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AKIRA KUROSAWA
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A truly good movie
is really enjoyable, too.
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There's nothing complicated about it.
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00:00:14,448 --> 00:00:18,510
A truly good movie is interesting
and easy to understand.
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Ready.
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Action!
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He loved cinema
and believed in its power.
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Akira Kurosawa
lived his life for cinema.
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He made 30 films in his life,
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which have been
appreciated worldwide.
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Kurosawa's films have had
a great impact on the film industry.
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00:00:44,077 --> 00:00:46,603
Let's take a look aft his passion
FINAL SCENE OF MADADAYO
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through the 55 years of moviemaking
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that began with Sanshiro Sugata.
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Cut!
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IT IS WONDERFUL TO CREATE!
— AKIRA KUROSAWA
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THE WORLD WAS WAITING
FOR AKIRA KUROSAWA
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SHINGEN
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When you honestly draw on paper
an image you have in your mind,
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that drawing somehow
speaks fo the viewer.
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The Takeda army, with banners
bearing the words of Sun Tzu,
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Is seen in a speclacular battle scene
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from this drama of human hearts
set in the Warring Slates period.
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00:02:06,927 --> 00:02:11,057
It began as more than
200 pages of storyboards
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Kurosawa used pencil, watercolor
and other familiar art supplies
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fo make meticulous illustrations
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of characters' expressions, lighting,
costumes and set designs.
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From a very young age,
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Kurosawa loved fo draw
and drew anything he saw.
NARRATED BY
MASAYUKI YUI
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“When the screenplay
for Kagemusha was completed,
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I was excited fo take it
fo movie studios,
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but every studio refected it
because of its setting.
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00:02:43,530 --> 00:02:47,330
But I wanted them fo at least see
the images I had in my mind,
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00:02:47,434 --> 00:02:50,768
so I began making the storyboards,”
said Kurosawa.
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He was hoping to show the studios
what he wanted fo do.
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He wanted to make the film
but wasn't having any luck,
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00:03:02,449 --> 00:03:06,511
so he wanted to show what he had in mind.
TERUYO NOGAMI — ASSOCIATE
PRODUCER/SCRIPT SUPERVISOR
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00:03:06,620 --> 00:03:10,113
Also, he couldn't just do nothing,
so he drew the storyboards.
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00:03:10,223 --> 00:03:15,457
I think he was living
in lIruma back then.
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00:03:15,996 --> 00:03:20,627
I took the storyboards
and paid visits to many big studios.
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Oh, you did?
INTERVIEWED BY
MASAYUKI YUI
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It was like I was peddling
the storyboards.
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If makes sense. [tf was easier
fo communicate his ideas
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through illustrations
rather than a script.
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00:03:34,915 --> 00:03:39,216
When a confiict over the film's budget
nearly derailed the project,
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00:03:39,319 --> 00:03:43,222
Francis Ford Coppola,
a self-described disciple of Kurosawa,
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00:03:43,323 --> 00:03:46,224
and George Lucas offered to help
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00:03:46,326 --> 00:03:48,852
with the film's worldwide distribution.
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00:03:50,063 --> 00:03:52,930
Such ardent support from overseas
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00:03:53,033 --> 00:03:56,435
enabled Kurosawa fo make
this film after a five-year hiatus.
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00:04:03,243 --> 00:04:05,610
To advance the growth
of Japanese cinema,
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and to discover and develop new talents,
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00:04:08,882 --> 00:04:13,183
Kurosawa ran an unprecedented,
large-scale audition for the cast.
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00:04:13,286 --> 00:04:14,583
ACTORS WANTED
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00:04:14,688 --> 00:04:17,020
The audition was open to all actors,
both professional and amateur.
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00:04:17,124 --> 00:04:21,083
Though the audition
was for male actors,
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00:04:21,194 --> 00:04:24,027
2,000 actresses applied as well,
an unheard-of occurrence.
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00:04:24,131 --> 00:04:27,192
The way Mr. Kurosawa saw actors
was completely different
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00:04:27,300 --> 00:04:28,426
from the way we did.
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00:04:28,535 --> 00:04:30,629
TAKAO SAITO
DIRECTOR OF PHOTOGRAPHY
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He would see a person
and think about that person's potential.
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00:04:35,108 --> 00:04:37,634
On the other hand,
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00:04:37,744 --> 00:04:41,977
we would first think of a role,
and then try to fit a suitable actor.
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00:04:42,115 --> 00:04:45,141
But Mr. Kurosawa saw
what an actor was capable of.
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00:04:45,252 --> 00:04:46,378
There was such a turnout.
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00:04:46,486 --> 00:04:49,046
There were thousands of people.
TAKASHI KOIZUMI — DIRECTOR
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All kinds of people auditioned,
from students to company presidents.
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00:04:56,062 --> 00:04:59,692
Just those interviewed numbered —
I wish there was a record of them.
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00:04:59,800 --> 00:05:03,134
Mr. Kurosawa took time
with each person interviewed.
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00:05:03,236 --> 00:05:06,763
He was really polite
with each interviewee.
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00:05:09,976 --> 00:05:14,675
When a studio's film department
selected actors, for instance,
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00:05:14,781 --> 00:05:18,513
the studio people would cast
according to a standard.
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00:05:18,618 --> 00:05:20,848
So if they were to cast an actress,
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they tended to choose someone
who looked like an established star.
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But there's no point in doing that.
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00:05:28,862 --> 00:05:32,492
And when I finally found
an interesting actor,
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the studio people tended
to reject that kind of actor.
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00:05:37,103 --> 00:05:41,097
The way studios choose actors in Japan
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00:05:43,510 --> 00:05:45,877
seems misguided to me.
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In order to be developed, a talent
needs to have an interesting quality.
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00:05:59,125 --> 00:06:00,889
DAISUKE RYU as NOBUNAGA ODA
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Just being able to meet Mr. Kurosawa
was an amazing opportunity.
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00:06:05,866 --> 00:06:10,030
No one thought I would be picked.
DAISUKE RYU —- ACTOR
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I didn't even think so myself.
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00:06:12,672 --> 00:06:15,107
MASAYUKI YUI
as IEYASU TOKUGAWA
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There were five interviewers.
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Five applicants would line up before them.
MASAYUKI YUI —- ACTOR
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I happened to line up
in front of Mr. Kurosawa.
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00:06:23,516 --> 00:06:26,542
It was your decision to audition?
JINPACHI NEZU
as SOHACHIRO TSUCHIYA
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That's right.
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00:06:28,989 --> 00:06:33,722
I wanted Mr. Kurosawa to see my acting.
