Just did an interview with the very cool people @ Madman Entertainment in my hometown Melbourne—with their opinions on all things Japanese including anime and Akira Kurosawa. It's up at Forces Of Geek.
Here's a sample or two:
"Australia has had a long history with Japanese cinema, TV and anime
even if we didn’t always realise it at the time.
"For many years TV has
been a window on Japanese culture through shows like Monkey Magic, Shintaro, Star Blazers, G-Force and Astroboy; and also culturally adjacent shows like Mighty Morphin’ Power Rangers.
I think this has made Australia more receptive to seeing media from
Japan.
"Also, for cinema, the growth of the Japanese Film Festival over
the years demonstrates the popularity of the cinema here."
...and...
"The most ubiquitous name is certainly that of [Akira] Kurosawa. His breakthrough film Rashomon
[1950] was so well-regarded that the first Foreign Film Oscar was
created just for it. He gave us samurai films and helped inspired
countless spaghetti westerns.
"The Hidden Fortress and Sanshiro Sugata even helped shape Star Wars."
I've loved Stan Lee since making the goldmine discovery of ancient '60s Marvel comics in the shed of my grandmother Nanny Bergen's house in Richmond, Melbourne.
The titles that grabbed me then were The Avengers, Captain America, Thor, Hulk and The X-Men, and my admiration of Lee increased two-fold when I was about 12 and sent him my idea of an Aussie super hero called Southern Cross (yep, he had the Eureka flag emblazoned across his chest) - and Stan "The Man" actually wrote back to say that he liked it.
He didn't actually use it - but he said he liked it. 'Nuff said, and all that jazz.
Which brings me to a discovery I made yesterday at the first day of this year's Tokyo International Anime Fair.
We call it "TAF" for short; for reasons as-yet-unknown, the organizers drop the “I” bit, maybe because it just looks better in terms of the logo design.
Think displays by anime producers like Production I.G, Gonzo, Mad House, Toei, Studio Ghibli, Aniplex, Sunrise, and Bandai flaunting their upcoming wares, and not just the scantily clad pseudo-cosplay girls outside their booths.
TAF is also the host of the annual Tokyo Anime Awards and this year’s Animation of the Year was Mamoru Hosoda’s superb Summer Wars.
Anyway I'm digressing (as usual).
One of the best anime studios, Bones (they made Fullmetal Alchemist and Wolf's Rain) had a stall that featured this giant fellow (above) and a bunch of fliers promoting Heroman (ヒーローマン), a new series set to start screening on Japan's TV Tokyo this April.
It's billed as "Stan Lee's newest superhero" and credits him as original creator, with scripting on the show by Gyo Yamatoya (Naruto).
This year's TAF (my ninth in a row) was that kind of event - oddly surprising, occasionally invigorating, yet on the whole a wee bit lacklustre compared with its predecessors.
While the industry proved that there's still a lot of life to it there was no stand-out anime series or movie to talk up here, no Summer Wars or Ghost Hound; no new series of Fullmetal Alchemist.
One of my favourite animation companies, Studio 4°C, did however have these funky underpants retailing for ¥4,000.
There were also some interesting looking series I'll probably get round to talking up once I finish wading through the hundreds of posters and fliers you get swamped with at these events.
Live action rather than anime-wise, there was some promotion for December's big budget remake of Space Battleship Yamato (宇宙戦艦ヤマト) and Klockworx has a new movie coming out in May called Big Tits Zombies (it's subtitled Deadly DD-Cups).
No doubt we'll be reporting more on that shortly.
“TAF is the Mecca for anime fans around the world,” Makoto Tsumita, the former marketing manager for the international division of essential anime production house Gonzo, told me about three years ago.
At that time Japan produced almost two thirds of the animation watched around the globe, “and 70 percent of this is produced in Tokyo,” a spokesperson for the TAF Executive Committee Secretariat told me in article that year for the now defunct Geek Monthly, making the argument that this city was the natural setting for the hugely successful anime trade affair.
“It’s the best place for foreign buyers to find everything under the same roof,” reported Stephane-Enric Beaulieu, a spokesperson for the Canadian Embassy in Tokyo.
In 2007 the event drew close to 107,713 people over four days, up 8.8% from the previous year’s attendance. If yesterday is anything to go by, we may see a dip this year - they had 13,076 visitors on the first day, albeit business-only.
Also, thanks to the success of Avatar, there's a heavy fixation this year on anime in 3D; at the Gonzo booth you can catch comparisons of 2D and 3D renderings of Last Exile and Blassreiter, and neither series - even though I dug both in their original format - looked so cool as they do with this technology.
