[Translation] Art Director Eiko Ishioka's self-report: About the movie "Mishima Yukio"

Mishima: A Life in Four Chapters

The art of this film has been worshipped all year round, and also won the Cannes Art Contribution Award that year.

But "MISHIMA" is Eiko Ishioka’s first (official) film art work. She has not participated in film production before this (Ishioka’s own argument, but friends pointed out in the comments that Hajinjin had been there before. "The Noon Time Schedule" ) , most of the time he was a graphic designer (sometimes worked in the senior hall, and later established a design studio to do a lot of design for the Kadokawa Bookstore).

The film had a huge battle at the time, and the investment seemed to be quite high. Why did Paul choose such a Japanese who had never entered the film industry to take on the important task? How did he find this person? Shi Gang explained the ins and outs of this incident in this narrative.

After reading, I was relatively lost in Shioka's understanding of Mishima's works and his people, not because of negative aspects, but because of relatively singularity. In addition, she focuses too much on teamwork with the United States and Japan, which makes people feel too concerned about the duality. But the art without prejudice to this work is still very awesome.

Recently, I am reviewing the new version of "Beauty and Violence", and I have this article on hand, and I have translated it for mutual benefit.

The content of this readme includes:

1. The experience of "MISHIMA" in Japan. 2. The whole story of accepting this job. 3. Paul's process of obtaining copyright and his thoughts on the structure of the film. 4. Ishioka's views on Mishima. 5. Difficulties and cooperation in actual work, and the inconvenience of being a woman. 6. The courtesy you get in Cannes after the production is complete.

The movie "MISHIMA" was buried due to various pressures. It has been 20 years since its completion and still cannot be released in Japan.

The production and release of this film caused a commotion in Japan that was much more complicated than I thought. There are both political reasons and Mishima survivors' reasons. Some people even send threatening letters to actors and key staff of the crew that they will kill you if they become public. The most incredible thing is that all the Japanese reporters who came to Cannes ignored the film’s success at the festival and wrote reports that distort the main creative picture.

But for the real central figure-the American production company did not take any action. Didn’t it look that the other party was a foreigner? Because I have personally experienced such blatant opposition to the riots, I have a sense of astonishment in the gloomy interior that I have never touched Japan, even though I am a Japanese.

As one of the main creators, I clearly know this kind of inside information, so when I encounter this kind of reality, I feel angry and sad at the same time. I realized that the island roots that I thought had been weathered are still stubbornly rooted in the Japanese. This also became an important reason why I finally left Japan. In short, in Japan, even if I want to talk about the movie "MISHIMA", no one can say. This project, which is an important page for me in my resume, has not been touched by you, so I chose to alienate myself from Japan.

But this kind of opposition is completely different in Europe and America.

This film set off a topic at the 38th Cannes Film Festival, and finally won the "Best Artistic Contribution Award." This award was rushed to report by reporters, and soon attracted the attention of the world. Even, because it has received enthusiastic movie reviews, not only in the field of movies, but also stage-related industry insiders will look for it enthusiastically, which I am very grateful for. Therefore, when I get a new job later, I always hear the staff say, "After watching "MISHIMA", I have been waiting for the opportunity to work with her. The moment I saw those sets, I got goosebumps with excitement. "Indeed, through this work, I won the ticket to stand on the international stage.

Even so, I still didn't expect that I would completely lose the Japanese audience that is most important to me. Needless to say the director, the sincere thinking and enthusiasm of many Western filmmakers on the Japanese theme through this film is completely impossible to convey to the Japanese audience. I still can't achieve it under all efforts, which makes me regret. At that time, the Japanese-themed movies produced in the United States were nothing more than generals, geishas, ​​and ninjas. We are trying to change this situation.

As an audience, I was very interested in Paul before I really knew him. Paul was a film critic at first, and later became a screenwriter. He was highly regarded because he wrote "Taxi Driver" starring Robert De Niro in his twenties. Later, he wrote "Angry Bull" and "The Last of Christ". A masterpiece like Temptation. Immediately afterwards, he devoted his enthusiasm to the field of directors, and successively produced unique works such as "The Blue Collar", "Naked Chasing the Murder" and "American Gigolo", which received rave reviews.

