WAITING ON THE WEATHER: MAKING MOVIES WITH PDF, EPUB, EBOOK

Teruyo Nogami, | 296 pages | 30 Dec 2006 | Stone Bridge Press | 9781933330099 | English | Berkeley CA, United States Waiting on the Weather: Making Movies with Akira Kurosawa - Teruyo Nogami - Google книги

The Itami family anecdotes were an unexpected bonus to the wide variety of stories about making movies with Akira Kurosawa. In a recent e-mail exchange with me, Yonesho added the names of Taku Furukawa, Kihachiro Kawamoto and Clive Walley to the list of filmmakers whose work has inspired her. Her work is identifiable by her use of cheerful watercolours and her mixing of media. Wiener Wuast , for instance features a hand holding up a card of paper against various outdoor Viennese locations with watercolour dancing across the paper synchronized to music by Norbert Trummer. Many contemporary animation artists come to Europe in order to immerse themselves in unique animation traditions such as the Czech school, the Estonian school, the Aardman school in the UK, among many others. Kihachiro Kawamoto was the forerunner of this trend when he studied under Jiri Trnka in in the s. Fusako Yusaki , whom I wrote about last September, has been a central figure in the Italian animation community since the success of her Fernet Branca commercials in the s. The relationship between European and Japanese has strengthened in recent decades through artists sharing work at animation festivals in Utrecht, Oberhausen, Hiroshima, and elsewhere. She has also studied in England and did a research project in Estonia in This has led to a long creative relationship with the city of Vienna. Yonesho currently divides her time mainly between Vienna and . In Vienna, she teaches workshops, makes , and does exhibitions of her art. In the autumn term she lectures at Kyoto Seika University. Thanks to modern technology, Yonesho finds that she is quite flexible to be able to work anywhere in the world using a scanner, laptop, and he International Express Mail service to send her short animation work to the NHK the Japanese public broadcaster. The theme always develops from something that has been on my mind, but rather than create a story and address the theme explicitly, I prefer to express abstractly, through sound and music, a mood or atmosphere that cannot be expressed in words. Naturally, it pleases me when a viewer can perceive and empathize with the idea I had in mind when I created the piece, but I like for each viewer to interpret it in her or his own way. One of the aspects of animation I love is simply the fact that it moves. In my work I emphasize this aspect of movement and also rhythm, so I try to keep the shapes as simple as possible, and have them move to the rhythm in pleasing ways. I was also reminded of an interview I once read with Sayako Kinoshita, who founded the Hiroshima International Animation Festival in the s with her husband Renzo Kinoshita. The Kinoshitas, after enjoying a positive reception at animation festivals abroad in the s decided to start a similar festival in with the ideal of striving towards world peace through visual communication. Hence the decision to host the event in Hiroshima. He also provides several high resolution stills from the and a link to a tiny video of the film. Check out her website for more photographs of her work and her CV. Renku Animation "Fuyu no Hi". Midnight Eye has published an article I wrote about the career of Tomoyasu Murata. It includes a filmography of his work. Check it out here. I have written reviews of some of his films elsewhere on this blog. I first discovered his work when he had an exhibition at a small gallery on Hongo Dori near my home in Nishikata and I wrote about the discovery. Since then, I have been to other exhibitions of his work and have been collecting DVDs, books and other items published by Tomoyasu Murata Company. I would love to buy one of his paintings as well, but that is way out of my budget. I meant to write a review of White Road last year, but while still mulling it over I got distracted by other things. I really should watch it again and see if I can attack it from a new angle. I am also hoping to get a hold of some of his more recent films soon. When he follows Red Beard around he sees that the doctor is often selfless, thinking more for the patients than anything else. He bends rules and sacrifices whatever he can for the sake of his patients. It is these transformations through real-world observation and action that Kurosawa often shows us in his films. Like Watanabe in , Yasumoto sees the world differently when he devotes himself to a good cause. In Red Beard we find that kindness is a sort of contagious disease, in a good way. Otoyo, the young girl who has known nothing but pain and hatred her entire life must, according to Red Beard, be cured in both body and mind. It is through her rehabilitation that