TAF opens its doors to the general public over the weekend, and takes place at the cavernous Tokyo Big Sight - located in Koto-Ku on land reclaimed from Tokyo Bay, situated right next to the Odaiba area and Rainbow Bridge... ostensibly one of Tokyo’s most famous romantic viewing points.
"Versus was the movie that changed my life and it means everything to me. The spirit of it is pure me and that's why it was so special. Fight your destiny, find out who you are, fight through to the end for your love; it ain't over till it's over... That theme and message came from within me."
So assesses Ryuhei Kitamura in a moment of absolute clarity.
These moments are peppered right throughout any interview with the Japanese director; far from being a scatter-logical talking head or playing things close to his chest with a bunch of guarded one-word answers, like some of his more famous brethren, Kitamura unfurls things freely and easily and occasionally hits home with these moment-of-certainty comments.
Versus (2000) was Kitamura's big breakout movie, a canny combination of action and horror that in many ways has served to define or at the very least delineate his work since.
"It's all me," he agrees. "It's all Ryuhei Kitamura-style, and I'm not going to try to change or steer away from anything. I'm only trying to get better." Versus, it becomes clear, was an apotheosis in Kitamura's career; a punctuation mark he always tends to refer to for its apparent sense of purity in his cinematic vision.
"When I was making it exactly ten years ago I hadn't even started off my career properly, I had no money, and a very murky future. But somehow I had faith in myself, and all the cast and crew believed in me and gave me the incredible courage to finish it."
Kitamura pauses for just a moment.
"I don't know how I survived two years of making the film, but somehow I did and here I am now. Versus is me. It was the very beginning, and now there will be a new Versus. It's part of my life and I can't escape that."
The new Versus he's talking about is Versus 2, which is already listed on imdb.com but the director admits he hasn't actually started it yet.
"This year [2010] will be tenth anniversary year of Versus so I'm thinking of doing something special. The original film means a lot to me and has huge fans all over the world, so I can't do anything easy or cheap - I can't guarantee anything in the long run, it's a definite that I'll do the new Versus in the future for sure."
At the moment Kitamura says he's in post-production on Shadows, a movie he's producing rather than directing. "It's a supernatural horror takes place in Thailand, and I'm working with writer/director John Penney and stars Cary Elwes and William Hurt. I'm producing many projects now."
On top of this Kitamura is also in pre-production on a movie he's going to direct that's called Taekwon.
"It's my version of The Karate Kid and it takes place in Korean Town in Osaka, Japan. It's the story of a Japanese street-fighting kid who meets a Korean taekwondo martial arts expert. I wrote the script and am producing the movie now; we start shooting this spring."
Just over five years ago Kitamura had wrapped up the final installment in Japan's longest, most misunderstood cinematic franchise, when he helmed Godzilla: Final Wars in 2004.
It was somehow equally appropriate that Kitamura's style and intent on the finale was equally misunderstood in some quarters.
The critical reaction was a startlingly mixed bag, as reflected in the movies 50% rating on rottentomatoes.com, with some calling it 'A rush of explosive excitement' (Cinefantastique) and others claiming it focused too much on action and not enough on story (Boston Globe).
Personally I loved everything about Final Wars - it was all too apparent that it'd been made by a fellow old-school aficionado of the humble kaiju (Japanese monster) movie.
Kitamura himself recalls the experience with obvious relish. "It was great!" he enthuses.
"I mean, it was Godzilla. It was the 50th anniversary. And it was the final movie. Who could say no? It was a once-in-a-lifetime opportunity and I had a great time making it and am very proud of the movie. I even decided to use the old fashioned man-in-rubber-suits style and it was pure fun - think big explosions and motorcycle chases, and I even got to shoot a few scenes in Sydney, where I'd learned film making in the first place. Lots of great memories."
Final Wars was the 28th Godzilla movie - so it's pertinent to know whether or not the director sat through all the previous 27 films before shooting his own.
"Yeah, I did," Kitamura confirms.
"In fact I loved the Godzilla movies back in the '70s, but not so much the ones released in the 1980s and '90s. Godzilla movies back in the '70s were never just monster movies... There were always messages and themes that reflected the time and world within which they were made, and they combined this so well with straight-out entertainment. They lost that touch in the '80s. I'm an honest guy and that's what I told the producer in the first meeting. Strangely, the producer liked what I said and I was hired to do something that was not only new, but also classic in a sense."
So is the kaiju movie still alive and well in Japan in 2010?
