: First of all, congratulations to the finalist of the Cannes Film Festival for "Diary of the Sea Street"
: Thank you
Said: When it comes to Cannes, most works will be screened earlier than Japan. How does Director Eddy think about this? Are the works not only for Japanese audiences, do you have the consciousness of making films for the whole world?
There is. Of course, considering the domestic box office performance in Japan, I must take into account the ideas of more Japanese audiences, including the promotion of the entire film. However, as far as I am concerned, I don't know if it is lucky or "unfortunate". My first work "Phantom Light" was fortunate enough to participate in the Venice Film Festival. I still feel very satisfied with the experience at that time. Of course, this is not because of the award. Before "Phantom Light", I used to shoot TV works. TV can indeed spread further and affect many people and events, but this is only limited to Japan, no matter how big it is. In the society at that time, "Japan" was the end of its response. Therefore, shooting a movie, starting a new journey, from the domestic development to the whole world, the advice and influence brought to me from the outside perspectives are very precious to me. Of course, I also attach great importance to the audience in Japan. How do the audience in Tokyo think of my work, and how do the audience in Sapporo think of my work, like the audience in New York and Paris. It’s just that I will not change my thinking and methods of making movies because of everyone’s feelings. For example, I will not give up my satisfactory clips because I can’t convey the audience’s psychology, and I will not attract more audiences just because of adding "snippets". Just "follow the trend".
Sai: The stage of this work is Kamakura. The addition of this regional element is very important to this work. However, most overseas audiences do not know the important element of "Kamakura". So, how the director considers this issue, whether he cares about overseas audiences, or not, I am personally very interested in this issue. In addition, I didn't know the original comics. After watching the movie, I read the original book. The whole movie is no longer specifically aimed at the expression of a certain character on the cover, but the entire "character style" of the character on the scene. In this regard, I have personally smelled the breath of "a branch flow", and the essence of the original work has been revealed in the work. When filming "fiction adaptations" and "manga adaptations", does Director Shizhi seriously look for the "essential essence of the original work"?
Yes: I basically did not do this. The basic original work of my film is "original", that is, made with my own ideas. I basically don’t do this to read novels and comics in order to create movies. However, I really like the works of Mr. Yoshida Akiu. To me, he is a manga artist who "as long as I publish a new issue, I will read it". Therefore, when I read "The Diary of the Sea Street", I felt that shooting this work by myself should be the most suitable.
Zhai: What if you really make a movie?
Yes: I think this work will definitely be filmed as a video work. In that case, I think I should be the most suitable candidate, although it sounds a bit arrogant.
Sai: No, no, this shows that your love for this work
is: I really think I am very suitable for this work, so I rarely raised my hand
about Hirose Soshi's "discovery" Sai
: About The actors in this film, I guess all interviews will ask, it should be said that they are all national-level actresses.
Yes: Yes (laughs)
Sai: First of all, I want to ask Hirose Sisi, she is really a shiny rough stone. Perhaps the same "phenomenon" as Yoya Yuya would happen in Cannes. This casting should be a very ideal choice for the director
: yes. However, the role of "four women" decided to recruit in the form of audition from the beginning. I really met a lot of people, but I didn't expect to meet this "perfect match" actor.
Zhai: The names are all the same, right?
Yes, this kind of fateful character "encounters". Maybe the actors will encounter it several times, so this should be the same feeling for
Sisi: Hirose Sisi's sense of existence has penetrated into this Japanese society this year. The growth of the "Four Sisters" in the movie story and the self-growth after learning from the "sisters" throughout the filming process are well integrated into this movie. This is not so much shooting in this direction before, as it is so "let it go"
: in terms of outcome, it is true. At the time of audition, she had just started working as a CM, and she was basically a girl who didn't know anything. So, this is also a kind of accident. But, seriously, I didn't expect her to be so famous now.
Zhai: It is true
: So, for me as an "adult", it is a bit "reluctant" to "rely on" such a 16-year-old girl as the main propaganda (laugh). In fact, mentally thinking, "No, no, I have already started to promote"
Zhai: Ha ha. However, if you can really let more people know her through this work, I think many people will feel her charm very "directly". In addition, about the details in the movie. The beginning of the movie is the funeral of the sisters’ father. Sisi's younger brother didn't concentrate at all in that funeral scene. Whether that was really "acting" or not, I had no idea afterwards, and felt that he was naturally swallowed by "movies".
