I started this site a few years ago as my hobby, so I can talk about Japanese movies, and through this site, I met a lot of interesting people, including some unbelievable opportunity to interview famous people in the movie industry. However, recently my day job has become so hectic and I have no time or energy to spend on the site. I have kept the site till now, as there are some statistics that people may find useful, but I have not been able to do update the site at all and finally decided to shut down.
For the time being, I will keep this blog open, and if opportunity comes along, I will write articles here. If you have any material you need from this site, please copy and keep it yourself before I close the site. It will take at least a couple of weeks or so till it actually closes.
Thank you all for supporting "Hoga Central" for so many years!
My friends over at Toei Kyoto Studio Park will come to San Francisco this week to show off their wacky samurai comedy "Metal Samurai", as a part of "J-POP Summit" at Viz Cinema in Japan Town. The admission is FREE!!
Cast includes: Gary Jay Coffman, Yoko Mitsuya, Kappa Kunikida
Date: September 19, 2010 (Sun)
Time: 12:00-2:00pm
Venue: VIZ Cinema at New People, 1746 Post Street, San Francisco, CA 94115, (415)525-8600
Admission: free
Format: Three 20-minute episodes. Special prizes will be raffled off, and all visitors will receive a thank you gift pack
While parodying traditional samurai movies, “Metal Samurai” depicts the loves and adventures of a blue-eyed, chicken-hearted samurai, who is in reality a heavy-metal hero.
The show will be preceded by a special talk with Bay Area native, Paul G. Richardson, who is both a radio/T.V. personality in Japan and a member of the Jidaigeki Rennaisance Project in Kyoto. Doors open at noon. The show will begin at 12:30pm.
Actually, Kenichi Matsuyama's "Detroit Metal City" will be on right after "Metal Samurai", but "DMC" is NOT FREE!! So if you are coming to Japan Town anyway to see "DMC", please come a bit early to catch "Metal Samurai" too!!
Japan's animation director Satoshi Kon ("Paprika") passed away for pancreatic cancer. He was just 46.
I wrote an interview article about him a few years ago, about "Paprika", and I was quite impressed about his forward-looking view about technology and reality. It is sad to see such a talent goes away, in such a young age.
"Inception" is creating a huge buzz on blogosphere, not only in the U.S. but also in Japan. One of the big factor there is Ken Watanabe as Saito, the Japanese businessman, in this Chris Nolan's SF film.
Izumi Hasegawa over at Hollywood Newswire interviewed him, so I would like to introduce excerpt from that interesting interview.
<About the casting>
They
made this role having me in mind. I
really appreciated it.
In the past, I did historical military officer, samurai, or a bit
different ones in “Batman Begins” or “Darren Shan”, but most of the time,
I had to be Japanese.This time, I thought Chris
chose me because of the personality.Of course, Saito is a
Japanese, but I felt my personality is a stronger factor
than the nationality, and I am glad that I could be a part of this international cast members in such a way.
<About filming>
There are earthquakes, floods, zero gravity,
and we all actually experienced them, they are not just CGs. We actually filmed in a lot of those environment. The filming was very tough.
<About his absense from US trailer>
I wanted the viewers to get confused what kind of person Saito
is, especially at the beginning. He is mysterious, and I believe that is why they left Saito out from the U.S. trailer.
Iagree with Nolan,that these days too much information is
given out, so people know what the movie is about beforehand, and they just go
see the movie to confirm it. It is hard
to balance, but after all,I believe surprise factor is very important.
<About Saito's castle>
The image was a projection, so it did not have to be realistic. It was what they constructed in the dream, so it did not have to match with the reality in Japan. The designer's image was amazing. That is what Westerners have in mind about Japan, so it was very interesting to me.
<Impression of DiCaprio>
I only saw him in his past movies before, so I had an
impression that he was more sensitive type, but he really is a tough guy.As a necessary condition to be a good actor,
he has many faces.Sometimes he is
childish, smart, tough, physical, and he also deeply understands the
role.But when filming condition is too
tough, and he reaches his limit, he starts singing a very strange song that he
makes up.When that happens, we know he
is at his limit. That happened in zero gravity scene.
<DiCaprio's mention about him as a National Treasure> I believe
all of this cast is national treasure for each their country and this
film brought together. This is why I think Hollywood is amazing.
They absorb all of these cultures. Not just me, but this movie has an
international cast.