After the latest work "The Exorcist Prequel" was completed, other directors were hired to reproduce it because of investor dissatisfaction, but the final film did not come out. In 2005, the original Paul version was made public, and it was hotly debated and became a must-see film at the time.

Regarding the script, Paul said this: "The script is not finished after being written. From this point of view, the film screenwriter can only be regarded as half a writer. So let me only finish the half of the work, and the other half of me. I can't help but want to do it. That's why I became a director.

The script of the movie "MISHIMA" was completed by Paul and his brother Leonard together, and it is also his fifth work as a director. Paul said that he assumed that Yukio Mishima did not exist at all, so he created a person very similar to him, and wrote the script in this way. The reason for saying this is that the various entanglements that Mishima encountered in his life are very similar to the various entanglements that Paul himself experienced and sought to resolve. Moreover, the dramatic level of the solution Mishima was looking for would not make people feel incredible if a fictitious person performed it. At first he just thought this kind of life was very interesting, but later he felt that it must be made into a movie.

Paul's interest in the writer Mishima is that his thoughts are very interesting, but this kind of thought can directly enter reality from the world of fantasy. This way of entering is more interesting in itself.

Writing a novel is nothing more than fiction. It is not necessary for the writer to practice the actions in it. But in Mishima's situation, watching novels alone is not sufficient, and will eventually be disillusioned in language. I want to use movies to express things that have not been shown in movie works so far-this kind of desire is gradually expanding. What happens to his art when a talented and young artist dies? In the world of Mishima, Paul saw the enlightenment of this strange literature and was deeply attracted by it.

At first, Paul wanted to directly apply for the film rights to Mrs. Mishima. Later, he invited Francis Coppola, who was particularly interested in Mishima’s literature, as one of the producers. He felt that it was most appropriate to ask him to mediate, and finally got the authorization. . Before Paul, many people at home and abroad have applied for film rights to the Mishima bereaved family. From Shichuankun, Oshima Nagisa, to Ilya Kazan, Polanski, etc., various applications, both well-known and unnamed, are coming, including applications for gay porn. I heard that my wife refused to think that there is no suitable director, but she still feels that one day she will make a serious movie.

Through Coppola's negotiations, Paul got the most difficult film adaptation right. Then he asked Tom Rudy, one of Coppola's think tanks and one of the film's producers, who he should look for as an art director. So Tom told Paul: "An artist named Eiko Ishioka just published the book "EIKO BY EIKO" in the United States. Enabling her might make something interesting." Then he immediately bought my collection of works. Looking at it, I soon decided to hand over the important task of art director to me.

In 1983, "EIKO BY EIKO", published by Callaway Editions in New York, was published because of the enthusiasm of the president who came to listen to my lecture. The content is mainly about some graphic design and art projects that I produced when I was in Japan. I admit that when I published this book, I already acquiesced that I would work in a completely different career direction, specifically from advertising and orthodox graphic design to a broader cultural direction, such as movies and stage. In addition to this transition, the idea of ​​expanding from Japan to overseas is also very strong.

However, I have no experience in movies or stage plays, nor have I received relevant education. Moreover, it is obvious that you will encounter language barriers. It would be reckless to abandon the position that was hard-earned in Japan, to start from scratch in Europe and America, and to start design work in a completely new field. However, with a 20-year-old ambition and curiosity, I roared that what I lost was worthless while running rampant, and motivated my behavior with my intuition that I could do anything if I wanted to. Therefore, Paul’s appointment was the right time for me, and the specific content made me have no complaints. It can be said that it is an ideal opportunity to visit suddenly.

Suddenly getting an important job like art director, I seem to be standing on the edge of a cliff, engulfed in a vortex of two emotions, horror and excitement. I was very moved by Paul, who knew that I was a movie layman, and he took risks to bet on me, and his courage also made me addicted. At that time, I was transformed into a simple person like a child, obsessed with the fact that someone indulged in their own abilities, and transformed into a dedicated person. Although I entered this journey in a passive posture, I gradually transformed into a positive posture, and finally reached the end of the performance I was pursuing.

When Paul asked me for an appointment, I also had a self-righteous optimistic ambition, that is, to work up my energy to enter the field that I completely unknown to me, and to develop a brand new image.

