting.

If they're good actors.

You're right there.

So I think giving two females a scene that had no motivation behind it

was a bit of an oversight on Ishii-san's part.

And so, that's also the reason why there are lots of S&M scenes.

Usually it's the case that the man is the sadist.

Yes, that's true.

And I don't really like much individuality in those scenes.

I mean, the super-emotional, violent type.

That's what it's mostly like in Japan today.

So ifl had to choose which I prefer, I think something more along the lines

of masked emotions.

Sort of like a puppet master and a puppet.

Ah, yes.

The type where the person doesn't show much feeling or personality

on his or her face.

Well, I think you're talking about someone like

the most famous female in Japan right now, Rei Ayanami.

Ishii-san likes women like Rei Ayanami.

The type who doesn't show emotion and will die if you command her to die.

Akio Jissoji really liked Ayanami-san.

And Jissoji-san was a bit of a sadist, right?

Yes, he was.

Maybe since he's died, he'll meet Rei Ayanami in heaven

and they'll be bound together for all eternity.

You can really tell what season it is here.

Ah yes, the end of autumn.

November or December. The end of November?

This is Kyoto after all.

AII their faces really are pink and vibrant, like anime characters.

Very vibrant and beautiful, and very "Japanese."

Oh, that was very nice just now.

Whoa, Tatsuo Endo's timings a bit off there.

Well, Tatsuo Endo was involved after all.

Ah, Tatsuo Endo. He's played a villain here and there before,

like in Daiei films. He always plays strange characters.

So, continuing...

A beating...

Or rather, the war between Yoshiwara and the others begins here.

Ah, Tanba-san. Looks like the Japanese national ballet director there.

What a funny face to see on someone about to go fight!

He's so superior! Well, he does look like a champion.

I really like the casual way he looks here.

Well, Tetsuro Tanba always looks rather superior in his mannerisms.

He is superior. It's for real.

What amazing faces we have here.

Oh, that's very pretty.

I like it.

The sort of getup we got used to seeing on women isn't in the movie much now.

They look different now.

I like it.

Ah, here comes the cavalry.

Shoki Fukae.

This is a very common motif for a power struggle.

It's like Tanba is swimming in-between opposing forces A and B.

Almost like Tanba is in the way of everything.

Yes, exactly.

Which of Ishii—san's films did you see first?

Me? Well, what I always remember is seeing the posters advertising his films

when I was a kid.

Actually, this is kind of funny, but I remember seeing them

on the walls of public bathhouses.

From his pornos, for instance.

Those always struck me hard.

His posters were very graphic and you could always tell they were his films.

I think that's what got me interested in Teruo Ishii.

OK, I see.

What am I trying to say here? His films are like Shintoho films.

Oh, really?

Of course, I didn't see them when I was a child.

But images of his film posters stayed in my mind

and influenced what films I got into later.

They had a strong impact on me

So that's how I later became a fan of Teruo Ishii.

I myself used to be a big fan of TV.

Oh, TV'?

I remember in junior high, I really liked "Yousha Yousha.“

Of course, it's not unusual for someone from TV-Iand to go into movies.

Like Kinji Fukasaku or Junya Sato, Makoto Naito, and of course Teruo Ishii.

All the Toei directors, even Shochiku ones later.

They all made their film debuts eventually.

All except Yoji Yamada from Shochiku, I guess.

Yoshitaro Nomura also didn't make the crossover.

Anyway, I first got into Ishii's works on TV.

Even back then, Ishii—san was a bit quirky.

I mean, the "Hissatsu!" series was big in Japan and still is big for a period series,

but only Ishii—san's stories were completely violent.

I always wondered what it was about that particular director

that made him be so self-indulgent.

I got familiar with Ishii-san later, though, probably with "Gorilla Seven."

That was probably his main work.

Yes, it was, and I loved that one.

Even the way the opening credits were done was amazing and worth watching.

Yes, it's wonderful.

But that "K Hard Ball."

Drawing that analogy that life is like a game of hardball.

With good dialogue and good action.