"I don't think so. These days, Japanese film studios are only interested in making dramas based on novels, manga or another TV series. Nobody wants to do expensive, old-fashioned kaiju movies. For me, the beauty of the kaiju movie is the retro man-in-rubber-suits style, not CG; it has more soul. Godzilla: Final Wars was the last movie made in that style. I'd be more than happy to revive the tradition in the future and do a new kaiju movie."
Kitamura has previously let it be known that his favourite kaiju character is King Caesar, who first appeared in Godzilla vs. Mechagodzilla in 1974 - then reappeared 30 years later in Final Wars.
"I simply love that original Godzilla vs. Mechagodzilla movie," says the director. "The moment King Caesar wakes up is my favourite moment in all of the Godzilla movies. It was so hard to choose which monsters would be in Final Wars - everybody has their favourite, and unfortunately we couldn't put them all in. So some tough choices had to be made."
Some foreign audiences know Kitamura best for Azumi (2003), a film that turned out to be an energetic, sometimes touching, and definitely underrated action set-piece that was dubbed ninja J-pop by one reviewer.
"It was my first big movie, based on a manga comic that was a huge influence in my own style," he muses.
"It took me two long years from start to end; I put all my energy into it and I'm so proud of it. The producer, Mata Yamamoto, hired me after he watched Versus. That was back when I was a complete nobody, and he gave me the big break and also believed in me. I was an angry, young, reckless director, and we had so much fun and a lot of fights making that movie."
It turns out that the original manga, by Yu Koyama, was a pivotal factor in Kitamura's own development as an artist and filmmaker.
"I grew up reading the great comics of Yu Koyama. He was my favourite comic author, so I was extremely happy when I got this job [to make Azumi], but also it created an unbelievable sense of pressure because I loved the comic so much. Then again, I realized that I understood the spirit of Azumi better than any other director, so I was 100 percent confident that I was the right one to accomplish the mission."
Joe Odagiri's turn as the effete killer Bijomaru Mogami is as funny as it is eerily scary - it turns out like an amalgam of British vocalist Morrissey's live performance tic in the '80s (when he inanely tossed flowers into the crowd) blended with Ben Kingsley, in Sexy Beast mode, dressing up as Boy George.
"The original comic series is really long - there are something like 48 volumes, a huge story arc, and tons of characters - so it was very difficult but really important to choose which episode and which character to incorporate. I thought about it again and again and created an original story for the movie, and for that chose Bijomaru for the main enemy. I think I made the right choice, and Joe Odagiri did a fantastic job."
Some of the criticisms of Azumi were that it was too violent, especially given the laid-back, somewhat zany nature of the opening part of the story. By the end, with Azumi herself drenched in blood and most of the principle characters dead, the scenario could be seen as quite bleak.
"I agree, and that's what I wanted to do. It's easy for me to make movies without blood or violence, but Azumi wasn't that kind of movie," Kitamura says.
"The whole concept was about war, life, death and terrorism. I never agree that having violence in a movie is a bad influence on kids. F**k no. It's not a f**king videogame," he asserts.
"Not that I mean anything against video games; I love them. What I mean to say is that kids shouldn't feel that killing is just like playing a video game. I was making a live-action movie, and Azumi was serious - not like more fun movies Versus or Midnight Meat Train. Azumi had to feel real and painful when she's killing somebody."
Kitamura puts it another way: "If you cut someone... it hurts, and blood comes out, and that's what the audience should feel.
"With this movie I couldn't go into a clean, sterile safety zone. I know if I took out the violence and thus avoided the ratings issue, and maybe cut out 20 minutes to make it a two-hour movie, it would've been a much bigger hit - but I just couldn't do that. I had to do the right thing for the story. That's the most important thing for me. Violence and length were the two big issues I had to fight about all the way through. I'm just glad I had the strength to fight till the end, and kept the movie I really wanted it to be."
Azumi was also actress Aya Ueto's big break, and she shone in the pivotal title role.
"We met more than 150 beautiful actresses and couldn't find our Azumi," Kitamura recalls.
"One day I saw Aya on a local poster for a baseball campaign, and I instantly knew that it was her. She was an absolute nobody at that time and I had to fight against everyone else to cast her. I only feel respect and love for Aya - she's a wonderful girl and an amazing actress. We did a new animation movie together called Baton this year," for the City of Yokohama 150th anniversary celebrations.
When I ask for Kitamura's opinion on this sequel, he responds with another of those moments of clarity I mentioned.
"I don't want to answer this question. The fact that there was never an Azumi 3 is the answer. I have nothing against Mr. Kaneko - he's been a great supporter of me since Versus. But I don't want to even think about Azumi 2."