With a delicate mood mixed with anxiety and anticipation, I flew to New York to meet Paul. He who greeted me with a smile gave me a different impression from the dark movies he had made. He likes to joke and makes me feel very kind. Paul looked like he couldn't wait, and he spread the script in front of me as soon as he finished saying hello and said: "Anyway, I hope you read this first before we start talking."

I stayed in the hotel and read the script carefully. First of all, I was surprised by this strange structure. It uses a four-act three-layer technique, which is very complicated. The next day, I immediately asked Paul why he used such a structure.

"After thinking about this topic carefully, I feel that this structure must be used. First, there is a time frame limited to the last day of disturbing the Ichinomiya Self-Defense Force, publishing a message, and committing suicide. Then he flashbacks back to his life. When telling his life, add a third structure (that is, his works). Mishima is a novelist, and a large part of his life is a projection of fantasy and imagination. Ignoring his novels, he can’t talk about it. His life. And when expressing his novels, you must understand the prosperous intentions. If you don’t do this, you will not be able to understand his life. To explore his utopian world, you must use this structure. In forty-five years In his life, he wrote more than forty works, and put these works into a two-hour movie. When thinking about the themes of Mishima’s life, I extracted "beauty", "art", "action", and "both civil and military". "Tao" these four themes. In this way, a four-act three-layer technique was naturally formed. "Paul's explanation is both logical and clear.

Then I asked him straightforwardly: "Why did you ask me to be the art director."

"It took me six years to write this screenplay. It is very important to my life, and I have obsession with it. There are also some experimental implications. Whether it is in the United States or Europe, if I ask the art directors of the film industry Sending out the invitation, I think someone will be willing to join. However, for this film, I want to actively carry out new experiments on the visual level. Because I want to penetrate completely new artistic thinking in the world of film, I want to enable it. People with movie experience. After reading your portfolio, I am sure that you are the one who can create the new art world I want."

It is impossible to be unhappy to be judged this way. He didn't mind my lack of experience at all, saying, "There are many people who can meet the technical requirements, but it is difficult to create new concepts, not everyone can."

In fact, it seems impossible for me to express the world of Mishima. Because although I do not disagree with his literature, but unfortunately, I do have a sense of disgust for his way of living.

"Although I don't like Mishima and others..." I told Paul bluntly. As a result, he immediately stared at my face and said, "Ah, that would be great. This movie will show my view of Mishima, not Yingzi, your view of Mishima. If there are a bunch of enthusiastic fans of Mishima , Making a Mishima analysis film, but disappointing the audience."

Then I realized that there should be Paul's decent politeness. But as far as I'm concerned, I really don't want to watch a narcissistic movie by a group of enthusiastic Mishima fans. So when he told me "Eiko hates Mishima just as I want, so that I can grasp the subject objectively. I welcome it", I was stunned. In short, when Paul wanted to explore the concept of visual expression from outside the field of film, I happened to publish a collection of works "EIKO BY EIKO" in New York.

Production Design is an unfamiliar position to me. When I wanted him to explain it to me, I got this answer.

" This term was first proposed by Polanski during the filming of "Chinatown". He believed that the film should be created by the director, the director of photography, and the art director in an equal relationship. Since then, progressive directors All adopt this kind of thinking. In a narrow sense, the art director must coordinate all the design elements related to the movie, such as large props, small props, and font design, to meet the director’s requirements. It is a very important position.” When I asked the director anxiously, “So Do you want me to complete important positions alone?" He immediately responded to me, "Then go to Japan and find the right and left hand you need."

When I made up my mind to take up this job, it was January 2, 1984, just before the trial shooting started. I heard that since I got the formal invitation in New York because of being cautious, there has been no response, so Paul is very anxious. He came to Tokyo as a family because he was preparing to work, and even his daughter was born on New Year's Day. I took a traditional Japanese toy rattle and a pure white baby kimono to the Kitano apartment to congratulate him. At that time, he officially expressed his willingness to join. Paul was very happy because of the birth of his daughter and my permission to come together. Watching him say "Engko, my daughter's name is mariko", I feel the happy expression of belonging to the family.

Although the production, script, director, and photography of the movie "MISHIMA" are all American, the actors are all Japanese, and the lines are all in Japanese. This approach is bold enough to be called an experimental movie. Regarding how the director solves the problem under such difficult conditions, Paul answered at the press conference at the Cannes Film Festival. "When I made this movie, I used three heads, one is my own, one is for a Japanese assistant who can speak English, and one is for an American assistant who can speak Japanese. Each time the three heads discuss together and then make a decision. ."