It was very modem for its time and even a little tongue-in—cheek.

Most people didn't want to tackle tough concepts.

But Ishii—san really loved hard action, and graphic shows

with equally hard-hitting philosophy and subtext.

He seemed to like that tongue-in-cheek way of showing the world.

That aesthetic is very typical of him.

Ishii-san was also the type of guy who will only say things once.

I mean, he was so blunt, people often wondered what his problem is.

I have no specific story,

but let's just say if someone in this movie were talking to him...

Ifl asked someone what was wrong with him, they'd say,

"He gives a greeting to me when he first sees me, but then doesn't say goodbye!

"That's just so inexcusable!“

Well, it's what he gets for not even saying “Hi."

No, he did say hi to everyone. Just not enough, they said.

He's very easy to read, that Ishii—san.

I mean, the parts where a character is supposed to be really struggling

and he simply says, "do that again" without any explanation.

When Ishii-san was asked what it was about Tanba-san that he liked so much...

Have you heard of "Abashiri Prison?"

That was made a little earlier.

Yes, in the sixties.

It was a film series. A jailhouse story.

It was really popular. Tanba-san appeared in one entry.

They were filming on location in an actual mansion.

There were only one or two good rooms for the actors to stay in.

And usually, a big actor like Tanba would be expected to take the good room,

Everyone thought Tanba-san would claim a room, but he said he didn't really care.

He just stayed in the big room with everyone else.

That's what made him like Tanba—san.

He's a very quiet man, too, you know. Almost frighteningly so.

And Ishii-san likes that. I sympathize with him, though.

A director has a really complicated job.

Well, how should I put it? Ishii—san was working on a scene with a boat.

There was a drowning scene that he did over and over until suddenly he said,

"Okay, that's a wrap" and just walked away, leaving the poor actors behind.

Well, that's okay. He likes low maintenance, quiet people.

After all, if the director and actors didn't mix well, everyone would just get tired.

I mean, there's Koichi Iwaki, he's very popular right now

He's done work in lots of violent films and had worked with Ishii-san before.

Ishii—san didn't write the scripts entirely, that's usually Iwaki's job,

but apparently Ishii—san wouldn't let anyone else but him touch it.

Though he's not the only one,

it seems Ishii-san really just stands out from all the other directors

as being an unorthodox guy to work with.

It would be like learning to ride a bike from someone who tells you

to let go of the handlebars.

He always tells people to do the impossible.

Oh, that is very Ishii—san.

Ishii—san doesn't have very many friends because of that.

But he says he prefers that anyway.

That's true.

Well, we're talking in the wrong tense.

Both Tanba-san and Ishii-san aren't around anymore.

The last time I saw them was at a movie premiere a year or two ago

when Tanba—san was the MC and I was a guest.

And then...ah, actually Tanba-san was a guest.

And Ishii-san also showed up.

So I met Ishii—san backstage before the show and I said,

“Oh, Ishii-san, long time no see. How've you been?"

And he said, "Well, I have something to ask of my good buddy Tanba-chan."

Then Tanba came in.

So this was right after Tanba-san was diagnosed,

he had lost a lot of weight then, remember?

And so when that skinny Tanba—san entered the room, Ishii-san said,

“Oh, noooooo! Tanba—chan, what's wrong? Cancer?"

That is so blunt.

And then Tanba-san answered, "Well, apparently, this isn't cancer."

There were two men, who were sort of kindred spirits,

dealing with tragedy their own way.

Much different from battling monsters on screen.

Of course he couldn't have joked about cancer with someone he wasn't close to.

But you just did.

It was pretty soon after that day that they both passed away, actually.

After Ishii-san passed, people went through his memos.

You know, trying to find notes for his next movie or something.

And they saw “England" and “Egypt."

Then there were pieces of paper that had "human organs“ written on them.

He was probably just practicing his handwriting.

People nowadays don't do that much, though.

I'm sure it was just random scribbles, though.

That's impressive.

There were a lot of stories he wanted to produce.

He wanted to do one about a poodle.