JINPACHI NEZU — ACTOR
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00:06:33,827 --> 00:06:36,956
I had a strong desire
to have him see my acting.
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By having him see me,
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I felt I could acquire
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a certain degree of confidence
to continue as an actor.
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So I badly wanted to be in the audition.
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How old were you back then?
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I was 31 years old.
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00:06:58,618 --> 00:07:00,518
CASTING ANNOUNCEMENT
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00:07:00,620 --> 00:07:04,454
A press conference
orchestrated by Kurosawa
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00:07:05,191 --> 00:07:10,595
was held to introduce 70 cast members,
selected from among 15,000 applicants.
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Finally, shooting began on the film
that had drawn worldwide attention.
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00:07:23,543 --> 00:07:25,272
KATSU GETS CUT FROM KAGEMUSHA
(DATED JULY 21, 1979)
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00:07:25,378 --> 00:07:28,973
Then a completely unexpected
firing of the lead actor occurred.
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THE FILM NEEDS ONLY ONE DIRECTOR
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00:07:30,583 --> 00:07:32,608
Shintaro Katsu, who was fo play
the lead in Kagemusha,
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00:07:32,719 --> 00:07:35,882
wanted to videotape his scenes
SHINTARO KATSU
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in order fo study his acting.
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This request led
fo a clash of opinion with Kurosawa.
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00:07:42,562 --> 00:07:48,558
Mr. Katsu was really enthusiastic
TERUYO NOGAMI —
ASSOCIATE PRODUCER
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00:07:48,835 --> 00:07:53,466
right from the preproduction stage
and said, “I'm having a great time.”
112
00:07:53,573 --> 00:07:55,371
He said that to me often.
113
00:07:55,475 --> 00:07:58,172
He really wanted to play the role.
114
00:08:00,146 --> 00:08:05,915
So he offered various suggestions
with good intentions,
115
00:08:06,086 --> 00:08:10,580
such as sending
his still photos from Kyoto.
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00:08:11,157 --> 00:08:14,991
They had symbols on the back
to indicate which ones to use.
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00:08:15,095 --> 00:08:19,362
Although he was just being eager,
that was going too far.
118
00:08:20,934 --> 00:08:23,869
That led to the line,
“The film needs only one director.”
119
00:08:25,772 --> 00:08:29,675
The project was the first time
that Mr. Kurosawa and Mr. Katsu met?
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00:08:29,776 --> 00:08:30,743
It was.
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00:08:30,844 --> 00:08:33,211
They had never worked together before?
122
00:08:33,313 --> 00:08:34,906
No, never.
123
00:08:35,015 --> 00:08:36,847
That was probably
part of the problem.
124
00:08:36,950 --> 00:08:42,354
I think Mr. Kurosawa had seen
Mr. Katsu's work on television
125
00:08:42,856 --> 00:08:44,654
but didn't know him personally.
126
00:08:45,291 --> 00:08:48,226
Mr. Katsu fold you he was going
fo record himself on video, right?
JINPACHI NEZU — ACTOR
127
00:08:48,328 --> 00:08:50,854
Yes. He said, “I'm going
to videotape myself today.”
128
00:08:51,631 --> 00:08:55,397
He took the liberty of telling me that
as if it were a done deal.
129
00:08:56,703 --> 00:08:58,865
- You felt an ominous premonition?
- I did.
130
00:08:58,972 --> 00:09:03,534
I thought there was no way
Mr. Kurosawa would allow that.
131
00:09:04,711 --> 00:09:09,512
I felt it just didn't sound right.
132
00:09:11,217 --> 00:09:14,482
The first fo finish getting his makeup on,
and in full costume,
133
00:09:14,587 --> 00:09:16,681
Katsu entered the soundstage
134
00:09:16,856 --> 00:09:19,917
and made a request fo Kurosawa
about videotaping.
135
00:09:21,094 --> 00:09:23,461
I was sitting in front of the mirror
in the dressing room,
136
00:09:23,563 --> 00:09:27,727
when the glass door opened,
and in came
137
00:09:27,834 --> 00:09:30,269
none other than Mr. Katsu himself.
138
00:09:30,503 --> 00:09:32,403
I wondered why he was back.
139
00:09:32,505 --> 00:09:37,067
He started undressing
in a violent frenzy.
140
00:09:37,177 --> 00:09:40,670
I thought he was burning
to go to the bathroom.
141
00:09:41,514 --> 00:09:45,781
But even so, he was peeling off
his costume ferociously and rapidly.
142
00:09:46,019 --> 00:09:47,612
Then...
143
00:09:48,788 --> 00:09:53,555
he yanked the wig off
and threw it down in front of the mirror.
144
00:09:54,561 --> 00:09:57,531
At that instant, I realized
that something had happened.
145
00:09:58,198 --> 00:09:59,757
Everyone waited and thought
146
00:09:59,866 --> 00:10:03,131
that Mr. Kurosawa
was weighing the situation.
147
00:10:03,236 --> 00:10:05,933
With the assistant director
standing in,
148
00:10:06,739 --> 00:10:09,333
we were rehearsing
with Mr. Katsu's understudy
149
00:10:09,442 --> 00:10:14,539
the movements decided on
in the previous day's rehearsal.
150
00:10:15,048 --> 00:10:19,144
Mr. Kurosawa returned to the set
fairly soon, and we were surprised.
151
00:10:19,252 --> 00:10:21,448
Everyone was told to assemble,
152
00:10:21,554 --> 00:10:25,013
and the first thing Mr. Kurosawa said
was, “Katsu is relieved of his role.”
153
00:10:25,125 --> 00:10:28,823
Everyone was kind of paralyzed
upon hearing that.
154
00:10:28,928 --> 00:10:31,226
“MARTIAL LAW” ON THE SET
NAKADAI TO PLAY SHINGEN
155
00:10:31,331 --> 00:10:34,301
Replacing an actor in a lead role
rarely happens in Japanese cinema.
156
00:10:34,400 --> 00:10:36,960
IN PERFECT RAPPORT
AT KAGEMUSHA PRESS CONFERENCE
Kurosawa's new choice
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00:10:37,070 --> 00:10:38,333
was Tatsuya Nakadai.
158
00:10:38,438 --> 00:10:40,065
KAGEMUSHA PRESS CONFERENCE
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00:10:40,173 --> 00:10:43,905
‘It takes extra time to work
with someone you don't know.
160
00:10:44,010 --> 00:10:47,503
Nakadai has been in three of my films,
and we know each other's ways.”
161
00:10:49,282 --> 00:10:54,482
I agreed to be Mr. Katsu's replacement,
and a press conference was held.