Yasumoto learns still more lessons. When Otoyo refuses to take her medicine by shoving it back at Yasumoto, Red Beard comes in to make an attempt of his own. When Red Beard tries Otoyo comes back with the same reaction, so he tries again and again and again once more until she finally takes her medicine. Here Yasumoto has learned patience and perseverance. Otoyo, seeing that there are in fact good people in the world, begins to reciprocate with kindness of her own. When she breaks a dish that Yasumoto was holding, she sneaks out of the hospital to beg on the streets for money to replace it. When she looks after Yasumoto when he becomes ill, she learns even more about how empathy works. Finally, in her greatest show of kindness and the greatest affirmation of her recovery, she helps Chobo by giving him food. In Red Beard Kurosawa shows us that even those thought to be the most far gone can come back and learn how to be a kind person. Kurosawa also slips in another indictment of government in the film. Red Beard tells Yasumoto that it is because of the government cutbacks of his budget that he cannot treat his patients. Because of this Red Beard must seek other means to care for his patients. Throughout his filmmaking career Kurosawa has held government and authority with some disdain. The one character who remains constant throughout the film is Red Beard himself. Almost always calm and collected, Red Beard is a saintly figure among the community. The fault that one of the writers had with Mifune's performance was that he did not give the audience the feeling that Red Beard was a deeply troubled individual, and indeed this does not necessarily come through in Mifune's acting. He shows very little emotion whatsoever throughout the film. Only twice in the film does he become emotional. Once when discussing the government's cuts of his budget and once in his only show of violence as he fights back a mob of men trying to prevent him from taking Otoyo. Even after he fights the men he tells Yasumoto to tend to them, telling him that such violence is a bad thing. Not even Red Beard is capable of maliciousness on that level. The film is the culmination of Kurosawa's visual style. His use of multiple cameras, long lenses and long takes had been well established by this time and are used to great effect in this film. The three elements just mentioned all help to free the acting to enhance the film's realism. This film also presents one of the most realistic Kurosawa sets in his long career. At the Daiei Kyoto Studios. Remembering Dersu Uzala. Kurosawa and Animals. Kurosawa and Music. Sentimental Recollections. Observing the Kurosawa Group. Akira Kurosawa and World Filmmakers. Nishikata Film Review: May With such heavyweights as Stephen Prince and Donald Richie, to name but two, having written quite magnificently about his life and work, I feel there simply isn't much for me to add. If his lifetime and artistic output have been generously chronicled, his legacy, however, is something that could certainly do with more critical attention. The efforts of his collaborators, relatives, and former employers to keep his memory alive don't always smell of noble intent. From twisting and turning its interpretations of copyright law and public domain in order to keep making a buck out of the director's early work, via the production of some of the scripts the great man never got around to filming in his lifetime - rendered dull and pedestrian by overly reverential former assistants, to the failure to get a Kurosawa Film Academy off the ground - a misconceived venture apparently based on idea that one can turn any young filmmaker into a little Kurosawa by infusing him or her with a certain reading of the director's "humanist" ideals as if these were some kind of ideology. Then there are those who think that that they can infuse their own films with a bit of the Kurosawa spirit through a form of association, like Hirokazu Kore-eda working with his costume designer daughter Kazuko on his first jidai geki Hana, or Yoji Yamada getting his mitts on a property penned by one of Kurosawa's closest collaborators, his script supervisor and personal assistant Teruyo Nogami - so desperate is director's ongoing quest for master status that he believes he can acquire it at two degrees of separation from a geniune genius. A far more valuable attempt to keep Kurosawa's memory very much alive is Waiting on the Weather: Making Movies with Akira Kurosawa , the personal memoirs of that same Teruyo Nogami and her days alongside the master. An eclectic and pleasantly jumbled recollection that jumps back and forth in time seemingly at whim, Nogami tells her story with great self- effacement. As we know from earlier writings, Kurosawa's life was fraught with setbacks, especially once he found it harder to get his projects financed as the film industry began to wane at the close of