Yes: You have noticed this scene. It is really amazing
. Hehe, including the actor of that younger brother, it seems that everyone is not acting. May I ask how this is done
: brother, face the patio with his mouth open. I feel a bit exaggerated to keep going like this
: keep going?
Yes: I didn't say anything at the time. Later, maybe because I also thought that was good. Therefore, I didn't give much consideration and just used the microphone to shoot "children". This is the second time. Before it was "Nobody Knows"
about the title
Sai: I think the other protagonist of this movie is the beauty of Kamakura. The shooting schedule of "Moving Four Seasons" should be very troublesome in terms of time adjustment and behind-the-scenes work. Never use CG, and let the natural scenery be presented to the audience in its own way is one of the essence of the works
: After getting the right to film the film from Mr. Yoshida Akiu, he has no conditions and requirements at all, and I will do whatever I want. , Even for scenes that are not in the original. The only thing I mentioned is that I hope I can take good pictures of "The Four Seasons of Kamakura", so that he will be satisfied. I also think that the shooting of the four seasons and how to shoot the Four Sisters "in light and shadow" when the seasons change are the most important part of this film. This may be because I like the original work so much and I am totally attracted by it. In addition, in what part of the story is "cut off", make a judgment on how to place the "sisters" while being as close as possible to the "original". These two aspects are critical to the whole work. The word "Diary" is followed by the title of the film "Sea Street", which is very important to me. Because the final story still revolves around the "small town", and the story is not "Sea Street Story", but "Sea Street Diary", that is to say, it is the story of the accumulated "life in the small town". I want to let The audience left this "impression". The four sisters live in that small town, where they have their home, and there is a "small town" around them. In this case, you can discover how people live and how people find their own place in the landscape that is "enlarged" along with the story. This is fundamentally different from my work so far. I think my ideas and the worldview of the original work are very well integrated, which is also the most fundamental purpose for me to shoot this work. Regarding Ms. Ayase Haruka, I discovered that she is an actress with a big skeleton after the filming. I think everyone should pay little attention to this so far, so when watching "Diary of the Sea Street", the audience may experience it It belongs to the freshness of Haruka Ayase.
Sai: Director Shiede also mentioned that Ms. Haruka Ayase has a "showa taste" when commenting on the film. I also think so. Although it is different from Ms. Setsuko Hara, compared with the other three actresses, I can indeed find the difference. "Sense of presence"
Yes: I often say that she is "Showa Yan". She played "Xing" because of family reasons and had to end her studies early and take care of the two younger sisters as "mothers". In fact, there is not much difference between their ages. But sitting with Sisi is indeed a bit of a "mother and daughter" taste, and it is this subtle "role" positioning that shows her unique beauty and gives people a feeling of "elderly". She herself said that it might be because of the previous experience of filming period dramas. I think that especially after putting on the yukata, her difference is even more remarkable, completely different from the other three sisters.
The realism of the character setting
: It is also the dialogue between the actors and the four sisters, especially the realism of the dialogue between Hirose Sisi and the predecessors as a backup, and the storyline gradually integrated into the world of the three sisters, I think It seems so natural. Is the dialogue of the four sisters faithful to the script? Or are there many "original" lines that were born in the life of shooting?
Yes: First of all, regarding Sisi’s role, I didn’t prepare a script for her at the beginning. At the shooting scene, I said to her, "Thousand Jia (Xia Fan) said so, you just answer that way", and only conveyed the "voice"
Zhai: Didn't give her the script?