162
00:10:55,255 --> 00:11:01,194
I said every actor in the world
wanted to work with Mr. Kurosawa,
163
00:11:01,294 --> 00:11:05,993
so even though I was a replacement,
it was a great opportunity for me,
164
00:11:06,266 --> 00:11:09,600
and I was happy
to play the role.
165
00:11:09,702 --> 00:11:11,864
INTERVIEWED BY
TERUYO NOGAMI
166
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Then all kinds of headlines cropped up,
quoting my words out of context.
167
00:11:15,775 --> 00:11:20,440
I heard Mr. Katsu's people
were enraged when they saw them,
168
00:11:20,813 --> 00:11:24,943
saying that what I had said
was unforgivable as an actor,
169
00:11:25,118 --> 00:11:26,950
and that they were really infuriated.
170
00:11:27,053 --> 00:11:31,286
I then ran into Mr. Katsu's brother,
Tomisaburo Wakayama.
171
00:11:31,457 --> 00:11:33,357
He was still angry with me.
172
00:11:34,861 --> 00:11:37,728
So I said,
“Mr. Wakayama, let's talk.”
173
00:11:37,830 --> 00:11:42,791
We went into a café in Atami.
I remember it vividly.
174
00:11:44,304 --> 00:11:46,864
I told him, “I tried to be courteous
175
00:11:46,973 --> 00:11:49,271
and show my respect and honor
to Mr. Katsu —”
176
00:11:49,375 --> 00:11:52,072
well, “respect and honor”
makes me sound like a yakuza —
177
00:11:52,178 --> 00:11:55,478
but I said that to show
my respect and honor,
178
00:11:55,582 --> 00:11:59,382
I had tried to see Mr. Katsu
for over a week,
179
00:11:59,485 --> 00:12:01,544
but Mr. Katsu had avoided me.
180
00:12:01,654 --> 00:12:05,113
I asked him if he knew about that.
181
00:12:05,225 --> 00:12:07,057
He said, “No, I didn't.”
182
00:12:07,160 --> 00:12:10,687
Then I explained what I had really said
and meant at the press conference.
183
00:12:10,830 --> 00:12:12,059
And he said, “I see.”
184
00:12:20,173 --> 00:12:23,734
SEPTEMBER 1979
THE RUINS OF AZUCHI CASTLE
Everyone worked together fo create
185
00:12:23,843 --> 00:12:26,244
the vision that Kurosawa was after.
186
00:12:26,779 --> 00:12:30,181
Kurosawa didn't just
command his crew,
187
00:12:30,283 --> 00:12:33,309
but willingly worked
alongside his crew members
188
00:12:33,419 --> 00:12:36,252
pulling weeds, removing rocks
and scrubbing floors.
189
00:12:37,724 --> 00:12:42,787
Kurosawa always fold his crew
fo aim a little higher,
190
00:12:42,895 --> 00:12:46,695
fo not be content
fo just do one's job,
191
00:12:46,799 --> 00:12:48,790
but to cooperate with others foo.
192
00:12:48,901 --> 00:12:52,360
He believed that was the way lo achieve
captivating imagery on screen.
193
00:13:18,564 --> 00:13:22,125
“Kagemusha fells a story
of human obsession,”
194
00:13:22,235 --> 00:13:25,398
says Masalo Ide, who wrote
the screenplay with Kurosawa.
195
00:13:26,306 --> 00:13:31,039
It portrays the tragedy of Shingen,
his double, and Takeda's retainers.
196
00:13:31,144 --> 00:13:35,138
The first scene establishes
their relationships symbolically,
197
00:13:37,283 --> 00:13:41,345
and Tatsuya Nakadai deftly portrays
two different characters.
198
00:13:44,290 --> 00:13:48,420
I only stole a few coins.
I'm a petty thief.
199
00:13:49,696 --> 00:13:53,929
A man who's killed hundreds
200
00:13:54,267 --> 00:13:57,362
and robbed whole domains
is hardly the one...
201
00:14:05,645 --> 00:14:07,545
is hardly the one...
202
00:14:08,715 --> 00:14:10,308
to call...
203
00:14:14,687 --> 00:14:15,848
to call me a scoundrel.
204
00:14:18,458 --> 00:14:21,052
On a large-scale shoot,
205
00:14:21,160 --> 00:14:25,996
an accident can sometimes occur even
when everyone's paying close attention.
206
00:14:36,709 --> 00:14:40,009
Nakadai falls off a horse
in one scene.
207
00:14:40,813 --> 00:14:45,080
Everyone at the shoot was looking
the other way but for one guy,
208
00:14:45,184 --> 00:14:47,482
and this guy called out,
“He fell off the horse!”
209
00:14:50,490 --> 00:14:53,858
Nakadai was climbing up a slope
on the horse.
210
00:14:54,360 --> 00:14:57,261
Beyond the slope,
it dropped off over a cliff.
211
00:14:57,363 --> 00:15:00,663
So Nakadai was afraid to go too far.
212
00:15:01,200 --> 00:15:03,168
The slope flattens out before the drop,
213
00:15:03,269 --> 00:15:06,239
but he pulled the reins
while he was still on the slope.
214
00:15:06,773 --> 00:15:10,004
There were about eight men
on horseback coming from behind me.
215
00:15:10,109 --> 00:15:14,012
But I had been taught
never to move if I fell from a horse,
216
00:15:14,180 --> 00:15:16,274
and more horses
were coming from behind.
217
00:15:16,382 --> 00:15:18,009
So I just kept still.
218
00:15:18,117 --> 00:15:20,779
Every time a horseshoe hit
the ornament on my helmet,
219
00:15:20,953 --> 00:15:23,422
I heard these clinks.
220
00:15:24,223 --> 00:15:26,783
I broke a few ribs here
221
00:15:26,893 --> 00:15:30,852
because the sword I had strapped on
pressed into my ribs and broke them.
222
00:15:31,864 --> 00:15:36,301
When I regained consciousness,
I was inside an ambulance,
223
00:15:36,803 --> 00:15:41,206
and Mr. Kurosawa was watching me
with a really concerned look.
224
00:15:42,208 --> 00:15:44,404
His face was right above mine.
225
00:15:55,655 --> 00:15:59,285
With the revitalization
of Japanese cinema in mind,
226
00:15:59,392 --> 00:16:02,794
Kurosawa hired
newly discovered actors for the film.
227
00:16:02,895 --> 00:16:07,492
Sometimes Kurosawa directed
these actors with great flexibility.