the s, eventually leading to a failed suicide attempt. Tellingly, more than once Nogami of whom Donald Richie says in his foreword that she was the sole person with whom Kurosawa never lost his temper and who he never criticised blames herself for not supporting Kurosawa enough at critical moments. And this is the woman who, to again quote Richie, "stood behind him all the way from to and beyond. Her story is peppered with revealing anecdotes and entertaining asides that give rare glimpses into life on a movie set: ants that won't obey, a fire in a storage room that could have robbed world cinema of one of its greatest treasures i. But in addition to trivia, she also gives us invaluable first- hand accounts of the making of Rashomon, of filming in the tick-infested forests of Siberia on Dersu Uzala, and of the falling out between Kurosawa and Shintaro Katsu on . The theme always develops from something that has been on my mind, but rather than create a story and address the theme explicitly, I prefer to express abstractly, through sound and music, a mood or atmosphere that cannot be expressed in words. Naturally, it pleases me when a viewer can perceive and empathize with the idea I had in mind when I created the piece, but I like for each viewer to interpret it in her or his own way. One of the aspects of animation I love is simply the fact that it moves. In my work I emphasize this aspect of movement and also rhythm, so I try to keep the shapes as simple as possible, and have them move to the rhythm in pleasing ways. I was also reminded of an interview I once read with Sayako Kinoshita, who founded the Hiroshima International Animation Festival in the s with her husband Renzo Kinoshita. The Kinoshitas, after enjoying a positive reception at animation festivals abroad in the s decided to start a similar festival in Japan with the ideal of striving towards world peace through visual communication. Hence the decision to host the event in Hiroshima. He also provides several high resolution stills from the film and a link to a tiny video of the film. Check out her website for more photographs of her work and her CV. Renku Animation "Fuyu no Hi". Midnight Eye has published an article I wrote about the career of Tomoyasu Murata. It includes a filmography of his work. Check it out here. I have written reviews of some of his films elsewhere on this blog. I first discovered his work when he had an exhibition at a small gallery on Hongo Dori near my home in Nishikata and I wrote about the discovery. Since then, I have been to other exhibitions of his work and have been collecting DVDs, books and other items published by Tomoyasu Murata Company. I would love to buy one of his paintings as well, but that is way out of my budget. I meant to write a review of White Road last year, but while still mulling it over I got distracted by other things. I really should watch it again and see if I can attack it from a new angle. I am also hoping to get a hold of some of his more recent films soon. He had DVDs of his latest films available in time for his big exhibition at Hiratsuka this past month and they can be ordered via his website to addresses in Japan. Labels: art animation , avant-garde , claymation , experimental , independent animation , puppet animation , shorts , . In fact, according to The Japan Times , the general response from spectators was positive. The controversy that has raged in the Japanese media over Yasukuni this past month seems highly ironic in light of the fact most of those weighing in on the debate had not yet seen the film. The lack of voice-over narration has led to some interesting responses from Japanese spectators of the film. I think she has a good point. I have always found NHK documentaries difficult to watch, having long been weaned off the good old Lorne Greene Voice-of-God narration, as we called it when I studied film in Canada. I can imagine that to audiences used to this style, the lack of narration could be disconcerting. On the other hand, I suspect that Japanese audiences may be more sophisticated than NHK programming may suggest, as the wide range of response to the Yasukuni documentary attests. The film may have no voice-over, but it does employ other methods to narrate its story. He also uses the device of a framing narrative to bring the story together. By the end of the film, he begins to reveal some of his own opinions about the political status of Yasukuni shrine. I particularly enjoyed how Li chose to highlight the use of cameras in the film. The most amusing scene occurs when a small group of elderly war veterans have come to pay their respects at the shrine. Finally Kurosawa had had enough and ordered me to give him prompts. That was fine as long as we were rehearsing, but if I did it during a take, my voice would be recorded too. I remember that afterward they had a devil of a time deleting my voice from