Original subtitles

I'm always telling my crew,

"Memory is what you create from.

It's all based on memory."

You glance at Kurogane, who's standing to the side.

Then you raise your head like this and continue walking.

Let's do it like that.

If you shout too loudly, it won't work.

I'm leaving!

Open the gates!

Yes, that's the feeling.

Then you walk over there.

First you turn around distractedly,

and then there's a moment of surprise.

That surprise is essential.

You turn sharply to convey your indignation.

Then the energy slowly drains out of you, and your expression grows sad.

Ready!

Action!

It's taking too long.

Open the gate!

- "Gates." - Right.

The attitude and posture are good.

You're turning the wrong way. - Okay.

I shouldn't turn this way.

You're still facing this way as you do this.

I straighten my back when I'm facing this way.

Open the gates!

Some of them look a bit disinterested as Hidetora exits.

Ito, fix that.

Hanawa, they're too close together.

If possible, I'd like them one step further back.

That's not true.

Come alone and I'll welcome you with open arms.

You have stepped down.

Under your own son's protection, what need can you have of retainers?

- Open the gate! - "Gates."

Oh, so that's mine.

You should know how many of you are in a group.

Who has no armor yet?

Just pull it up.

Pull it up in back.

Then I'll pull it down in front.

Did Saito go to the car?

Idiot! Oh, I'm sorry.

Don't make me laugh. I'm trying to suck my belly in.

Is that your real hair?

It looks brown here.

My wig's like this...

because I have long hair.

This is her own hair, but this part is a hairpiece.

The hairpiece is attached here.

Just make sure where they meet doesn't show.

- I can see it. - You can not!

What about the eyebrows?

They're my own.

What about between the eyebrows?

Where should I take them?

All right, look at this person.

Now...

you weren't shown this before, but when you walk,

bring your left hand to the shaft of the spear.

Then lower the right hand four inches.

When it's against your shoulder, secure it with the left hand.

Place the left hand on it as you carry it on the right shoulder.

Then the blade of the spear sticks up the appropriate height.

Make sure they're all pointing the same angle.

Take a look around you.

Align your spear with the rest, and don't poke other guys' legs.

Now, bring the left hand back to the shaft.

Do it like this.

This should be turned this way.

Like this.

In a straight line all the way to there?

Right face!

We're going to march carrying the spears.

We shall all be at peace.

Too high-pitched. Make your voice deeper.

A high-pitched voice doesn't sound dignified.

Let's do up to the end of the sequence.

Certainly old age is part of it,

but I've never had a shoot as exhausting as this one.

It gets tougher the nearer we get to the end.

Just like climbing up the soft earth of Mount Fuji,

the ground gives way under your feet the higher you go.

Also, up there,

the atmospheric pressure was very different.

I couldn't hear very well.

When you go back down, it's like in an airplane -your ears pop.

And I've had to do a lot of walking.

From the right?

Speak clearly!

Bring them around and then go in this way.

What are you doing there?

You get in the line. Four lines facing forward.

What are you doing? Don't just stand there.

You're in the center? Okay, then come here.

You assemble here.

We're almost ready. Please stand by.

Are the banners fluttering? Is there any wind up there?

We're waiting for the wind.

I know. There's no wind.

- Are the banners fluttering? - Yes.

Ready!

Action!

Open the gates!

Non-chan, come a bit closer.

Oto-san.

Get closer to the wall.

All right. Let's do a take in that position.

Let's do a take with the horses.

We're doing a take with the horses.

Everyone take a break until 3:00.

I wish they'd built the set out further.

Attention, please.

Spear units assemble.

I wonder if it would look right.

It would've been better if the set had been built out to here.

We might try something daring

and reframe it using this one.

Can you trim this?

But it's a reverse image.

I guess it's okay, since we're only showing the roof.

Do a take as soon as the sun comes out.

Put these away. Thanks.

Yes, that'll work.

I think that's good.

You come in,

take a look, and then fire.

- Not in single file. - I'm sorry.

Let's do it over.

Ito, don't lag behind the other three.

Don't come out single file. I want you two on horseback.

Side by side.

Calm down, lkoma!

The horse is reacting because you're getting frustrated.

Go back to your positions.

Positions, I said.

Look clearly behind you. Not that way. Toward the camera.

Don't let being on horseback make you nervous.

It makes the horse nervous too.

You have to keep calm.

I seem to have a strong bond with horses.

I guess it's because I like them.

In Kajiro Yamamoto's Horse, which I worked on...

the horse was like the lead character.

What isn't filmed is often the most beautiful part.