228
00:16:07,600 --> 00:16:08,999
He had this fo say:
229
00:16:10,069 --> 00:16:13,198
‘I have never felt
my work is perfect.
230
00:16:13,306 --> 00:16:15,240
I just endeavor to make a film
231
00:16:15,608 --> 00:16:19,238
that is as close as possible to my vision.”
MASAYUKI YUI (left)
as IEYASU TOKUGAWA
232
00:16:19,745 --> 00:16:23,739
From such a work philosophy,
an interesting episode was born.
233
00:16:29,922 --> 00:16:31,913
leyasu is given an unfamiliar drink,
234
00:16:32,592 --> 00:16:37,291
and he drinks this red wine in one scene.
MASAYUKI YUI - ACTOR
235
00:16:37,530 --> 00:16:40,500
And Non-chan — that is,
Ms. Nogami, the script supervisor —
236
00:16:40,700 --> 00:16:44,364
gave us real wine, though, of course,
she didn't give it to us straight.
237
00:16:44,470 --> 00:16:48,407
But she had it chilled
and diluted with water.
238
00:16:48,508 --> 00:16:52,376
Still, we were given real alcohol
starting right from rehearsal.
239
00:16:52,645 --> 00:16:57,583
The scene involved a cavalry regiment
and infantrymen with spears,
240
00:16:57,683 --> 00:17:00,345
and the crew was working
with intense concentration.
241
00:17:00,453 --> 00:17:02,854
Shooting that scene
took a really long time.
242
00:17:02,955 --> 00:17:06,289
Everyone's actions had to be coordinated,
so the rehearsal was long, too.
243
00:17:06,459 --> 00:17:09,952
I wound up drinking quite a bit
of the wine, and I got drunk.
244
00:17:10,229 --> 00:17:13,426
Because leyasu is visiting
the more powerful Nobunaga,
245
00:17:13,533 --> 00:17:16,730
he places his sword behind him
246
00:17:16,836 --> 00:17:19,567
to show that he has no intention
of harming Nobunaga.
247
00:17:19,672 --> 00:17:23,233
The sword is placed behind
where it can't be easily reached.
248
00:17:23,342 --> 00:17:25,538
That was the proper etiquette.
249
00:17:25,678 --> 00:17:28,773
They then both emerge
from the screened-off area.
250
00:17:28,881 --> 00:17:31,714
The scene after that
was to be shot in Hokkaido.
251
00:17:31,817 --> 00:17:36,311
We come out of the screened area,
and then the shoot moves to Hokkaido.
252
00:17:36,489 --> 00:17:39,652
But we realized that leyasu
had left his sword behind.
253
00:17:40,593 --> 00:17:44,928
Someone noticed it
while watching the rushes.
254
00:17:45,031 --> 00:17:50,470
Mr. Kurosawa later said,
“Well, since you forgot the sword,
255
00:17:50,570 --> 00:17:55,508
I had a chance fo improve that scene.”
He said that it improved the story.
256
00:17:58,344 --> 00:18:02,338
I need to go put down
that religious uprising in Ise.
257
00:18:03,015 --> 00:18:05,006
I have much to do.
258
00:18:07,253 --> 00:18:08,778
Raise the curtain!
259
00:18:10,356 --> 00:18:12,188
On your feet!
260
00:18:42,888 --> 00:18:45,983
I arrived too late to help you.
261
00:18:46,892 --> 00:18:49,953
This gold expresses my regrets.
262
00:18:52,632 --> 00:18:55,124
I will leave Takeda to you.
263
00:18:56,736 --> 00:18:58,067
Farewell.
264
00:19:09,815 --> 00:19:12,307
Shingen's grandson Takemaru
had to be cas,
265
00:19:12,418 --> 00:19:15,444
but the search for a child
with the right look wasn't going well.
266
00:19:15,588 --> 00:19:18,523
By chance, Kurosawa happened
fo see Kota Yui.
KOTA YUI — MASAYUKI YUI'S SON
(AGE 5 AT THE TIME)
267
00:19:19,258 --> 00:19:22,751
You look so natural
268
00:19:23,429 --> 00:19:25,693
and adorable in the film.
269
00:19:26,932 --> 00:19:29,663
Mr. Kurosawa's direction didn't elicit that
KOTA YUIl - ACTOR
270
00:19:29,769 --> 00:19:32,500
It was due to his astuteness
in choosing the right child.
271
00:19:32,605 --> 00:19:35,131
I really don't think
I did anything on my part.
272
00:19:37,610 --> 00:19:41,877
If Takemaru were not adorable,
Mr. Nakadai couldn't have done his part.
273
00:19:41,981 --> 00:19:46,441
Don't you marvel at yourself
for your work at such a young age?
274
00:19:46,552 --> 00:19:50,682
What I remember from the shoot
275
00:19:50,790 --> 00:19:56,456
is being told to say to Mr. Nakadai,
“No! He is not my grandfather.”
276
00:19:57,163 --> 00:19:59,359
So without understanding the meaning,
277
00:19:59,465 --> 00:20:02,867
I kept telling myself repeatedly
that he wasn't my grandfather.
278
00:20:02,968 --> 00:20:06,996
In my mind, I uttered the line
as forcefully as I could.
279
00:20:07,339 --> 00:20:08,738
That's how I remember it.
280
00:20:15,014 --> 00:20:18,678
Congratulations
on your victory, my lord.
281
00:20:28,894 --> 00:20:31,488
No! He is not my grandfather.
282
00:20:45,845 --> 00:20:48,246
Kurosawa's shooting technique
283
00:20:48,347 --> 00:20:50,179
fook full advantage of the weather.
284
00:20:51,183 --> 00:20:54,483
On location shoofts, he utilized
the seasons and the lay of the land,
285
00:20:54,587 --> 00:20:57,613
and the weather miraculously
cooperated with him numerous fimes.
286
00:21:04,130 --> 00:21:07,964
He never once treated me like a son.
287
00:21:08,067 --> 00:21:09,193
You're mistaken.
288
00:21:09,301 --> 00:21:12,794
He had this kind of luck with the weather
on Kagemusha as well.
289
00:21:12,905 --> 00:21:15,897
It was the wind
that cooperated this time.
290
00:21:19,745 --> 00:21:24,273
He wished to be buried in Lake Suwa
291
00:21:24,383 --> 00:21:26,875
in his armor.
292
00:21:26,986 --> 00:21:29,080
Do you know why?
293
00:21:29,288 --> 00:21:32,656
Since you live here in Suwa Castle,
294
00:21:33,292 --> 00:21:36,660
he wanted to be near you,
to aid you.