Which brings us full circle to how he actually first got started making movies.
"I grew up watching movies back in the '70s and '80s - Hollywood, Japanese, Australian, Italian; action, horror, sci-fi, drama... everything!" He laughs. "I spent most of my time in cinemas and didn't go to school much. Movies were instead my school, my teacher, my life.
"When I was 17, I started thinking about my future and it was natural for me to decide that I'd become a film director. It all started as my fantasy, my own imagination, and I could make that real... That's the best thing about movie making. So I promptly quit high school, went to Australia, and entered film school. That was the beginning."
Why Australia?
"For simple reasons. Mad Max, director Russell Mulcahy, and INXS, all of these together conspired to make me go Down Under.
"I wasn't great student at school, I was poor, but those were happy days for me. From 1987 to 1989 I went to the School of Visual Arts in Sydney, I lived in Paddington, Rose Bay and North Sydney. I love Australian movies and Australian rock - not only INXS but also James Reyne, Jimmy Barnes, Icehouse... I still love them."
Citing favourite international film directors is deceptively easy - "James Cameron, George Miller, Peter Weir" - but when it comes to chalking up a list of preferred fellow Japanese directors, Kitamura stumbles.
"That's a tough question to answer. There have been too many great directors in Japan, and I can't pick just one or two," he then sighs.
"However, that said I feel bad that I can't find so many directors that I respect in Japan these days. But if I had to choose just one... I'd say Shunji Iwai [Fried Dragon Fish]. I really admire his talent and highly respect him. I think Swallowtail Butterfly [1996] is one of the most original and beautiful Japanese movies ever made."
Finally, as per a recent interview bent, I just have to ask Kitamura what he thinks is the most offbeat place in Tokyo. Interestingly enough, he opts out of the city altogether.
"Tokyo is a boring city," he asserts.
"I love my hometown, Osaka. I think it's Latin Japan - totally different from Tokyo, more funky, more crazy, and more sexy."
To get you in the mood for Versus 3, here's the trailer for the one that started it all a decade ago:
It’s official: Midway through 2009, one in seven citizens of Japan had heard of Star Trek.
I know this, because I finished personally quizzing 60-odd people round then for an article that popped up in the late lamented Geek Monthly to coincide with the late May release of J.J. Abrams' Star Trek reboot here in Japan; these are the stats I conjured up from those loose discussions.
The margin of error was open to contention, since I interviewed people only in Tokyo, my test subjects were limited to students of English, techno DJs and musicians, or creative anime types, and the age group stretched from 18 to 72.
The one-in-seven figure is itself a stretch, since two inclusions in the ‘yes’ category confused Star Trek for Star Wars. One time when I asked the ongoing question - “Have you heard of Star Trek?” - my tipping-the-scales 72-year-old English student declared “Of course!" ...thence proceeded to enact a rather sprite air-lightsabre cut-and-thrust routine.
It isn’t as if Japanese television consumption has been limited to only jidaigeki samurai dramas, or home-grown animated sci-fi romps like Mobile Suit Gundam.
Most of the 35 to 45 age-bracket grew up on Gerry and Sylvia Anderson’s British-made futurist marionette romp, Thunderbirds, in the 1970s.
Even when I arrived in this country eight years ago, Thunderbirds was still playing on NHK at primetime Sunday evenings. The week I sneaked through Customs, it was the turn of the episode ‘Cry Wolf’, set in Australia; for about an hour after, I had to explain to my Japanese hosts precisely why someone fresh off the boat from Melbourne didn’t sound like the outback butchers of pronunciation Thunderbirds had portrayed.
Then there’s the George Lucas factor.
Given that it’s based in large part on a classic Japanese movie (Kurosawa's Kakushi-toride no san-akunin, aka The Hidden Fortress) that starred the late, great Toshiro Mifune at his formidable best, it should be no wonder that the Japanese fell in love with Star Wars when it was (finally) released in Japan, midway through 1978.
But they seem to have completely missed the boat when it comes to the various TV series of Star Trek stretching from 1966 to 2005, and don’t even tarry with the 10 cinematic offerings before this year's reboot.
We’re not talking just your Joe Average salaryman or office lady here. I also interviewed techno luminary Ken Ishii, and he was a member of the Thank-God-There’s-At-Least-One-In-Seven Party.
Even so, Ishii echoed an ongoing issue for most Japanese.
“Of course I’ve seen Star Trek, but I never was careful with the different titles and series - so I don’t know which is which,” he admits.
“As you know if you live in Japan for a while, they tend to put a Japanese title on major Hollywood films, so we can hardly remember the original English titles, especially for the ones I watched when I was a child.”