Yes, it is. Therefore, she is the "acting skills" she reflects after listening to the dialogue on the shooting scene. So far, the Ziyi in my work has done this. When I first met her, she was only 15 years old. When I contacted the audition and rehearsal, I tried both forms with and without scripts. She is OK. I think she is capable of both forms, so I asked her which way she would like to, she wanted to challenge the "no script" form
Zhai: This is amazing
: afterwards, I will explain to her "the content of the lines" at the shooting scene. Then shoot. She really had very good ears, and she completed the performance naturally. It can be said that she exists like a "manufacturing scene". I let the three sisters read the original work, except that there was nothing. Then I told the "sisters" of Sisi's "lines", and just "stringed up" the lines. At this point, it really looks very vivid and very fresh. But the improvisational lines are not too much, but the whole shooting scene is very free. I saw Miss Nagasawa spitting nail polish to the staff during the shooting, and then I wanted to write a scene of applying nail polish to Sisi, so I looked for it. Ms. Ze discussed it, and she readily accepted it. There are many such "changes"
Zhai: Regarding the moving mirrors in the house, such as the setting of the dining table and the positions of the sisters, it makes people feel a natural "sisterhood"
: who sits in what position is really very complicated. The setting for the three sisters is completely different from the setting for the four sisters. Fortunately, it is lucky that the food is brought into the house from the kitchen, so lucky to sit here. After fixing a seat, I then began to imagine, such as "Kano (Nagasawa Masami) is going to get a beer, let's sit here." Set the position like this : That's it
, it's interesting
: In this regard, the position is determined by rehearsal Bar. However, the four of them really know how to "act together". I really think that four good actors have been selected. They are really outstanding
: In other words, in addition to Hirose Sisi, I want the director to speak well before. Like the dialogue between Ms. Ze, at the shooting scene, is the director Zhi and the actors continuing to shoot after communicating? Or just follow your instructions to shoot?
Yes: The scene was not subtle enough to communicate with each actor, only when the filming encountered difficulties or when they had to listen to their opinions. Therefore, as long as there are no obstacles to the actors, the filming will proceed as planned. For example, Ms. Ayase Haruka was very serious during the shooting. In order to break this state, I would arrange for her to touch the doors, windows, and walls. On the contrary, in order to suppress the "active" Miss Nagasawa, I will suggest that she reduces "excessive movements". That said, everyone’s performance is actually completely different, but they are very well combined.
Regarding "Eating"
Zhai: I think another important stage in the film is "Sea Cat Canteen"
: Well, the content may be richer than the original Bar
Zhai: "Fried Fish Set Food" in the canteen, and "Fried Fish Set Food" in Mr. Lili's shop. "Little fish bread" and the ordinary food in the four sisters' homes left a deep impression on me. Including the dining table, I think "eating" should be an important element of the film. How does the director think about it?
Yes: First of all, I really like shooting the "eating" scenes. The pre-dinner preparation and post-dinner tidying are also included. However, these things are in the original work, and this time because of the "original work", many questions have become very easy to answer. In fact, the description of "eating" in the original work is also very detailed. I have been thinking about why Mr. Yoshida described it like this. Regarding this film, it started with a funeral, followed by a memorial service, and finally described a funeral. In this process, the "eating" scene, that is to say "alive", the things done to live are not well described, and the whole work will develop towards a "desolate" story. If this is the case, the charm of the four young girls will be much reduced, so I focused on shooting "eating". This is also an important reason why I attach great importance to "Sea Cat Canteen". In addition, as a symbol of the entire town, there is no prominent place that will make the whole work appear very loose, so I have gathered some stories in this canteen. The scene where the four sisters went to the cafeteria together should not be included in the original work. This is also a story I added during the filming. In the hospital, Ko (Ayase Haruka) and Ninomiya (Fakizumi) had a conversation that said, "I miss the fried fish set meal in the store very much", "Welcome to visit again." I think since I said "Welcome to visit again", she (Ayase Haruka) should be there. Although there was no such plot in the script at the time, I still firmly believed that she would go back, so I arranged four people to go to the cafeteria to have a meal together, which will also have a different impact on the subsequent plot. So, this is a new story born after watching the "hospital" scene, especially the performance of Ayase Haruka. In fact, Ms. Haruka Ayase and Ms. Feng Fuchun have always been very close.
Sai: Really?
Yes: They seem to have filmed a Dahe drama together ("Yae Sakura"). They really have a very good relationship, and Ms. Ayase Haruka treats Ms. Feng Fuchun like her relatives. Dialogues like "how are you?" can be heard all the time. Ms. Feng Fuchun also said to me, "There is really no such good person in the entertainment industry now. He can be active on the front line for a long time and has such a docile personality. I have only met her (Ayase Haruka)." Therefore, the relationship between them is very suitable for this work. This is how I watched the changes on the scene to add the plot. This way I like it very much, so I am not very suitable for shooting things with the original works
: But, Mr. Yoshida Akiu Don’t you mind?