Film production has to go through three stages: pre-stage, shooting, and editing. The first two stages are carried out at the Toho Studio in Tokyo, and the editing is carried out at Lucas’ studio ILM.

Paul and Japan's co-producer Yuichiro Yamamoto worked together to find a collaborator for me. Finally, Kazuo Takenaka, a veteran who has long been engaged in art work in the Japanese film industry, joined. I thoroughly discussed with him how to show the overall complex visual performance of the film. He suggested: "I will be responsible for the realism part outside the description of the novel, and Ishioka will focus on the part of the novel."

It turns out that it is very dangerous to have all the work done for the first time. I think Kazuo Takenaka's proposal is very reasonable. Although the art director has the responsibility of coordinating the whole, it is still possible to hand over the orthodox film art technology to Kazuo Takenaka, and give me the overall responsibility for the innovative concept.

As a serious-themed movie, the art budget given to me is amazing, reaching 25%. This also shows that art occupies a very important position in expressing serious content.

The production committee was set in the Toho Studio, and as soon as the new year passed, the work began in full swing. The work on art is not only a blank sheet of paper, but also only two months of preparation time. You can imagine what a daunting task this is. There is no spare time to think carefully, it can be said that it was chased and completed.

Coppola came to Japan and attended the press conference with Paul. Lucas was Coppola's partner seeking funds in the United States, and Yoshiro Yamamoto was strategizing in Japan. The director of photography is John Bailey (John Bailey) who is active in Hollywood, and he leads a team of photography capable of engaging in actual combat. The translator and assistant photographer is Toyotoshi Awada, who is also a disciple of John. I was officially hired in the United States, and all staff members other than me were recruited in Japan. The actors were also selected one by one, and finally it was decided to play Mishima Yukio by Ogata Ken.

To make a movie for a person who has existed in history, the most difficult thing is to choose an actor. Even if they know that the movie is fictitious, the audience will still unconsciously hope that the actor is completely close to him and pursues a movie that fully mimics human beings. If the shape and the character are not exactly the same, points will be reduced. Paul’s approach is very unique. In the real scene, Ogataken plays Mishima, and in the novel scene, he chooses Bando Yasosuke (at the time), Sawada Kenji, and Nagashima Toshiyuki to play the characters that suggest Mishima. Four The personal combination is the real Mishima portrait.

In a corner of Dongbao Studio located on Anvil, a temporary board room was set up to serve as a production office. Rooms are prepared for all the main staff, in order to facilitate communication with each other, and prepare for the start-up more effectively. The art department occupies a lot of space, and at my request, I gathered together assistants who collect materials, make models, draw drawings, and supervise on-site work. I am responsible for training my creativity and communicating with directors and photographers in depth after the model is made. After determining the plan, go beyond the drawings and let the professional craftsmen make actual-sized props. At the same time, Kazuo Takenaka was responsible for the research of the era and the preparation of the actual shooting location, while the research of the era of clothing was prepared by me.

Paul chose "The Temple of the Golden Pavilion", "The House of Mirror" and "Running Horse" from Mishima's novels. The novel is the clone of Mishima. Paul chose to interpret Yukio Mishima by interpreting the novel.

The props in Paul's mind at the time were relatively new school paintings, but I think those are too fixed in a certain genre. For me, I want to create new concepts that have never appeared before. After analyzing the novel, I extracted brand new props and drew something equivalent to the props sub-mirror. In this set of visual storytelling, I completely fill in the concepts that I want to express and hope to express. They are the basis of the props of the novel. So it is also the most important stage. Looking back now, although there is no time for thinking at all, the draft is full of amazing ambitions and unique thinking.

I took this visual storyboard to tell Paul and John the props plan in my mind. Frankly speaking, because of being too bold, my anxiety and self-confidence are in half. As a result, the feedback from the two of them was "Awesome! Yingzi! Congratulations!" This was my real start in the field of film art. Paul saw the specific plan from me, and he was relieved.