the tape. This is sheer conjecture on my part, but I suspect he was reacting to what went wrong on Tora! For one thing, I never saw him so quiet and undemanding on a set before. For another, he actually finished two months ahead of schedule. The film was in the can in just twenty-seven days. Every time I watch it, I get a lump in my throat. Was he personally satisfied with the final film? While the stagehands were cleaning up, Kurosawa stood all alone in the middle of the set. It got to me. He may have been anxious about what lay ahead in the next five years too. On December 22, , Kurosawa attempted suicide in the bath. At the time, I was working for an advertising agency, so I found out about it by seeing the front-page headline. teruyo nogami | Tumblr

Showing Average rating 3. Rating details. More filters. Sort order. Sep 06, Patrick McCoy rated it it was amazing Shelves: japan , non-fiction , film. I knew that Nogami had worked on many Kurosawa films from Rashomon up until his last film, Madadayo. However, I was unaware of her connection with Mansaku Itami father of one my favorite contemporary filmmakers Juzo Itami. Itami was Kogami's first mentor and she helped raise Juzo. In fact I was interested to learn that noted chambara and director Daisuke Ito was his best friend and both were from Matsuyama-a formidable cultural friendship much like that of his son Juzo and his best friend the Nobel Prize winning author Kenzubaro Oe. There are several facts that I was either unaware of or forgot: there were two fires that took place while they were editing the film, the film was entered in the Venice film festival without Kurosawa's knowledge-thus it's reception saved his reputation and revived his career since the film was so poorly received in Japan at first. In this chapter she discusses some of the jobs of the director's assistants and how they worked-using mostly examples from Kurosawa films. In "The Past Won't Return: remembering Dersu Uzala" she reminisces about the difficult shoot with cooperation of the Russian government that was a hardship in conditions of the location as well as working through a difficult shoot where Kurosawa was drinking heavily and border-lining on being outright abusive to his staff. In retrospect she feels that she could have been more understanding of him. Kogami discusses Kurosawa's issues with getting animals to perform for film in Chapter Six: "Kurosawa and Animals. In an interesting side note, she reveals that Mikio Naruse's Hideko the Bus Conductress was banned during the war for fear of showing the Malays decrepit-looking bus, which would have stained Japanese honor. This book is certainly of interest to Kurosawa fans, but perhaps indispensable to fans of the golden years of Japanese cinema. There is some repetition in the book since it was culled from a number of sources, but very entertaining and enlightening. Jul 12, Ad rated it liked it Shelves: nonfiction-biography , nonfiction-film , tags-japan. Nogami Teruyo was the script supervisor and loyal assistant of Kurosawa Akira This extraordinary women was at his side from the filming of Rashomon on to the very last. She wrote some of her personal memories down after Kurosawa's death for the Japanese magazine Cinema Club - she could not have done this while Kurosawa was still alive, as he would have told her, she says, "You've got it all wrong! Thanks to an initiative of Donald Richie who also wrote an introduction this English translation by Juliet Winters Carpenter was published two years ago by Stone Bridge Press. As is usual for Stone Bridge, it is a beautiful book, with illustrations by the author. To be sure, this is not a biography or a full analysis of Kurosawa's films. It is an intimate human record in which we get glimpses of the genius director and the way he worked. After a first chapter on Itami Mansaku, a director Nogami Teruyo never met but corresponded with as a schoolgirl and who inspired love for film in her later Ms Nogami would take care of one the sons, Itami Juzo, when he was a young boy and a chapter on the Daiei Kyoto studios where she started working just after the war, the story about Kurosawa kicks in with Rashomon We see the then year old director energetically working with his team. At that time, he was already the perfectionist he would always be. The most interesting episode is how they used to carry around mirrors to reflect the sun while filming in the woods - indeed, the contrasts between black and white in Rashomon are perfect. Fascinating is also the episode about the sudden fire in the Daiei studios where quick action miraculously saved the negatives of Rashomon. What we get from this book is how different film making was before the invention of CGI. That was "waiting on the weather" - not only waiting hours and hours for sunshine, but also waiting for a particular cloud to move into just the right spot above