Yes: Yes, Mr. Yoshida is really considerate
Encounter with photographer Takimoto Miyaya
: I was very impressed with the scene of the cherry blossoms. It was the scene of Sisi riding downhill with her male classmate. On the way, a petal floated on Sisi's head. I thought it was intentional at the time? I took it for granted, did I think too much (laughs)? Is that really accidental?
Yes: Well, it's really just accidental. It is impossible for us to have the superb photography skills this week, and even if we want to do this, it is likely to fail. However, when shooting that scene, I didn’t even notice this. It was the photographer Mr. Takimoto who told me that "I had a great time to shoot."
Sai: It’s really great. This scene is so beautiful
: Yes of. After that, Sisi was still facing the camera, and the whole close-up was really great when I was watching the film.
Zhai: Mr. Takimoto is the forefront photographer who is active in "photographing" together, and it was Director Shiede who brought him into the film industry. It
is: I can't say that I brought it in. I just made a suggestion and asked him if he wanted to give it a try. When Mr. Takimoto was in "Air Humanoid", he participated in the shooting together as a photo photographer. This is the beginning of our cooperation. In fact, in "Phantom Light", he had been to my set as an assistant to the photographer Fujii Yasushi, and I only learned about it later. Then, when shooting "Air Humanoid", I think he took a lot of "wonderful photos" and he is definitely a talented person. The photos have surpassed the "attribute" of the movie stills, but at the time I didn't think that he would be allowed to shoot the movie. Mr. Takimoto said that he had watched Mr. Li Pingbin's photography very seriously. Since then, his own CM shooting method has also changed. The motion of the camera seems to be influenced by Mr. Li Pingbin, which is very good. For models, he is also the best photographer. I saw his CM shot by Yamato Real Estate, and I definitely have the ability to shoot feature-length movies. After that, by chance, I watched the CM that Ms. Eri Fukatsu and Mr. Lily collaborated with. At that time, I sighed, did this photographer ever make a movie? After that, I checked and found out that it was Mr. Takimoto who filmed this CM. Afterwards, I immediately contacted him on the phone, and then it was the shooting of "Father Like Son". Before that, Mr. Takimoto seemed to have received invitations from many film companies, but he couldn't spare the time. My encounter with him is fate.
Beautiful life
Zhai: There may be many viewers watching this work in the future. Seeing their lives in Kamakura, do you feel that there is no need to live in a big city?
Yes: It's terrible, I can only live in Tokyo now (laugh)
Sai: I do too (laugh). But I feel that young people who are now interested in agriculture have begun to live far away from the city. I don't know if this is so-called conforming to the trend of the times, but I think the concept of "living in the center of Tokyo" will be constantly questioned. Kamakura's own charm in this work is also a reason, and there are many people who feel the "local urban energy" nowadays.
Yes: This is also due to the original work. The charm of the original work has created the charm of the small town in the original work. The way of survival of the four sisters also tells everyone that they can live like this. Then, life can be so good. Of course, in real life, they will not be able to live this kind of life so easily, including me. However, refreshment and beauty are indeed essentials in life. Mr. Yoshida created this work in this way. I can be regarded as an explanation of the original work, and it can be regarded as a kind of reply. It turns out that people can describe it like this! Fortunately, the lifestyle, the attitude of life that bears heavy pressure but keeps moving forward, may be the core idea of this film. If you follow your own path of life well, people will be a wonderful
fast: After reading this work, I can feel the "differences in time", perhaps it is the historical characteristics of the place, or it may be the inheritance of the ancestors, passed on from generation to generation Traditional culture. But fortunately, there is only one person who bears these. The other sisters are living freely, and it is under the premise that they will all leave this "home". How should I say, I fully felt the sense of distance between the "house" and the "people living in the house".
Yes: Yes, fortunately, one person guards this family. Therefore, fortunately, the description in the "house" is the most. And Kanao (Nagazawa Masami)'s appearance is not at home, but at her boyfriend's house, which is a hint that she will leave one day. This "Sea Street Story" is the story of the sisters looking for "home". Of course, each person is different from this "house", and there is a different sense of distance. I also shot it according to this idea. .