Thinking about it now, in that temporary board room with only rough tables and chairs, I was surprised to be able to come up with such a visual storyboard. It's a bit like being locked up in a depressed prison, only giving paper and pens, forcing people to come up with art plans. At that time, I could only rely on the nutrients stored in my body. This experience made me understand one thing, that is, in this kind of nothing-free space, people will check the inside of their own bodies, and they will inspire all kinds of creativity and construct original works.

With the affirmation of Paul and John, the next step is to ask the assistant to collect information and perfect the specific details. Let other assistants make 1/50 scale models. Photography, lighting, and positioning must be based on this model.

One day, while explaining a prop, Paul suddenly asked me "how do the actors get in and out?", I realized that I was too addicted to creativity and forgot about the actors' positions. Although everyone treats it as a joke, it can also be seen how much blood and tears were paid in the production process. With the help of Paul, John and the entire team, the drawings and models were finally completed. It was then produced by professional craftsmen and assembled in the studio.

In Toho, there are only three studios that I can use. When shooting, first set up a scene in the first studio, then set up another scene in the second studio, and then set up another scene in the third studio. After the shooting of the first studio is over, the fourth scene will be set there. Recycled in this way. I was most excited about the time when the prop artists made the real-size props, but because I couldn't go back, it was also mixed with the anxiety of not being able to fail.

Toho’s senior prop artist worked with Director Akira Kurosawa when he was young, and is an expert who worked with the famous director who created the history of Japanese cinema. At that time, he was very emotional that in recent years, there has been no artistic creativity that can show the golden age technology. After hearing this, I feel that my very stylized art creativity allows him to give full play to his abilities. So even though the production of the props was very intense, the prop master did it perfectly. My prop ideas, which are different from those of others, were embodied under his abilities.

Entering February, ushered in the opening day. It's called "クランクイン" (crank in) in Japanese, and I don't know where it came from. The arrangement of photography is to gradually shoot from simple scenes to difficult scenes. So the whole February was filming the location and realist props prepared by Kazuo Takenaka. In March, I finally started filming my part.

In the United States, lighting is arranged by photography. In Japan, the lighting team is an independent department. Because John is an American, he designed the lighting himself, and used the teachers in the lighting team as assistants. John is among the top photographers in Hollywood, and the equipment he uses is naturally the best, but even if he is looking for the same equipment in Japan, he can’t find it. For example, even for tracks, there are countless types in the United States, and very few in Japan. This also shows the different thinking on images of Japanese and American films at that time.

John is a fan of the photographer Kazuo Miyagawa who photographed many Japanese business cards, and even visited Kyoto. The two exchanged a lot. Later, John said to me: "I admire Mr. Miyagawa very much. He used very poor equipment to shoot very good images, so I also want to use the only equipment I can find to shoot the best work." There was a scene. It even found a wheelchair for patients who were physically inconvenient, and asked John to sit on it, while being pushed forward by the staff of the lighting team, while shooting with a handheld camera, I got a strong sense of presence. John also respected me as a beginner and helped me a lot. When he goes back to the dormitory every day, he will learn a little Japanese, just to use it on the shooting scene. This allowed the Japanese team to relax and feel his kindness. His efforts to learn Japanese continued until the end of the filming.

At the shooting site, the director and the photographer should be as tacitly as a couple who are co-produced, otherwise the shooting will not go smoothly. "MISHIMA" is already the third collaboration between John and Paul. They had a deep relationship of trust before. In the impression, no matter what the problem arises, they will not shirk, but help each other to solve the problem.

For this movie, the most difficult part is language communication. Although everyone in the US team was equipped with an interpreter, at the beginning they were worried about whether they could communicate and felt very anxious. I am worried that if the language of the American team is not fluent, won't the Japanese side be able to understand their meaning 100%? So I fell into the uncomfortable feeling that the itchy place could never be scratched. In Japan, too, if something goes wrong, it will become a very troublesome danger, and it will be like coexisting with a time bomb every day.

And I, obviously a Japanese, belong to the American team. I can understand the troubles on both sides as much as possible, so letting the two sides coordinate between Japan and the United States is equivalent to a spiritual coordinator. If Paul and John get into a very serious urge, they will eat with me and vent them all. Sometimes the leading actors or actors will come to me and ask, "Is the director satisfied or dissatisfied with my acting skills? I am completely confused", so I I would suggest that Paul convey his attitude towards each other’s acting skills more clearly to the actors, which can be regarded as a nosy practice of the role of a bridge.