the roof of a building. When filming the village in The in the setting sun with the seven samurai in profile in the foreground, the cameraman waited just a few seconds too long, so they had to do it all over again the next day. The ants marching in formation over the ground in Rhapsody in August were real ants and a lot of "ant study" went into that scene. The same is true for the crows that fly up at the end of the Van Gogh episode in Dreams. The film team had to catch actual crows, put them in small cages and open the cages at just the right moment. No wonder Kurosawa took months, and even years, making his films, while Miike Takashi finishes off one flick a week Kurosawa ruled his team like an "emperor," and could have fits of terrible anger. He and the people around him had an especially hard time when filming Dersu Urzala under the most primitive circumstances in Siberia. In the course of the filming, Kurosawa went from one bottle of vodka a day, to two bottles. Kurosawa worked well with people who had lesser egos, such as Mifune Toshiro, who despite his macho roles was a rather shy man - a pity Kurosawa dropped him after filming Red Beard, just because he had enough of his style of acting. Katsu Shintaro originally was to be the lead actor in Kagemusha, but the swaggering, rough-and ready actor immediately clashed with the precise and perfectionist Kurosawa - their relation just lasted one day, the second morning Katsu left in a huff and was replaced with Nakadai Tatsuya. This episode reads like slapstick, but the quarrels with Takemitsu Toru were more serious. Takemitsu, who wrote the music for Ran, was Japan's most important composer of the twentieth century and of course had a great sense of artistic integrity. He did not allow Kurosawa who, as "emperor" wanted to have his say in every small detail! Takemitsu got his way but with much difficulty and never worked with Kurosawa again. On the contrary, he made a pointed remark about the group around Kurosawa who just acted as yes-men and never dared to differ in opinion in this, he also included Nogami Teruyo : "It's all the fault of the people around Kurosawa! Her book is a treasure of stories and in the end we only would like to have had more. Jun 17, Kristen rated it really liked it. I've heard of this famous director, but not yet seen any of his work. Nogami served as a script girl on a dozen or so of his pictures. The book would probably mean more if all the names she dropped--movies and actors--were familiar ones. As it was, they were just a collection of syllables, unless they appeared in enough of her anecdotes for me to form a picture of the person. However, I mined a treasure or two from Nogami's memoir. First, there was Kazuo Hasegawa, an actor who oozed sex appeal. O I've heard of this famous director, but not yet seen any of his work. One sidelong look from him melted the women, yes it did. One time, the company descended on a fishing village. All the villagers let their work slide for a day, to watch the movie-making. Hasegawa, on a boat in the little bay, came out and "bestowed flirtatious glances on the fishermen's wives. When he swept the starboard boats with his gaze, rapturous cries rose up from that side, and when he did the same on the port side, identical cries could be heard from there. Tigers, horses, ants. Yes, ants. How do you get ants to follow your script? First, collect 50, of them with a vacuum. Next, kill 30, to crush them and make a pheromone trail for the others to follow up a tree, just as the script demands. Does it work? Read Nogami for yourself. Jun 05, Chris rated it liked it Recommends it for: Kurosawa freaks. After slogging through the Emperor and the Wolf, I decided to try again to satisfy my fever for getting inside Kurosawa's head. This book is written by his longtime script supervisor, starting back with Rashomon in Nogami jumps around in time a fair bit, but overall it is an enjoyable light read. There isn't much detail to her observations, but now well into her 80's it does provide depth of perspective. The king's "only interest in government was a pious but simpleminded desire for reproachment. It's terrific, Clare, " Henry says, and we stare at each other, and I think, "Don't leave me. We cannot live for ourselves alone. Our lives are connected by a thousand invisible threads, and along these sympathetic fibers, our actions run as causes and return to us as results. Freedom, inefficiency, and prosperity are not in it frequently found together, and it is seldom easy to distinguish between the first two. Authors Categories Videos Quote Maker. COPY In a mad world, only the mad are sane. Akira Kurosawa Check all other quotes by Akira Kurosawa. Tags sanity madness insanity. Quote of the day. Popular Authors. Popular Categories. Akira Kurosawa. Akira Kurosawa, Something Like an Autobiography. Edna St. Vincent Millay, The Selected Poetry.