295
00:21:38,397 --> 00:21:42,231
Kaftsuyori's irritation is expressed
by the whitecaps on the lake.
296
00:21:42,668 --> 00:21:44,534
The view of the lake
through the castle windows
297
00:21:44,637 --> 00:21:47,402
Is shot fo great effect in this scene.
298
00:21:53,012 --> 00:21:54,980
At times, when shooting the scene
299
00:21:55,080 --> 00:21:57,481
involving the use
of a large-scale smoke effect,
300
00:21:57,583 --> 00:22:00,985
Kurosawa needed the wind fo be still.
301
00:22:01,954 --> 00:22:05,185
It must have been hard fo achieve
that smoke effect on the lake.
302
00:22:05,291 --> 00:22:08,886
It actually went better than we expected.
KOICHI HAMAMURA —- SET DECORATOR
303
00:22:08,994 --> 00:22:10,792
The shoot went smoothly.
304
00:22:12,331 --> 00:22:16,928
Mr. Kurosawa asked,
“Hama-chan, can we do it today?”
305
00:22:17,837 --> 00:22:20,932
So I said, “Let's wait a little
and see the wind's condition.”
306
00:22:22,441 --> 00:22:25,342
“Oh, there isn't much wind.
Let's do it,”
307
00:22:25,444 --> 00:22:27,105
I said to him a little later.
308
00:22:27,213 --> 00:22:29,204
He said, “Okay, let's do it.”
So we did.
309
00:22:29,315 --> 00:22:31,340
And the shot went well.
310
00:22:31,450 --> 00:22:36,012
We had about six boats
carrying smoke machines,
311
00:22:37,356 --> 00:22:39,518
so I thought I'd get away
on one of them.
312
00:22:39,625 --> 00:22:41,923
But Mr. Kurosawa said,
“No, Hama-chan, stay here.”
313
00:22:42,027 --> 00:22:44,519
You tried fo get away?
314
00:22:44,630 --> 00:22:46,291
To where the action was.
315
00:22:47,566 --> 00:22:52,800
- You must have practiced rowing a lot.
- Yes, I practiced on the Tama river.
JINPACHI NEZU — ACTOR
316
00:22:54,640 --> 00:22:58,543
So you had to control —
What do you call it, the rudder?
317
00:22:58,644 --> 00:23:02,342
No, it was a scull.
The boat didn't have a rudder.
318
00:23:02,581 --> 00:23:08,543
You control the direction of the boat
by adjusting the way you row with the scull.
319
00:23:09,421 --> 00:23:11,480
So there was no rudder.
320
00:23:11,590 --> 00:23:14,890
When you feel
you're drifting this way,
321
00:23:14,994 --> 00:23:19,261
you work the scull like this
to get back on course.
322
00:23:20,499 --> 00:23:21,762
It sounds difficult
323
00:23:21,867 --> 00:23:23,392
It was pretty difficult.
324
00:23:23,502 --> 00:23:25,300
On top of that,
I was surprised to find
325
00:23:25,404 --> 00:23:29,307
three other fully armored samurai
besides myself in the boat.
326
00:23:29,408 --> 00:23:30,933
I wasn't expecting that.
327
00:23:31,043 --> 00:23:33,478
So the boat was heavy.
328
00:23:33,579 --> 00:23:37,538
Also, the boat itself was far larger
than the one I had practiced in.
329
00:23:39,551 --> 00:23:40,950
So you weren't fold beforehand.
330
00:23:41,053 --> 00:23:43,181
It was a hard scene to do.
331
00:23:44,423 --> 00:23:48,018
But miraculously,
the scene went well in one take.
332
00:23:48,127 --> 00:23:51,290
If it hadnt, I can't even imagine
how much it might have cost
333
00:23:51,630 --> 00:23:53,826
if we had had fo do a retake.
334
00:23:53,933 --> 00:23:56,834
When you entered the mist,
335
00:23:56,936 --> 00:24:01,169
the white smoke blanketed everything,
right? You couldn't see anything?
336
00:24:01,273 --> 00:24:04,868
No, I just had to rely
on my sense of direction.
337
00:24:04,977 --> 00:24:06,570
That's kind of sad.
338
00:24:06,712 --> 00:24:09,511
You were rowing even when
the camera couldn't see you.
339
00:24:09,615 --> 00:24:11,083
That's right.
340
00:24:12,551 --> 00:24:15,384
When we were enveloped
by the smoke, I got nervous.
341
00:24:15,487 --> 00:24:18,320
I was worried
about drifting off course.
342
00:24:45,150 --> 00:24:47,084
What are they doing?
343
00:24:49,254 --> 00:24:51,086
What's in that jar?
344
00:25:04,603 --> 00:25:07,834
The task of supporting Kurosawa
and bringing his vision to life
345
00:25:08,007 --> 00:25:11,875
fell on Kurosawa's crew members.
346
00:25:13,479 --> 00:25:17,177
Art director Yoshiro Muraki
was one such crew member.
YOSHIRO MURAKI
ART DIRECTOR
347
00:25:17,282 --> 00:25:19,114
When you make something like this,
348
00:25:19,685 --> 00:25:24,486
you don't get fo make it fo this scale.
Usually just some parts of it.
349
00:25:24,957 --> 00:25:27,551
But it was different
with Mr. Kurosawa. It was great.
350
00:25:27,659 --> 00:25:31,721
He was good with spotlighting
the background set.
351
00:25:32,531 --> 00:25:34,693
In other words, if you made it,
352
00:25:34,800 --> 00:25:37,701
he would show it fully on film.
353
00:25:38,404 --> 00:25:40,964
There was no one
better at that than him.
354
00:25:43,675 --> 00:25:47,202
Starting with Kagemusha, a new
crew member joined the technical team.
355
00:25:47,312 --> 00:25:50,976
Takeshi Sano of the lighting crew.
356
00:25:51,850 --> 00:25:52,874
He was really —
357
00:25:52,985 --> 00:25:55,215
TAKEJI SANO - LIGHTING DIRECTOR
358
00:25:55,320 --> 00:25:57,618
He painted pictures as well,
359
00:25:57,723 --> 00:26:01,557
which I found out later,
so he liked to play with lighting.
360
00:26:01,660 --> 00:26:03,059
He did.
361
00:26:03,162 --> 00:26:07,656
The difference between us lighting men
and painters is — how can I put it?
362
00:26:07,833 --> 00:26:11,895
Painters paint a picture
on a white canvas,
363
00:26:12,004 --> 00:26:15,167
but we try to create a picture
against a black background.
364
00:26:16,341 --> 00:26:18,105
That's the difference.