It's still dark when we leave our hotel in the early morning.

Our cars wind uphill towards Mount Fuji.

In the hazy light of dawn,

the horses are led out.

Armor and such for the movie is stored in these buildings.

And these peasants clad in armor come out leading the horses.

All right! Calm down.

It's okay. All right.

Be a good boy.

When we arrive on the set, wood fires are burning,

and these armor-clad warriors

are warming themselves.

It's a great image.

They're standing around in this huge open space.

They're beautiful images,

but no one ever films them.

I'm tired out already.

We'll finish this in no time,

'cause we're competing.

Cut them at the base if there are good leaves near the bottom.

This leaf looks good.

Don't snap off the heads.

Ready!

Action!

Light the torches!

Okay, that was good.

Thank you, moon!

Figure out how he should fall.

We'll pull these out.

How about my back?

We'll take care of your back.

Make the smoke float in the frame.

This up here is what's in the frame.

Move to the right.

Look. The smoke's only floating around the bottom.

Naka-chan!

Watch where you're releasing the smoke.

That's no good. Think about it.

The fog goes between the camera and the object being filmed.

Release the smoke between the two.

I hate bloodshed.

When I was shooting The Idiot, I think it was Masayuki Mori

who told me I was actually frightened of violence.

He said, You look scared whenever there's bloodshed.

You obviously don' t like it."

It was true, so I asked him why.

He said it was because I remembered it and thought about it so much.

Maybe it's my vivid memory and unblinking gaze

that makes me frightened of it.

Or maybe it's my fear that compels me to stare straight on.

Whichever it is, I guess I'm somehow able

to portray violence in a very vivid way in my films.

I don't know for sure. But I really don't like violence.

You're getting a close-up.

Don't get too self-conscious.

Don't look at the camera.

The others don't get close-ups, so take advantage of it.

Do they know my name?

Maybe you should write it on something.

UNKNOWN WARRIOR ON MOUNT FUJI

- You have to move forward. - Sato, move forward.

Move this way or you're not in the shot.

Don't bunch together.

That's no good. Where are you supposed to come from?

Come from further to the left.

Move to the side to prepare.

Move to the side, Yoneda. Come this way.

It's taking too long. Now we can't shoot.

We can't see anything.

Ready!

Action!

- Izaki, there's no point falling there. - But we got the feeling.

Ready!

Action!

Cut!

They're not - - They've gotten too used to it.

All right.

Bring the flaming arrows. - Hama-chan, the flaming arrows.

Fire!

The other end won't burn.

Were they both good?

A little more this way.

I can't reel it any faster.

You can't keep up with him running.

Only guys into fishing would know this knot.

We're ready to go!

Ready!

Action!

Actually, once you strip down,

it's not that cold.

Take your positions.

Ready!

Action!

That's the timing, with everyone together.

All right.

- Ready? - Yes.

Ready!

Action!

Horses!

Ready!

Mark time in place.

Action!

Ready!

Action!

Morning.

Ancient warriors embraced Zen

because it taught them to face death with composure.

They had to have that composure to live the lives they lived.

Also, Zen back then had a martial application.

It was different from the Zen fashionable today.

Its teachings were much more practical.

When you look at the writings of chamberlains of the time,

you can see they weren't ordinary men.

It was a world of betrayal.

It must've been very difficult to live in those times.

They were all well-read, too. Well educated.

You can tell that from their writing.

I'll give you all a series of commands,

from "forward" to "stop."

Please pay attention.

Jiro's army!

Second lancers, forward!

On my command, mark time.

Charge!

One, two,

left, right.

In unison.

Unit...

halt!

That was very good.

The banner unit comes in after the cavalry.

Okay.

Keep the tips of the banners still.

I know it's hard, but try to keep them still.

Shin, where are the filters?

One more time!

Return to your starting positions!

Smoke team, are you ready?

We don't need smoke in the back.

No smoke in the back.

Why aren't you following instructions?

We only need smoke on this side,

not in the back.

Ready!

Action!

Lunch break!

That's a take. We'll continue after the lunch break.

It's 7-1-0.

No, wait. It's 7-1-6.

It has a built-in computer.

When that happens,

there's this protruding spot where the coil -

Showing what you want to see is the essence of moviemaking.

People are forgetting that these days.

In the case of a stage play,

the curtain falls at transition points

and hides what goes on behind it.

That's fine, because the stage restricts what you can do.

But it's different with movies.

The camera can go anywhere.

It has this all-powerful quality.

Ready!

Action!

Cut!

Cut!

Did a horse fall?

Cut!

Gradually come to a halt.