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The lack of voice-over narration has led to some interesting responses from Japanese spectators of the film. I think she has a good point. I have always found NHK documentaries difficult to watch, having long been weaned off the good old Lorne Greene Voice-of-God narration, as we called it when I studied film in Canada. I can imagine that to audiences used to this style, the lack of narration could be disconcerting. On the other hand, I suspect that Japanese audiences may be more sophisticated than NHK programming may suggest, as the wide range of response to the Yasukuni documentary attests. The film may have no voice-over, but it does employ other methods to narrate its story. He also uses the device of a framing narrative to bring the story together. By the end of the film, he begins to reveal some of his own opinions about the political status of Yasukuni shrine. I particularly enjoyed how Li chose to highlight the use of cameras in the film. The most amusing scene occurs when a small group of elderly war veterans have come to pay their respects at the shrine. The camera moves backwards in front of them as they approach the shrine, then does a reveal of the dozens of photographers wielding large cameras blocking the steps leading up into the shrine. The photographers easily outnumbered the elderly veterans. On the whole, the film projects a feeling of impartiality, that we are watching a series of events and hearing the points of view of a wide range of people, but there are suggestions that we are meant to side more with those who want to change Yasukuni. The pro-Yasukuni contingent, for example, are depicted as either extremely old there are some sweet elderly moderates , or in positions of political power Mayor of , Koizumi , or crazy and prone to violence. The film shows some wonderful ironies, such as the American pro-Koizumi protestor and the young Japanese anti-nationalist protestor who is mistaken as being Chinese. The audience I watched with at Nippon Connection, had the strongest aural reaction ie. It was a moment that certainly complicated my feelings of sympathy for her cause. The most interesting things in terms of interpretation of the director's voice is the ending. The interpretation of this sequence requires historical knowledge to a certain extent as there are no title cards to put the images into historical context. It begins with aerial footage of the shrine with an operatic score accompanying it. There is a lot of archival footage of Hirohito who was emperor throughout the war years and postwar years until his death in , beginning with him as a young man all the way up to showing him as an old man. I was starting to feel as if the montage, combined with the music seemed to be romanticizing the shrine and Japanese militarism too much, but then the director throws in shocking images of Japanese war-time brutality - a couple of which the audience would recognize from earlier in the film. It's an odd little montage, and I would have to watch it again a couple of times to really interpret it. I highly recommend this film because it will give you plenty to think about and talk about. I hope it is the first of many introspective films about Yasukuni to come out of Japan. One important thing to remember, is that this is not some film by a Chinese malcontent, as the Japanese nationalists have suggested in their fanning of the flames of controversy. Li made this film after many years of living in Japan and many of his crew, including the cinematographer Yasuhiro Hotta, are Japanese. He also had support from the Japanese filmmaking community, particularly his Japanese distributor. The inception of the controversy surrounding the film was that he got partial funding from a cultural agency funded by the Japanese government. For a wonderful article that goes into much of the historical and political background this documentary film comes out of, as well as an interview with the filmmaker, click here. Update: DVD now available:. Labels: documentary , features , festivals. Even though it was all very predictable — his story has become a legend — hearing the songs and seeing the smiling face of Tatsuya Yamaguchi recreating the cherubic, pock-marked look of the singer lovingly known in Japan as Kyu-chan made the anticipation of waiting for the tragic end a weep-fest for me. The film starts by giving an idyllic impression of his childhood, in spite of the hardships the family went through