365
00:26:18,510 --> 00:26:21,741
A white canvas is the starting point
for a painter's work,
366
00:26:22,014 --> 00:26:25,575
whereas for our job we start
with a black background.
367
00:26:26,418 --> 00:26:30,321
Except for that difference in approach,
368
00:26:30,422 --> 00:26:32,857
lighting is just like painting.
369
00:26:33,025 --> 00:26:35,221
That's why Mr. Kurosawa liked lighting.
370
00:26:36,128 --> 00:26:38,358
There's a subdued color called GB,
371
00:26:38,464 --> 00:26:42,799
a pale blue with a greenish tinge,
that I used as a filter in a scene.
372
00:26:43,202 --> 00:26:46,263
- An almost undetectable tinge?
- Right, nearly unnoticeable.
373
00:26:46,371 --> 00:26:51,605
But Mr. Kurosawa said,
“Sano, the color seems a bit off.”
374
00:26:52,744 --> 00:26:54,712
The green tinge was really slight.
375
00:26:56,615 --> 00:26:58,379
Most people who saw it
376
00:26:58,484 --> 00:27:03,422
wouldn't notice that the blue had
a green tint to it unless they were told.
377
00:27:04,289 --> 00:27:06,280
But he noticed it.
378
00:27:06,959 --> 00:27:08,654
It was amazing.
379
00:27:10,295 --> 00:27:13,663
See? The difference
between these two is hardly noticeable.
380
00:27:14,633 --> 00:27:18,729
That incident shows
how sharp he was about color.
381
00:27:20,072 --> 00:27:24,407
After discussing it with Kurosawa,
Sano tried something new,
382
00:27:25,010 --> 00:27:28,969
and that concerned his choice
of a base filter color.
383
00:27:29,648 --> 00:27:32,310
Normally, you use a blue filter
for night scenes.
384
00:27:32,417 --> 00:27:34,385
Isn't that right?
385
00:27:34,486 --> 00:27:39,981
But Mr. Kurosawa's painting
or imagery in his films
386
00:27:40,092 --> 00:27:42,925
didn't restrict you
to using blue for night,
387
00:27:43,028 --> 00:27:45,360
red for a fire,
388
00:27:45,464 --> 00:27:47,660
or a certain color for morning.
389
00:27:47,766 --> 00:27:50,758
As long as a color seemed right,
he was fine with it.
390
00:27:51,470 --> 00:27:55,100
So I told him that I wanted to use
a green filter for a night scene.
391
00:27:56,842 --> 00:28:01,837
He said all right without reservation.
392
00:28:02,314 --> 00:28:04,976
It's not easy to agree like that
to try something different.
393
00:28:05,317 --> 00:28:06,944
Yes, that's true.
394
00:28:07,052 --> 00:28:10,750
But the reason I wanted to use green
395
00:28:10,856 --> 00:28:14,451
wasn't only because
no one else used it.
396
00:28:15,360 --> 00:28:18,955
I had my own reasons
for choosing the color.
397
00:28:19,064 --> 00:28:22,830
I wanted to use green
to suggest a world of death.
398
00:28:23,135 --> 00:28:25,467
Green is a neutral color.
399
00:28:26,038 --> 00:28:29,303
Both red and blue kill other colors.
400
00:28:29,708 --> 00:28:31,699
They overpower other colors.
401
00:28:31,877 --> 00:28:35,780
But to suggest a world of death —
Well, if I were asked,
402
00:28:35,881 --> 00:28:38,873
I would have answered
that I chose green for that purpose.
403
00:28:38,984 --> 00:28:43,478
But I guess he understood my reasons
and said all right, so we used green.
404
00:28:44,890 --> 00:28:47,416
You wouldn't see that done normally.
405
00:29:17,856 --> 00:29:20,086
- What was that?
- What happened?
406
00:29:20,792 --> 00:29:21,850
There's a scene where Katsuyori
407
00:29:21,960 --> 00:29:27,262
is standing on the top of a hill,
and his army's defeat seems imminent.
SHINICHIRO IKEBE — COMPOSER
408
00:29:27,366 --> 00:29:29,926
- Where he's in silhouette?
- Yes, that's the one.
409
00:29:30,035 --> 00:29:33,630
Music for that scene is short,
probably 40 seconds or so.
410
00:29:33,739 --> 00:29:36,936
And I hadn't written
a piece for the scene.
411
00:29:37,042 --> 00:29:38,806
Then Mr. Kurosawa said
412
00:29:39,978 --> 00:29:42,470
that we could use music
from another scene.
413
00:29:42,581 --> 00:29:47,382
He said the middle section
of the piece would fit that scene.
414
00:29:47,552 --> 00:29:49,384
You mean a piece you had already used?
415
00:29:49,488 --> 00:29:51,149
Yes, a piece already used
in another scene.
416
00:29:51,256 --> 00:29:56,285
So he suggested that we reuse
the middle section of the piece.
417
00:29:56,395 --> 00:30:01,993
I replied that even if the piece's mood
fit the scene, the length wouldn't.
418
00:30:02,100 --> 00:30:06,128
Then he said, “The rhythmic flow
is the same in both movies and music.
419
00:30:06,238 --> 00:30:10,300
The length required to show a certain
meaning is the same. Let's try it.”
420
00:30:10,409 --> 00:30:13,003
And the middle section fit
the scene perfectly.
421
00:30:13,111 --> 00:30:15,375
I said, “Wow, it fits perfectly.”
422
00:30:15,480 --> 00:30:17,539
He said,
“Movies and music are alike,
423
00:30:17,649 --> 00:30:20,516
so their rhythmic flow shares
a common length.”
424
00:30:20,619 --> 00:30:23,486
I don't think that applies
to all movies and music,
425
00:30:23,588 --> 00:30:26,387
but I felt Kurosawa's genius
from that comment.
426
00:30:26,491 --> 00:30:29,256
I couldn't believe that the music
and the scene fit together.
427
00:30:45,477 --> 00:30:50,540
The theme music for Kagemusha
Is a theme for Shingen?
428
00:30:50,649 --> 00:30:52,845
Yes, you could say that.
429
00:30:52,951 --> 00:30:55,352
How did you come up with the music?
430
00:30:55,454 --> 00:31:01,018
Mr. Kurosawa asked me to play
the basic melody of a few pieces for him.
431
00:31:01,293 --> 00:31:03,694
He asked me to do that
on Dreams, too.
432
00:31:03,795 --> 00:31:09,700
For Kagemusha, he asked me to play
the melody of the main theme on the piano.