Fellow Tokyo musician Toshiyuki Yasuda put it more frankly - “Sorry, I don't know much about Star Trek. All I can remember is a bald head” - while Tatsuya Oe, who produces under the alias of Captain Funk and is considered one of the city’s top DJs, found himself apologizing.
“Actually, I don’t have much knowledge about Star Trek, though I do like it,” he explains.
“Here in Japan, we could say that Star Trek got the short end of the stick because they lost the chance for focused TV broadcasting in the 1960s and ‘70s. Moreover, people got more familiar with the series after Star Wars fever hit Japan, so they were even misunderstood as a kind of pale imitation, at least around the time of my childhood. According to Japanese Wiki, video games of Star Trek seem to have been more popular.”
In terms of his own experience, Oe referred back to Jean-Luc Picard and crew, instead of my own favourite - James T. Kirk.
“I sometimes watched Next Generation on TV, and Geordi La Forge was very impressive and cool when I saw him first - he reminds me of ‘80s future electro-funk, like Midnight Star,” he reports.
Even so, Oe did manage to cite the influence of Classic Trek, albeit from unusual quarters: “Leonard Nimoy appeared on a certain TV commercial here in Japan.”
That was for Teijin - a textile and pharmaceutical company (teijin.co.jp).
Think the artistic types at Production I.G, the animation studio behind Ghost in the Shell, should be more in the know when it comes to matters Trek? Well, I’ll confess to that kind of inkling having crossed my own mind, but you can hit delete right about now.
“Star Trek doesn’t sound too popular here,” says Francesco Prandoni, our man at I.G, when I bounce the subject off him. “They’re all Kamen Rider freaks around me.”
Our contact at fellow anime studio, Gonzo (Afro Samurai), proved far more fruitful in this instance.
“Star Trek?” laughs Kaz Haruna, at the production company’s International Division in Tokyo. “How did you know I was such a huge Trek geek? Of course I know the movie is coming out; it may be the most anticipated one for me this year!”
30-year-old Haruna quickly shapes up as the jewel in the Trek Japan crown; the fount of Starfleet know-how that could reboot my own otherwise listless task.
“I remember watching reruns of the original series when I was a kid, but what really got me interested in the whole franchise was Next Generation, which I watched in real time,” he gushes, and it’s not long before I idolize every single word.
Thank god someone in this city knows Trek, and doesn’t believe that Kirk likes to bulls-eye womp rats.
“Although it had its moments, the start of the show was not that great,” Haruna continues with great gusto. Now I know for sure he’s seen the Next Gen series.
“I think I even stopped watching around the second season. But from the third season, it really became a high-quality show, and I was hooked. The ships and gadgetry were always something to drool over, but what really grabbed me was the balance of sci-fi, action, and drama, not to mention all the moral and human problems the crew faced. It gave a kid a lot to think about.”
When it came to favorite characters, Haruna is also quick on the uptake, like Captain Kirk with his trusty flip-communicator.
“I’d have to say Jean-Luc Picard. He’s supposed to have a French background, but Patrick Stewart is so English. So many breaks in his office with a cup of Earl Grey! Really, though, his balance of wit and bravery always got me excited. Sometimes as gung-ho and daring as Kirk, but always with an air of intelligence and class.”
Then the truth seeped out: Haruna had spent 19 of his 30 years living in America, and suddenly there’s just so much less wonder as to why he knows his Star Trek from his Star Wars.
While that piece of news may have shaded the gloss of my personal revelation just a tad, it did effectively introduce a new angle, one that I’d like to believe dawned on me in that split second, but more likely bludgeoned me about the head later on.
The angle? That Haruna has the unique cross-cultural insight a Johnny-come-lately expat like me could never hope to grasp, even after 96 months in the country.
“Having lived in both Japan and the United States,” our Gonzo rep muses, seemingly reveling in his new role, “it’s evident that Star Trek has had a much bigger cultural impact in the States. One of Star Trek’s biggest philosophical views was that there was no racism in the future. The crew of the Enterprise consisted of officers from all races, some not even human. In these terms, the way the show influenced Japan - which is not as culturally diverse as the US - was completely different, and somewhat minimal.”
Then comes the twist.
“What I think it did do is get into the minds of the sci-fi and electronics people, because you can see facets of Trek designs everywhere, from cell phones to monitor screens. Almost every bridge design for any kind of spaceship seen in Japanese anime - and that American kids are watching right now on Adult Swim, Cartoon Network, and crunchyroll.com - looks very, very familiar...”