during the war. I've heard of this famous director, but not yet seen any of his work. Nogami served as a script girl on a dozen or so of his pictures. The book would probably mean more if all the names she dropped--movies and actors--were familiar ones. As it was, they were just a collection of syllables, unless they appeared in enough of her anecdotes for me to form a picture of the person. However, I mined a treasure or two from Nogami's memoir. First, there was Kazuo Hasegawa, an actor who oozed sex appeal. O I've heard of this famous director, but not yet seen any of his work. One sidelong look from him melted the women, yes it did. One time, the company descended on a fishing village. All the villagers let their work slide for a day, to watch the movie-making. Hasegawa, on a boat in the little bay, came out and "bestowed flirtatious glances on the fishermen's wives. When he swept the starboard boats with his gaze, rapturous cries rose up from that side, and when he did the same on the port side, identical cries could be heard from there. Tigers, horses, ants. Yes, ants. How do you get ants to follow your script? First, collect 50, of them with a vacuum. Next, kill 30, to crush them and make a pheromone trail for the others to follow up a tree, just as the script demands. Does it work? Read Nogami for yourself. Jun 05, Chris rated it liked it Recommends it for: Kurosawa freaks. After slogging through the Emperor and the Wolf, I decided to try again to satisfy my fever for getting inside Kurosawa's head. This book is written by his longtime script supervisor, starting back with Rashomon in Nogami jumps around in time a fair bit, but overall it is an enjoyable light read. There isn't much detail to her observations, but now well into her 80's it does provide depth of perspective. Most interestingly were to chapters devoted to the unknown to me father-son director After slogging through the Emperor and the Wolf, I decided to try again to satisfy my fever for getting inside Kurosawa's head. Most interestingly were to chapters devoted to the unknown to me father-son directors Mansaku Itami and Juzo Itami. Jan 12, Jim rated it really liked it. Excellent personal view of famed director Akira Kurosawa from his long-time script supervisor. A little repetitive in places it's taken from several different magazine articles , but especially toward the end, it's quite remarkable. Jun 28, Carrie rated it liked it Shelves: non-fiction. This was an interesting read. Composed of essays that were originally published individually, it occasionally covered the same ground in multiple places, but the stories were very interesting. This purports to be about Kurossawa, and it does spend a great deal of time on him, but it is also a larger picture of film-making and "movie magic" behind the scenes. Rex rated it it was amazing Sep 23, Heather rated it it was amazing Nov 09, Jhv rated it liked it Jun 13, Alexandre Ide rated it really liked it Mar 11, Jeffrey rated it it was amazing Dec 09, Mike rated it it was amazing May 06, Rodger Timm rated it really liked it Feb 24, Anthony Peronto rated it it was amazing May 09, Luca S. Xein rated it really liked it Mar 26, Maria Teresa Bordini rated it it was amazing Jan 23, Carla Onodera rated it it was amazing Dec 06, Andre rated it liked it Feb 09, Paul Agusta rated it really liked it Aug 17, Pedro Nobre rated it really liked it Oct 25, Jenni Peisa rated it liked it Dec 03, They rehearsed it again and again, and at last they were ready for a take. When the crew and cast heard him, everyone thought, Ah, the old Kurosawa is back. The mood was electric. Did Kurosawa have any concerns or hesitations about working in color? Well, Kurosawa was also a painter, you know, so of course he enjoyed the chance to use color for the first time. I remember he told the crew to come to work in colorful clothes. He said that now that we were working in color, we might as well have a good time. For the colors on the set, he had an assistant hold a paint box while he held the brush and painted for all he was worth. Did this in any way alter his method of directing them? One of them, Junzaburo Ban, was used to doing comedy. He had the difficult role of Shima. Ban had a tough time memorizing long dialogue, but one nine-minute scene had to be shot all in one take. Each time, a production assistant had to replace the film roll. Finally Kurosawa had had enough and ordered me to give him prompts.

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