2013.05.01 Cinema Cinema (No. 43) - Interview with Miki Satoshi
2013.05.01 Cinema Cinema (No. 43) - Interview with Miki Satoshi
Miki Satoshi talks about OreOre and Kame.
note: I hope I didn't mess up too much and it is understandable.
Director's Voice
Miki Satoshi (director)
I admire the height of Kamenashi-kun's potential
It began in fall of 2010. I received a call from the producer. He had watched "Atami no Sousakan " (a drama directed by Miki), and he asked me what I thought about such a movie. I read through the novel and it was interesting, simultaneously my interest grew in how to turn it into a movie. Even using a montage for the phenomenon where the same character is multiplying the story was difficult to do in a movie because it is quite philosophical. How to build the relationship between oneself and another person [another ore] and how to capture it in the story while keeping the spirit of the original work alive. I used a good amount of time for organisation and development meetings.
After that was the casting and then, first of all, a certain unique reality is necessary to make this movie. The story can unfold in any (everyday) scenery, and an everyday person can find himself in the middle of an impossible story. For Kamenashi-kun that point was clear and above all from the stage where there was no final manuscript he understood the intention of the screen play. I felt that was good. This [understanding] is the first step for an actor to approach my movies (works), but in case of my movies when one watches them entirely they are disjointed, right? However because I ask that the actors convey the meaning of every word perfectly there were times when the actors feel puzzled/are at a loss (*laughs*).
Regarding "OreOre", when being with "another person of whom oneself thinks that they have a strong personality" one’s own existence will become thin/diluted. To establish/build one’s own existence there should be no [image of the] other person in one’s mind when being with the real other person. [1]
That is the essence of the story, Kamenashi-kun said "Hitoshi’s character/personality is weak compared to Daiki and Nao, right?" At that point in time I sensed that he understands the script. I thought there is no other actor except him to play Hitoshi.
What I admired is the height of precision with which he controls his body. Facing a space where there should be another actor [but isn’t because Kame plays all ‘me’], when is the right timing to look at it? Kamenashi-kun coordinated this in minute detail. Cameraman Komatsu (Takashi) was also surprised. He said, "Kamenashi-san is amazing!", it was quite a bit like a “strong opinion/theory” feeling (*laughs*).
And more, the switching of roles is also fast. The level of practice of the staff increased. In the end they were able to change the make-up and costume in 10 minutes max. That means Kamenashi-kun also had to switch the 'character' in 10 minutes. He perfectly lived up to such an absurd request/order.
There was this incentive/motivation and the staff also did their very best. The difficult montage of vertical movement and even the assembly of the sound is very time and labour consuming. Because everyone showed their height of potential I think the movie was completed without problems.
This is my first movie in four years since "Instant Swamp". In the meantime there was a ‘flow’ in me and its result is this movie. I don't know if this will agree with people who liked my previous works. But I have no choice but to try to show it to the public.
But more than the response to it I feel I am in a lucky position that I can make such a movie even though the Japanese movie world is relentless (*laughs*).
Something impressive was Kamenashi-kun at the time of the preview showing. He watches himself in a movie where he splits to play ‘himself’. These are amazing SF-like circumstances, these circumstances are a horror that only Kamenashi Kazuya can experience. Kamenashi-kun with an anxious expression that I hadn’t see during the filming was impressive (*laughs*).
A cineaste you want to meet
David Lynch. I want to ask him, “What are you thinking about?”.
[1] I think this mean that if one has a predefined [often wrong] image of a person in one’s mind that image is not the reality [but an untrue image]. So one should have no predefined images but see the other person how he/she is. This will then positively influence one’s own personality.
Miki Satoshi talks about OreOre and Kame.
note: I hope I didn't mess up too much and it is understandable.
Director's Voice
Miki Satoshi (director)
I admire the height of Kamenashi-kun's potential
It began in fall of 2010. I received a call from the producer. He had watched "Atami no Sousakan " (a drama directed by Miki), and he asked me what I thought about such a movie. I read through the novel and it was interesting, simultaneously my interest grew in how to turn it into a movie. Even using a montage for the phenomenon where the same character is multiplying the story was difficult to do in a movie because it is quite philosophical. How to build the relationship between oneself and another person [another ore] and how to capture it in the story while keeping the spirit of the original work alive. I used a good amount of time for organisation and development meetings.
After that was the casting and then, first of all, a certain unique reality is necessary to make this movie. The story can unfold in any (everyday) scenery, and an everyday person can find himself in the middle of an impossible story. For Kamenashi-kun that point was clear and above all from the stage where there was no final manuscript he understood the intention of the screen play. I felt that was good. This [understanding] is the first step for an actor to approach my movies (works), but in case of my movies when one watches them entirely they are disjointed, right? However because I ask that the actors convey the meaning of every word perfectly there were times when the actors feel puzzled/are at a loss (*laughs*).
Regarding "OreOre", when being with "another person of whom oneself thinks that they have a strong personality" one’s own existence will become thin/diluted. To establish/build one’s own existence there should be no [image of the] other person in one’s mind when being with the real other person. [1]
That is the essence of the story, Kamenashi-kun said "Hitoshi’s character/personality is weak compared to Daiki and Nao, right?" At that point in time I sensed that he understands the script. I thought there is no other actor except him to play Hitoshi.
What I admired is the height of precision with which he controls his body. Facing a space where there should be another actor [but isn’t because Kame plays all ‘me’], when is the right timing to look at it? Kamenashi-kun coordinated this in minute detail. Cameraman Komatsu (Takashi) was also surprised. He said, "Kamenashi-san is amazing!", it was quite a bit like a “strong opinion/theory” feeling (*laughs*).
And more, the switching of roles is also fast. The level of practice of the staff increased. In the end they were able to change the make-up and costume in 10 minutes max. That means Kamenashi-kun also had to switch the 'character' in 10 minutes. He perfectly lived up to such an absurd request/order.
There was this incentive/motivation and the staff also did their very best. The difficult montage of vertical movement and even the assembly of the sound is very time and labour consuming. Because everyone showed their height of potential I think the movie was completed without problems.
This is my first movie in four years since "Instant Swamp". In the meantime there was a ‘flow’ in me and its result is this movie. I don't know if this will agree with people who liked my previous works. But I have no choice but to try to show it to the public.
But more than the response to it I feel I am in a lucky position that I can make such a movie even though the Japanese movie world is relentless (*laughs*).
Something impressive was Kamenashi-kun at the time of the preview showing. He watches himself in a movie where he splits to play ‘himself’. These are amazing SF-like circumstances, these circumstances are a horror that only Kamenashi Kazuya can experience. Kamenashi-kun with an anxious expression that I hadn’t see during the filming was impressive (*laughs*).
A cineaste you want to meet
David Lynch. I want to ask him, “What are you thinking about?”.
[1] I think this mean that if one has a predefined [often wrong] image of a person in one’s mind that image is not the reality [but an untrue image]. So one should have no predefined images but see the other person how he/she is. This will then positively influence one’s own personality.