From home to town, from town to sea
Sai: In order to talk to Director Shiede, I watched the movie several times beforehand. In the end, where my emotions fell, it really was still this "home". (Laughs) When will everyone leave this home and be happy after establishing a new home, there are still "fathers" and "grandma" there. I forgot to speculate, think this "home" may be the most successful element of the film
: indeed. The story is that "home" looks at the four of them, the whole town looks at them, or at Sisi. You may only find other people after watching Sisi, so looking for "Sisi" is one of the most important factors in this film. Another factor is the "home" you mentioned. This is not shooting in a studio. Finding a "home" where the four of them can live is a major difficulty in this film. It is really not easy. If there is a slight time deviation, it may be missed. It just happened before the landlord was preparing for the renovation.
Zhai: In the film, Xing measures the height of Sisi, and then leaves a mark and name on the pillar at home. Is that pillar really a "pillar" (the original thing in the house)
: At first I thought it was very rude to use the original pillar directly, so I laid a layer of slab on the pillar, and then the landlord told me to use it directly When there is no problem, I just use the "original" directly. Therefore, the shooting is required to be done in one go.
Zhai: So, is the "Sisi, 15 years old" still there?
Yes, stay there.
Zhai: Ah, that's really great.
Sai: Not long after Sisi moved to Kamakura, one morning when she was going to be late, she and her sister ran to the station together. I felt "it turns out that this "home" is only a little bit away from the station". After that, I gradually learned the true identity of "home", and then began to move in and fell in love with this "home" (laughs)
Yes: You looked so carefully, thank you. The whole process consists of shooting four people in the first season, then moving, and the debut of the "home". Finally, in winter, it gradually spread from home to the entire town. In order to show where the "home" is, you can add the lens of the "town" to hint at the beginning, but I hope to see the whole world from the line of sight. The town and the sea slowly expand like this. To be honest, in "Sea Street Story", the sea should have appeared very early. But in order to take care of Sisi's sight, I was "late" to
Zhai: Considering the element of Kamakura, I initially felt that there would be a lot of "elements" of the sea. It turned out that the director had such an intention. The scene about the sea is where the four sisters speak the truth. Even if they don't speak, their appearance is different from that in the "home". Therefore, I think the main stage of the story is still "home", not "sea". "Sea" is like a confessional in a church. It’s like this
: That’s it, it’s so interesting to explain
the performance beyond performance
: Japanese audiences know these four actors, so they thought of the "actors" from the beginning. Look at this movie. However, from the very beginning, this work gave me a feeling that the four sisters are like real sisters. This should only be done by you, Director Zhi. Filming the four sisters as real sisters is difficult even for long-form Dahe dramas or Japanese dramas. Under normal circumstances, they will become "commodities" and used as propaganda props. This seemingly "quartet" version of the co-acting is really as natural as in real life from the beginning, and it is definitely the pressing point of the film. How to say it, it's hope, right?
Well, it's really good. However, turning the four of them into "real sisters" is the most important task for me in this work. How should I say, they are all excellent actors who can play the protagonist. Just like the "All-Star Four Sisters Appearing Together" in the previous Toho Cinemas, they set me up with a serious subject (laughs). They can successfully interpret the "Four Sisters" really well.
Sai: In the second half of the film, Miss Ayase Haruka touches Sisi's head. This is really a sister, otherwise there won't be such a scene, right? Is that a show?
Yes: No,
Zhai: Really?
Yes: When Miss Ayase Haruka is waiting, she always pats Sisi (laughs) Sai
: They only seem to have a sense of distance between sisters. This
is: The height measurement scene on the pillars of the house just mentioned, Sisi After stepping back, Miss Ayase Haruka also made a similar move Sai
: Yes!
Yes: That's not a performance anymore. I looked at the scene and found it very impressive. But this may be the best "performance" Bar
Zhai: Well, absolutely crush! Perhaps this work is not only for the general audience, but also for those of us in the industry, especially those who create movies. I am really happy to see this work
: You said so well... Thank you
Zhai: Where. Director Shie, thank you very much today,
originally published in the "SWITCH June issue"
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