A poodle?

Yes, with a sex film idol.

He thought today's young people in Japan would really like it.

Apparently, a poodle was supposed to be at a train station

and got caught in the safety rope.

I'm not really sure that's exactly a “poodle" story.

But anyway, he wanted it to be called, "Ticket for an 18-year-old Youth."

That's really great.

So if it's in that magazine,

naturally a young woman might get caught in a safety rope while reading it.

All this person does is keep falling.

But he keeps living, so it's not over yet.

I keep thinking this, but Ishii-san is a director

who likes people that aren't very typically Japanese.

He doesn't really fit in a genre.

- Yes, he's his own genre. - I think so, too.

His brain is just filled with its own erotic world.

We shouldn't really make generalizations about the Japanese anyway.

I guess that's fair.

When I first met him, it was enough of a shock to make me sweat a little.

I felt like I was coming face to face with a murderer.

Murderer?

I honestly thought he might end up killing me someday.

I thought he didn't have the same capacity for reasoning other humans had

I thought his brakes didn't work very well.

Like once he killed a person, he'd keep hacking away at the body.

So I thought all directors were probably like that.

Yes, all directors were probably like him, I thought.

Though he did have his gentle side. Oh, this scene is pretty.

He had a: "scenes with women need to be filmed really pretty" attitude.

They are filmed pretty. Look, Rena Ichinose is really pretty.

But that's true of Ishii—san and Suzuki-sen and all of Toei's directors.

The Toei porno directors, like Sekimoto—san and Makiguchi—san,

are really feminists about women, you know.

Yes, Ishii-san and Ikuo Sekimoto—san

both filmed some pretty extreme scenes,

but it was all usually done in one cut.

Nakano is also like that, too.

Isn't he also really nice to his female actors, as well?

Ah yes.

Well, all the women in this film were from "Play Girl"

and were all very open to doing anything.

They didn't care so much how they looked, either.

But he is considerate to them in that he tries to get everything in just one take.

I think that's a quality of a good director.

There's a lot that can only be captured on the first cut,

especially when it comes to a woman's feelings in a porno,

and women who work with him know this.

The women must be happy about that.

He can understand women all he wants, but liking them is most important.

It's important to sometimes give them little gifts here and there

to keep up morale.

I remember my grandpa telling me women are stupid,

so we have to tell them over and over again what we want.

He kept saying I'd stay a bachelor forever at the rate I was going.

Because you don't treat them like they're stupid?

But that's true. That's how our society used to be.

It was bad.

And it was difficult to get away from.

So I think that, um, films that are classified as "erotic"...

They're actually quite pretty.

I mean, there's a lot of parts with just men,

and plenty of films with men slashing each other up,

but when special care is given to the women...

They're so cute.

Soooo cute, I can't help it.

Ruriko really is pretty.

She reminds me of Rika Ishikawa from Morning Musume group.

Ruriko. Ruriko!

Oh, and this is Kaori Iida. She has a bit of a temper. Well, that's not really her.

Just a little eccentric.

Whoa, what an easy job Tanba-san has!

Paradise, if you ask me.

Isn't that Tanba's legs?

Yes, it is.

It is Tanba-san.

I doubt anyone would double for him right now.

Oh, there he is.

Whoa, there he is!

This sort of thing, I think it shocks a calm audience in a theater.

I got the feeling that I've seen this sort of thing

over and over again from Tatsuo Endo.

That's his specialty.

That Tatsuo Endo.

Not this time!

No, not this time. This is really impressive.

But that Endo—san starts here.

We've talked about him here and there a lot so far,

and this isn't exactly nice, but his voice kind of makes me sleepy.

Makes you sleepy?

He's like a sleep—aid?

Yes, he is.

Oh dear.

Ah, but Tatsuo Endo was really good in “Female Yakuza Tale" .

I think that made me drowsy, too.

But there is a Tatsuo Endo following that really likes his work.

Well, I may say he puts me to sleep,

people may think I'm badmouthing him, but actually, I'm praising him.

- Praise, eh? - I like it when he puts me to sleep.