But myself, I got into other predicaments. My position as an art director is not satisfied with the Japanese industry, which has always been dominated by men. I was constrained in many places at the beginning, but there was no time to be hit by this kind of thing. Although I became stronger and no longer timid during this period, I was once again hit by the fossilized old system of the Japanese film industry. In short, they were unhappy that a woman like me, a film layman, was hired in the United States and was reused by producers and directors. I sometimes call the producer Tom Rudy out to complain, and then I go back to the shooting scene with my spirits. Although Tom had heard about the inferiority of men and women in Japanese society before, he was surprised to see the rejection of me by the Japanese industry at close range and to re-understand the character of Japan as a country.

To prepare three sets with completely different styles within a limited time and budget, it is hard work, and all departments are constantly rushing to work. Finally, the film ended all shooting at the famous Self-Defense Force balcony speech. After the completion, Lucas said that he originally thought that even with the addition of a Japanese team, it would not be possible to complete it within the budget, because it would take at least three times the budget to produce the same quality film in the United States, but in the end it was completed with the help of the Japanese team. "MISHIMA".

For me, the greatest charm of this job is the collaboration with the top American film teams anyway. In the filming scene of the movie, no matter how fully prepared you are, there will still be problems. Therefore, the interpersonal relationship on the shooting scene is always full of "love and hatred." Every day I ask each other, curse, quarrel, and love each other, and then move towards the same goal. Coppola, Lucas, Paul, John, Philip Glass (soundtrack), etc., the experience gained with the top creative team at full capacity is what a luxury opportunity for my future. There is no end to what can be learned.

I deeply feel that, in fact, the relationship between Japan and the United States, and Japan and Europe, from a cultural perspective, has not touched the deep part at all. Recently, people often say "east meet west" easily. But in fact, it is really just "encounter". If you don't have sex, don't mention getting married. If you want to get married, you must understand deeply. Now is just the stage of introducing culture. There is no step forward at all. That's why I feel that in mutual hatred and mutual love, can a deeper connection and creation be produced. Even if you can't make a perfect movie, this connection is important. I know very well that one of the important values ​​of participating in this work is to allow the Japanese and Americans to share the joys and sorrows and produce works.

In May 1985, I was invited to participate in the Cannes Film Festival. From the breakfast time, there was an intensive interview campaign, in which the question of "what do you think of Yukio Mishima" often appeared. What I care most about is Mishima Yukio's sense of inferiority (inferiority complex) as a Japanese.

Think about it carefully, this is very similar to the inferiority complex that I had when I was a child. When I was defeated, I was only six years old. I belonged to a generation that didn't know the war at all. In my twenties, I traveled to the United States and Europe for half a year. At that time, I was shocked by the Western worship that dominated me. From the physical level, his feeling of "short legs, flat face, and ugly in short" penetrated into his mind. When I was abroad, I felt ugly when I went back to the hotel and looked in the mirror. In short, I completely lost to the West at that time, and I was a victim of war.

Therefore, when people ask me what I think of Mishima, I replied: "He was the victim of the war." When considering how to get rid of Mishima's sense of inferiority, gaining Western recognition becomes a thing for him. Solution. The photo of Mishima that appeared in "LIFE" magazine in the 1960s was horrible as a Japanese. Underpants, kendo, karate, poses that are not high-quality facing the west. If you look at Yukio Mishima, you can understand the struggling low self-esteem of the Japanese in the face of the West after the war.

Paul made "MISHIMA" when he was in the second half of his thirties. He thought it was an "year of forgiveness/forgiveness." For money to distort will, no money can not move forward... I don't want to use these as the result of "forgiveness" to work, the function of our main staff is to help him thoroughly implement his own consciousness. I am not even a Japanese to challenge this subject that even Japanese people find difficult. I can know Paul like this and feel proud to share this difficulty with him at a certain time in my life.

When the LA Warner Bros. watched the screening, I was struggling to suppress the emotion of almost crying. Combining the strength of the Japanese and Americans, we are sharing such results. When I walked out of the theater, I immediately called Paul in New York: "I feel so honored to be able to work with you."