Ken Watanabe and his wife Kaho Minami (actress) at the premiere in Grauman's Chinese Theatre, Hollywood
About Her Brother (2010, North American Premiere, Dir. Yoji Yamada)Accidental Kidnapper (2009, New York Premiere, Dir. Hideo Sakaki)Alien vs. Ninja* (2010, World Premiere, Dir. Seiji Chiba)Bare Essence of Life, aka Ultra Miracle Love Story (2009, New York Premiere, Dir. Satoko Yokohama)The Blood of Rebirth* (2009, New York Premiere, Dir. Toshiaki Toyoda)Boys on the Run* (2010, North American Premiere, Dir. Daisuke Miura)Confessions* (2010, U.S. Premiere, Dir. Tetsuya Nakashima)Crying Out Love, in the Center of the World (2004, New York Premiere, Dir. Isao Yukisada)Dear Doctor* (2009, New York Premiere, Dir. Miwa Nishikawa)Electric Button, aka Moon & Cherry (2004, U.S. Premiere, Dir. Yuki Tanada)The Foreign Duck, The Native Duck and God in a Coin Locker (2007, North American Premiere, Dir. Yoshihiro Nakamura)Golden Slumber* (2010, New York Premiere, Dir. Yoshihiro Nakamura)Hanging Garden (2005, Dir. Toshiaki Toyoda)Kakera: A Piece of Our Life (2009, North American Premiere, Dir. Momoko Ando)King of Thorn (2010, North American Premiere, Dir. Kazuyoshi Katayama)Memories of Matsuko (2006, Dir. Tetsuya Nakashima)Mutant Girls Squad* (2010, International Premiere, Dir. Noboru Iguchi, Yoshihiro Nishimura, Tak Sakaguchi)Nightmare Detective 2 (2008, U.S. Premiere, Dir. Shinya Tsukamoto)Oh, My Buddha!, aka Shikisoku Generation (2009, New York Premiere, Dir. Tomorowo Taguchi)One Million Yen Girl (2008, U.S. Premiere, Dir. Yuki Tanada)Parade (2009, New York Premiere, Dir. Isao Yukisada)Sawako Decides* (2010, North American Premiere, Dir. Yuya Ishii)Sweet Little Lies (2010, U.S. Premiere, Dir. Hitoshi Yazaki)Villon’s Wife (2009, New York Premiere, Dir. Kichitaro Negishi)Zero Focus (2009, U.S. Premiere, Dir. Isshin Inudo)
Q. How do you select the work? Do you have any standard?
HS. Just based on the scenary I am seeing at that time, whether the piece matches to the direction I am going for, and timing also matters. Basically I want to try any new role that I have never done before. Normally, from the time I get an offer till the reply deadline, there is only 10 days to two weeks. During that time, I read the script over and over, and research the past works of the director, cast members, producers and the crew, so I have to stay up all night a lot, and I always reply at the last minute. It is very important, or rather say, the most important work, so it is very hard to make a decision each time. There is only two weeks or so to make the first step decision whether to go to the next step or not. Sometimes multiple offers come at the same time, and I have to repeat this decision process so many times. Sometimes I go forward, get a script, meet the director, exchange idea and at the last minute the deal desappears. But the whole process is not a waste. Sometimes the filming gets into a hiatus, but during that time, it is even harder than continue filming. But that is my work. Once I go out on the set and start acting with such great figures like Anthony, I don't even feel that it is the work. I don't think about anything, just feel so intuitive, so happy to spend a creative time as an actor, almost as a hobby if you will, and just do it. So my hardest work is the decision process under the surface, to decide what kind of work environment I would throw myself into.
Q. When do you feel happy as a human being, or as an actor?
HS. Well, the time when I create something in a great environment with great partners, including the set location, or the time I spend in camp with others. During the time I devote myself into a film piece and until it finishes I am like in a dream, half being myself and half the role in the film. It is such a wonderful time, but also it carries the everyday life aspect with it, so you cannot separate the two. Everyday life working towards the creation of a great piece is a part of my life, and I feel very satisfied during that time. Hmmm, I feel so happy during such time.
Q. Now I will ask you the future plans. Will you go to Europe for the promotion of this film? Also, do you have any new movie, live act, TV, or voice over coming up?
HS. Yes, the film will be released in April in the U.S., and after that, as the release is made in different places like Europe or Japan, I would like to go there as much as possible, my schedule permitting. I want to see the reaction in different countries, and I want to promote it to different people. That depends on the film destribution situation, and my schedule. Also, now a new movie is in the preparation process. It is called "Fallen Moon" with director Peter Medak. I have been in numerous discussions, exchanging ideas with the director and producers in New York, and finally the new version of script came up a few weeks ago. In May, the main cast will gather and start reading sessions, and then the script will be adjusted again, and then will go into filming. So I still don't know when exactly we will start working, but if it starts, the filming will be done in New York, so I am looking forward to it. After that, I am in the process of researching and deciding, so nothing is decided and can be announced.
Q. During the filming of COYFD, in Buenos Aires, did you do fishing? We also heard that you were in
accident.