433
00:31:11,069 --> 00:31:14,164
He wanted me to play several pieces
so he could choose from them.
434
00:31:15,507 --> 00:31:19,307
I don't remember the exact number,
but I wrote about 15 or 16 pieces.
435
00:31:19,678 --> 00:31:22,704
I wouldn't be able to talk
about this if he were still alive,
436
00:31:22,814 --> 00:31:24,646
but I had a strategy.
437
00:31:24,750 --> 00:31:26,980
Although I wrote 15 or 16 pieces,
438
00:31:27,085 --> 00:31:30,453
I wasn't happy with some pieces
and didn't want him to pick those.
439
00:31:30,555 --> 00:31:32,990
- Those were just padding?
- That's right.
440
00:31:33,091 --> 00:31:37,426
When you wrote 15 or 16 pieces,
not all were to your satisfaction.
441
00:31:37,529 --> 00:31:40,590
There were some I was happy with
and others not so much.
442
00:31:40,699 --> 00:31:44,658
I wanted Mr. Kurosawa to pick
the one I was happy with,
443
00:31:44,770 --> 00:31:49,105
because that would be the foundation
for the rest of music in the film.
444
00:31:49,674 --> 00:31:55,238
So among the 15 or 16 pieces I played,
the first piece wasn't so good.
445
00:31:55,680 --> 00:31:58,149
I had arranged the order
of the pieces just so.
446
00:31:58,250 --> 00:32:00,241
Sure enough, Mr. Kurosawa said,
“Not so good.”
447
00:32:00,352 --> 00:32:02,753
That was expected,
because I felt the same way.
448
00:32:02,854 --> 00:32:07,348
Even by the fourth piece,
I still hadn't played a good one.
449
00:32:07,459 --> 00:32:12,192
Then Mr. Kurosawa said,
“I can't grasp it.”
450
00:32:12,364 --> 00:32:15,390
He said, “I can't grasp this one.”
451
00:32:15,567 --> 00:32:18,195
Meaning he wanted me to write
something he could grasp.
452
00:32:19,304 --> 00:32:24,606
Something that would grab the audience
and stay with them after one hearing.
453
00:32:24,709 --> 00:32:29,476
But the fourth piece I played
was complicated and hard to grasp.
454
00:32:29,581 --> 00:32:31,675
Sure enough, he said,
“This is too complicated.”
455
00:32:31,783 --> 00:32:34,684
I thought to myself,
“Of course. That was intentional.”
456
00:32:34,786 --> 00:32:38,347
I had arranged to play
the best piece eighth in order.
457
00:32:38,457 --> 00:32:41,950
But before that, I played
my second favorite as the sixth piece.
458
00:32:42,060 --> 00:32:45,325
Amazingly enough,
Mr. Kurosawa liked that one too.
459
00:32:45,430 --> 00:32:47,797
Because we both wanted something
that could be grasped.
460
00:32:47,899 --> 00:32:52,234
So Mr. Kurosawa said,
“This one is good, but still a bit —
461
00:32:52,404 --> 00:32:56,398
It's not the very best one.
Let's consider it as a second choice.”
462
00:32:56,508 --> 00:32:59,967
My second choice was the sixth one too,
while my first choice was the eighth.
463
00:33:00,078 --> 00:33:03,776
So just when Mr. Kurosawa was itching
to hear a really good one,
464
00:33:04,082 --> 00:33:06,210
I played the piece
that I wanted him to pick.
465
00:33:06,318 --> 00:33:07,843
Very crafty!
466
00:33:07,953 --> 00:33:11,719
I played the eighth piece
that has the melody like this.
467
00:33:11,823 --> 00:33:15,157
And Mr. Kurosawa said,
“This is good. Yes, I like this one.
468
00:33:15,260 --> 00:33:18,161
This would be my first choice.”
But he wanted to hear the rest, too.
469
00:33:18,263 --> 00:33:21,062
But the remaining pieces were junk,
470
00:33:21,166 --> 00:33:23,567
so my heart wasn't into playing them.
471
00:33:23,668 --> 00:33:25,602
He kept saying, “No good,”
all the way to the last.
472
00:33:25,704 --> 00:33:28,264
Then he said, “Play the piece
I picked as the first choice.
473
00:33:28,373 --> 00:33:31,172
Yeah, we'll go with this one.”
474
00:33:31,276 --> 00:33:33,506
So I succeeded in outwitting him
with my strategy.
475
00:34:09,347 --> 00:34:13,215
With banners bearing Sun Tzu's words
ralsed high, the Takeda army advances.
476
00:34:14,319 --> 00:34:18,722
Kurosawa's passion is felt even
in shooting the large-scale battle scene.
477
00:34:21,059 --> 00:34:25,257
Mr. Kurosawa said,
“What is it, Hama-chan?”
KOICHI HAMAMURA —- SET DECORATOR
478
00:34:25,830 --> 00:34:28,458
I said, “For the location shoot
in Hokkaido,
479
00:34:28,567 --> 00:34:33,129
we can't possibly take all the helpers
for dressing armor on extras.
480
00:34:33,238 --> 00:34:36,731
Why don't we train
the Group of 30 Cavalrymen
481
00:34:36,841 --> 00:34:41,074
in how to mount Japanese saddles
and how to wear armor
482
00:34:41,179 --> 00:34:44,012
so they could help us in Hokkaido?”
483
00:34:44,115 --> 00:34:46,345
“That's a very good idea,” he said.
484
00:34:46,451 --> 00:34:48,579
- It was your idea?
- Yes.
485
00:34:48,687 --> 00:34:52,920
So when I made the suggestion,
he said, “Let's start tonight.”
486
00:34:53,558 --> 00:34:55,151
That was a very good idea.
487
00:34:55,260 --> 00:34:57,592
It was, and it made my job much easier.
488
00:34:57,696 --> 00:34:59,926
One person was in charge
of dozens of people.
489
00:35:00,031 --> 00:35:02,193
Yes, the group really helped us a lot.
490
00:35:02,867 --> 00:35:05,996
So many non-actors worked
and helped as extras on the film.
TAKASHI KOIZUMI — DIRECTOR
491
00:35:06,104 --> 00:35:08,664
They were students and people
who admired Mr. Kurosawa.
492
00:35:08,773 --> 00:35:10,468
They really contributed a lot,
493
00:35:10,575 --> 00:35:14,478
because they were full of enthusiasm
to take part in Mr. Kurosawa's film.
494
00:35:14,579 --> 00:35:17,105
Even If their faces
didn't show in the film,
495
00:35:17,215 --> 00:35:19,809
they were just happy fo be part of it.