In May 1985, I came to Cannes as the lead creator and was in the center of the storm. At the press conference, there was a gathering of memorabilia from all over the world. First of all, Tom explained to everyone the rejection of "MISHIMA" at the Tokyo International Film Festival, and expressed to the world a sense of crisis for the freedom of expression of Japanese films. Moreover, more than 300 filmmakers signed the joint statement to protest this incident. Then, the production team and the actors introduced themselves one by one and answered questions from the reporters about live ammunition, until the end of that evening. Even in 1996, nine years ago, when I held the press conference as a judge of the 49th Cannes International Film Festival, the scene cannot be compared with the heat this time.

Every year, at the Cannes Film Festival, more than 500 films from all over the world will compete here. They will go through an unknown number of rounds and become the final fifteen, which will premiere in the main competition unit. Then the main creator will wear a gown to watch the movie together in a theater that can accommodate 2,000 people. "MISHIMA" was unable to enter the venue due to various gossips, and audiences who could not buy tickets were blocked at the entrance of the venue. There are thousands of people. In this riot, we entered through the enthusiastic red carpet and watched the movie with the invited audience.

As soon as it was over, we were immediately surrounded by flashing lights. In receiving the standing applause of the full audience, I appreciate the feeling of "We are indeed doing a good job". Amidst the roar of applause, we did not know what to do. Ogataken, Sawada Kenji, Yamamoto Yuichiro, and myself were all doing Japanese-style ninety-degree gratitude to the surroundings. Paul next to him saw this scene with tears in his eyes, and started bowing with us in Japanese style. In short, because the applause has continued, we have no idea what to do.

2000 audience members watched the movie with bated breath, and none of them left the show. However, Japanese reporters wrote malicious false reports such as "there were people leaving the show." In short, the Japanese industry is full of hostility towards the Americans who made "MISHIMA" and became famous in the world. What are the Japanese journalists and some filmmakers afraid of to distort the facts?

During the filming, a large number of reporters from all over the world came to collect materials. A Japanese reporter once asked Paul this question: "You are an American, why do you want to take Mishima?" Paul's answer is: "Why not? Why can't Americans take Mishima? You know Mishima very well. Ji Fu?" The other party was asked. In fact, the Japanese are just unhappy with the theme of the Americans taking the Mishima.

When I first started working, I was surprised that the Japanese did not know that they had received a lot of help from the West for their prosperity after the war. The illusion was entirely their own hard work. From this perspective, for one's own future, being able to participate in "MISHIMA" is also a very useful study. Paul completed this story in Japanese, and made blood and tears of effort, but no one in Japan faces this fact, and it is still a heavy regret to this day.

The reason why the movie "MISHIMA" was left out (in Japan) was not because of Bushido or gay themes, but because the people who faced the real situation of modern Japan were actually filmmakers from the Western world.

Looking back now, to describe it to the extreme: to me, being the artist of "MISHIMA" is like a miraculous work like suddenly possessing unexplained supernatural power, surmounting numerous obstacles, and winning in one fell swoop. When human beings are in extreme dilemma, if they have the will to do it, they may be able to inspire energy beyond imagination. I am no exception, like a blindfolded racehorse, as long as you call the start, then you will not stop running until the end. Run until you can't run. The high barriers encountered on the way are new problems and new issues.

Since then, I have been running without knowing when to run. This mood has not changed since "MISHIMA". Perhaps in the eyes of outsiders, it will be described as "crazy". In this way, I don't hate being pushed into desperation at all, maybe I am indeed a stranger.

Ishioka Eiko (1938—2012), a Japanese designer, has displayed his own unique aesthetics in many fields such as film art, theater stage design, costume design, record design, and gained international status. He has won the Oscar, Cannes, Grammy, New York Critics Association design department awards, and in 2002 won the Bauhinia Medal issued by the Ministry of Education, Culture, Sports, Sports, Science and Technology of Japan.

Masterpieces* Movies: "Mishima Yukio" (1985, Fine Arts), "The Four Hundred Years of Surprise" (1992, Costume), "Falling" (2006, Costume). (Super love falls!!!) Drama: "Mr. Butterfly" (1989, fine art), "The Ring of Nibelungen" (1997, fine art). Others: Costumes for the opening ceremony of the Beijing Olympic Games, Japanese delegation costumes for the Salt Lake City Winter Olympics.

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