Very peaceful, I suppose.

He's like a magician. Though I don't feel much of anything else.

That's amazing.

Great.

Wow, awesome. No wonder this made it overseas.

— This reminds me of 007. — They are a bit similar.

Oh, this par—Es really great, too!

And this part right here is like the opening sequence to 007.

“You Only Live Twice," right?

This is good.

The tale of a deathless warrior.

I wonder how 007 in the 80's managed to stay so popular for so long.

Ah, but I can see the angles here lining up with foreign film classics.

From the 60's and so on.

Today's directors don't have that same taste.

No, they don't.

It's really difficult to pinpoint exactly what it is, though.

I think it's just the trend of the era.

I don't think anyone will ever make something like this again

unless it's a conscious effort to.

Ah, the horizon backdrop.

Yes, they'd use something else if they could.

I don't think they'd use that color either.

Because they'd have to change the set.

Even the colors have changed quite a bit over the years.

Just using this small palette for it.

I don't suppose my Ruriko has passed away yet?

Um, I think she has.

Everyone dies, after all.

But there she is. What's that on her?

Yes, there's something on her. It's very surreal and cold to her.

Very surreal.

I guess it was a bit unnatural for the women,

since it was filmed at such a rapid pace, they never saw scenes they weren't in.

That's true.

Whoa, look at that.

You sound like that's the first time you've seen it.

Well, I had forgotten.

Forgotten, eh?

Just like in the opening sequence.

Wow, that's harsh.

Teruo Ishii is the only one who would go this far.

Assisted by Tetsuro Tanba

and Goro Ibuki and everyone with interesting faces is still alive.

And now to the final countdown. Only ten minutes left.

Though you kind of don't want it to end now.

If we lived in a world like this for too long, we'd be gloomy all the time,

but I'd still like to live there.

Oh, there it goes.

What a face.

Looks like his face was painted on with an airbrush.

Just like a Harumi Yamaguchi piece. It's hard to get.

Oh, there he is! Goro Ibuki's cool face.

It's an open exchange of feelings, man to man.

I like it.

It's intense.

Ishii-san's stories are always a little difficult to understand.

His sense of realism is off.

But I think that just by staring at the action on the screen

ignoring the dialogue, you understand much more that way.

He doesn't use that many strange camera angles, after all.

He actually had a very orthodox way of filming in that respect.

But even so, there's still a mysterious quality to his films.

There really isn't anything that looks like this in Japan anymore.

These colors.

It's probably influenced by the equipment at the time, as well.

Probably so. The lens itself had a big influence.

Suzuki—san mentioned this a lot as well,

but he would only work with a certain brand of equipment.

He also said he took great care of his equipment.

This is really pretty though, isn't it?

Yes, it is.

I mean, it's almost too pretty for Japan's real seasons.

Even though it's a Japanese movie.

I'm really caught up in the scenery here. This doesn't really look that Asian.

Haven't seen anything like this.

Tanba—san has.

Tanba—san is "Shino Ashita,“ after all.

Could you both tell us which Ishii film is your favorite?

Well, it's difficult to pick just one.

You have the Ishii genre itself, then the Ishii films in that genre.

It's hard to pick just one.

There seems to be a line that connects you with the contents of the story.

It's of course the story itself that creates that line, but also the direction.

This film does a good job of that.

This is a really good ending.

Ifl had to pick my favorite Ishii film, it's hard to say. Even his fluff is really good.

- Yes, like “Kinkin no Iumpen taisho.“ - Oh yeah, that one's great!

That's a film I'd really like everyone in America to see

"Kinkin no Iumpen taisho."

How would they translate that?

Good point. Ishii's films must be very difficult to translate.

There's just a lot of levels going on.

— This part is really good. - Yes, very good.

Tanba—san a while ago was so, and Ibuki-san right now is also so.

There were others also, but they were all outsiders and on—Iookers.

Takuzo Kawatani just passed away recently, though.

Goro Ibuki probably counts, though.

Yes, probably.

There are always outsiders.