496
00:35:19,918 --> 00:35:22,615
The Group of 30 Cavalrymen
instructed extras
497
00:35:22,721 --> 00:35:25,156
in how to wear sandals
and helmets and such,
498
00:35:25,256 --> 00:35:27,452
and their contribution was great.
499
00:35:28,760 --> 00:35:33,288
A few actors from those who auditioned
were selected as squad leaders,
THE GROUP OF 30 CAVALRYMEN
500
00:35:33,398 --> 00:35:36,060
and each fook care of about 30 extras.
501
00:35:37,602 --> 00:35:42,665
People say that without their help,
the battle scenes couldn't have been shot
502
00:35:50,148 --> 00:35:52,515
The camera rolled thanks to their help.
503
00:36:40,365 --> 00:36:44,359
Horse trainer Minpei Shirai
remembers the shoot.
504
00:36:46,337 --> 00:36:49,238
Mr. Kurosawa wanted to shoot
MINPEI SHIRAI — RANCH OWNER
505
00:36:49,340 --> 00:36:51,707
horses struggling frantically
among the dead soldiers.
506
00:36:51,810 --> 00:36:53,938
There's a scene
of a sea of dead bodies.
507
00:36:54,045 --> 00:36:56,241
So I told him that was impossible,
508
00:36:56,347 --> 00:37:01,046
because having horses move around
among people lying on the ground
509
00:37:01,152 --> 00:37:02,711
was too dangerous.
510
00:37:02,887 --> 00:37:05,948
I suggested he use dolls
as stand-ins for dead soldiers.
511
00:37:06,057 --> 00:37:08,526
He said that he didn't like dolls.
512
00:37:09,327 --> 00:37:14,060
Thus the shoot proceeded
as Kurosawa intended.
513
00:37:40,725 --> 00:37:44,525
There are individual differences
when you use anesthetics.
514
00:37:44,629 --> 00:37:48,862
The same amount of anesthetic
works differently on different horses.
515
00:37:48,967 --> 00:37:52,767
So armor-clad veterinarians dispensed
shots to the horses for the scene.
516
00:37:52,871 --> 00:37:57,274
And the only period
when all the horses were asleep
517
00:37:57,375 --> 00:37:59,275
lasted a mere ten seconds.
518
00:37:59,377 --> 00:38:02,711
Mr. Kurosawa wanted it
to last more than ten seconds.
519
00:38:02,947 --> 00:38:05,348
So when we were doing the last take,
520
00:38:05,450 --> 00:38:09,387
he said softly, “Please don't move.”
521
00:38:09,888 --> 00:38:14,951
Then I couldn't help myself,
and I shouted, “Don't move!
522
00:38:15,560 --> 00:38:17,892
Stay still a bit longer!”
into the microphone.
523
00:38:17,996 --> 00:38:19,896
Then the horses started thrashing.
524
00:38:19,998 --> 00:38:23,229
And the actors playing dead soldiers
began moving away from the horses,
525
00:38:23,334 --> 00:38:25,666
even those who were
in front of the camera.
526
00:38:28,273 --> 00:38:30,970
Shirai was apprehensive about
the dangers involved in the shoot.
527
00:38:31,843 --> 00:38:34,676
Yet he surprised himself
when he shouted into the microphone,
528
00:38:34,846 --> 00:38:36,644
and he still remembers it vividly.
529
00:38:36,748 --> 00:38:40,548
I was able to do it because I saw myself
as an outsider, not a moviemaker.
530
00:38:40,652 --> 00:38:43,883
I couldn't help doing it
when it came down to the wire.
531
00:38:43,988 --> 00:38:47,219
Then I understood
why the crew worked so hard
532
00:38:47,325 --> 00:38:50,590
when Mr. Kurosawa
wanted something done.
533
00:38:50,695 --> 00:38:53,995
They felt the same way I felt
when I shouted, “Don't move!”
534
00:38:54,299 --> 00:38:57,599
People who feel that way
came together as Mr. Kurosawa's crew.
535
00:38:57,702 --> 00:39:01,104
Those who didn't feel that way
would eventually do so.
536
00:39:01,206 --> 00:39:02,674
It was remarkable.
537
00:39:02,774 --> 00:39:06,039
I should say “ordinary crew members,”
rather than “those who didn't feel that way.”
538
00:39:06,377 --> 00:39:11,941
As they work on a few shoots,
or work as his crew on several films,
539
00:39:13,318 --> 00:39:16,754
without being forced or anything,
540
00:39:16,855 --> 00:39:21,383
they begin to feel that they want
to do their best for Mr. Kurosawa.
541
00:39:21,492 --> 00:39:26,623
That spontaneous feeling
brought out their dedication.
542
00:39:27,332 --> 00:39:33,032
In a sense, Mr. Kurosawa
breathed life into different things
DAISUKE RYU —- ACTOR
543
00:39:33,137 --> 00:39:35,105
through his direction.
544
00:39:35,206 --> 00:39:38,039
With dozens of characters in a film,
545
00:39:39,043 --> 00:39:44,504
he put his energy
into each one of the characters.
546
00:39:44,983 --> 00:39:48,977
I think that's
such a tremendous thing to do.
547
00:39:50,889 --> 00:39:52,823
The energy of doing that —
548
00:39:53,491 --> 00:39:56,756
I really think what he was able
fo do was extraordinary.
549
00:40:03,501 --> 00:40:06,061
By making maximum use
550
00:40:06,170 --> 00:40:07,569
of the script and storyboards,
551
00:40:07,672 --> 00:40:09,401
the film Kagemusha was made.
552
00:40:10,575 --> 00:40:13,943
Studios had predicted the film's failure
because of its sefting,
553
00:40:14,045 --> 00:40:17,071
but the film won the Palme d'Or
at the Cannes Film Festival
554
00:40:17,181 --> 00:40:20,742
and went on fo earn a great profit.
MAY 1980 — CANNES
555
00:40:21,352 --> 00:40:24,413
While following the tradition
of Japanese period drama,
556
00:40:24,522 --> 00:40:27,548
the film created a new kind of story
set in the Warring States period.
557
00:40:29,694 --> 00:40:32,026
Kurosawa's vision
as seen in the storyboards
558
00:40:32,130 --> 00:40:35,430
was recreated on the screen.
559
00:40:35,533 --> 00:40:37,627
Yet Kurosawa had this to say:
560
00:40:39,203 --> 00:40:43,197
“Wustrations don't move.
But in a film, pictures must move.
561
00:40:43,574 --> 00:40:47,738
The point is how fo capture
moving pictures on film.”
49276
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