You mean people who enjoy peeping?

The people who don't fight.

I also think Ishii—san likes that position.

I think there's something there.

Preferring to watch the sex rather than participate in it.

I suppose if we're talking magazines, it's a lot like "Bubuka."

Bubuka?

- Yes, I suppose like that. — Probably right.

Then there are the actors who always play the antagonist roles

that we can live vicariously through.

Actors like Asao Koike or Tatsuo Endo.

He has special expressions he showed only in this film

that you won't see in any other film.

Wow, what a pretty scene.

Ishii-san put some good light on the faces.

That's very nice.

This probably makes the actors' jobs easier.

With blue or red light on their faces,

no need to concentrate on their expressions as much.

True.

Like I was mentioning earlier, when an actor tries too hard

to "make" himself show a certain emotion with some sort of "system."

I don't really think it works.

Ishii—san thinks it's very important to keep that surreal “doll" look in his actors.

Like something that's manufactured. Like something so fake, it's real.

Ah, yes.

- I can't really explain it that well. - Yes, but I get it.

I've always thought this, but no matter how great an actor is

and no matter how dedicated he is to his performance, it's still all just pretend.

Ishii-san thought if his actors got too caught up in the "pretend," it was wrong.

I get it.

I mean, the actor has a lot of presence and can empathize with the character,

but really, all he's doing is representing the character.

What were we talking about?

We got lost there, didn't we?

I was really moved by what we just said. I almost wanted to write it down.

Whoa, this is amazing.

It's so cool.

If I were watching this in a theatre right now, the tension would be high.

I wish I were in a theatre right now.

This is kind of creepy, actually.

I'm not sure I'd want to be around a bunch of people; I'd get scared.

Kind Of like "huhhhh?"

This is where he crosses the waters to America. That kind of feeling.

This is how we're feeling right now, actually. If that makes sense.

It really is impressive.

But we've been enjoying these Ishii films longer than our American peers.

Just a little.

That's true.

So we're the elders.

Yes, the elders.

What do you think, Takao—san?

I think people should approach this Iight-heartedly, don't you?

Yes, like not taking apart each cut and trying to analyze what it exactly “means.'

We did do a lot of that in this commentary.

And talked about a lot of meaningless things.

Yes, we did.

What I mean to say is, we should all just sit back and enjoy it. Enjoy it.

Oh, my, what's this?!

Ah, that's Ishii—san!

Flying arms and hands is weird.

The speed and direction of them.

They're flying!

They seem to defy the laws of physics here.

It almost seems like they should be flying the other direction.

I mean, if you're cut from that angle, the limb should fly that way.

That's exactly how they move.

This is great. Well, I wonder what that was.

Ishii-san sure is an interesting guy.

Easy to like.

We're coming to the climax here and I'm still surprised.

Where is it headed?

And the characters are sure getting the adventure of a lifetime.

Even my body is starting to feel the adventure.

They're more adventurers than actors at this point.

They certainly fly well, don't they?

Almost too well, it's that wonderful.

I think we mentioned it earlier, but in “Horrors of Malformed Men“

Ishii-san did something similar to Kazuo Koike's work, too.

Yes. Wheeeee.

He's lucky to have had the chance.

Didn't Koike-san like Ishii—san?

I know Ishii—san liked Koike.

After all, it was after the big "Lone Wolf & Cub" series

that Ishii—san worked with him.

Yes, it was.

If you have to work with people you don't like, it ruins the entire series for you.

Even though a different director tends to work with each episode.

Yes, I think the next two episodes were directed by someone else.

I mean...

Oh, it's almost done.

Yes, almost done.

Here it comes.

This is great.

Yes, it is.

Let's not think about anything and just watch it.

I want to rewind it and watch it again.

Rewind it, you say?

That's the beauty of home video. You can watch it however you want to.

That would be fun. Turn it into a Teruo Ishii Party.

With all the wives in another room.

Probably.

Thank you for your incredibly enlightening conversation, gentlemen.

It's "The End..."

An "Ishii—End."

The End!