HS. Well, Buenos Aires is close to the sea, but the place we stayed, Estancia, is two hours south of it. There was only a small stream nearby, so I could not do any fishing. But the place was a big open space, so I did bicycling, or swimming with others, enjoyed the things I could do at the place. And yes, I got into an accident. I was on a production car, and I usually took the front seat. One day on the way back from the location, the car slipped and rolled sideways. But with my stunt experience, when I felt the crash was coming, I stamped my feet, held tightly onto the car with both hands. So the car rolled three times, and at the first impact, I hit my head, because even with the seatbelt, you can slip out upwards. And it was funny, I remembered a scene where Omar gets into an accident and I say "don't move, don't move" in my bad Spanish. So I realized I should not move. Then I was taken to the hospital and had 5 stitches in my head. But at that time, I was working in "Rush Hour 3" concurrently, so I had to go back to L.A. quickly. I went to Buenos Aires, to check whether I could fly. They gave me the green light so I flew back to L.A., took one scene, removed the stiches in UCLA, then went back to Buenos Aires. So in Rush Hour, in some scenes I had stitches. (laugh) But thankfully there is no after effect. Coincidentally, Pete says in a film, about the time when Jules shot himself, "lucky that it was me who found it, not anybody else", and I felt exactly the same way. If it was not me, child actor, actress, or Anthony, I don't think they could take the body position I took. (laugh) I felt really lucky that it was me. The director came to see me in the hospital that night, and I told him as soon as I saw him, exactly that line, and he had a bitter smile. (laugh) After that, they replaced the car to a sturdier one, and placed tougher safety standards to the drivers. If not, there might have been even bigger accident later. So I explained to the director that it was "yaku-otoshi" in Japanese tradition (meaning that you take a small bad thing early to avoid bigger one later), and to the other team members when I got back to the set, when everyone was so concerned, saying that "it was just a yaku-otoshi, so don't worry, it will be OK". I spread one Japanese tradition to everyone. (bow and laugh)
Q. How was Pete's character different from the original novel?
HS. Yes, there are two major changes about Pete from the original. The first is nationality. Originally he was from Thailand, but because I was casted, they changed the script to Japanese. He was set as from the poor, broken family and was in a orphanage, so the script writer imagined a small isolated island. I wondered why Tokunoshima, but because my actual mother's family was in Amami-Oshima, so I guessed that maybe she went extra miles to research it. I made myself to think and appreciate that way. In the film, Omar would not understand where Tokunoshima was, so I inserted a bit ad-lib. But it is very nice that they change the script, respecting my nationality, and I want to continue on to insist on that point.
Q. Did you quit smoking?
HS. Yes, I did, when I decided to live in L.A. So it has been 8 years. I quit exactly after "The Last Samurai" premiere ended, on that day. During the post-production, I stayed here to supervise, and realized that there was no place to smake, in offices, studio or anywhere. It was so inconvenient, and to smoke just one cigarette, I had to leave the studio for 10 minutes, and during that 10 minutes, incredible session would occur, like in the music production. I was there to encounter that very thing, and I missed it for a cigarette, so I thought it was stupid. I had already decided to live here, so not just inconvenience, but it was also a self-trial to test how serious I was. I decided to quit smoking to live here, so I wanted to test how serious I was to make it in Hollywood. I have not smoked since, you calle it "cold turkey", right? (laugh) So in this film, I smoked and it was after such a long time. So the director was very concerned, because after all the effort to stop, if I restarted again, he would have felt a big resonsibility. So I told him, "don't worry, I will smoke the last one in Buenos Aires Airport, and then I will promise to stop after that". Anthony also asked me "do you smoke regularly?", I answered "I am doing it only for the film and will stop after this," and he said "promise me to keep those words, there is nothing good about smoking." Two big figures concerned about it for me, and I could not continue, of course. I started resuming it little by little at the start of filming, so I wouldn't choke, but after I left Estancia after the tearful farewell, I have not smoked a single cigarette. I didn't even get to Buenos Aires Airport. In L.A., I even forget that I was smoking, so I guess I am OK now. If required in a role, I still would, but my body does not need it. Thank you for being concerned for me. (bow)
Q. Some people say you are the "party boss" (enkai-bucho). Were you the one when you were "camping", and are you while you stay in L.A.?
HS. Well, I am doing pretty much the same thing in any company. This time, everyone else was with James Ivory for the first time, except for Anthony, but for me it was the second time, so I was a bit like a liaison, particularly till people got used to the environment. I am used to the "camp" like settings, but some people were not, so even though they have their own room, they still share kitchen, dining, and so on, and live together, they sometimes felt frustrated and started wondering why they had to do this. But I thought the director was doing it on purpose, to create the family-like atmosphere, just like the case in "Sunshine". It is particularly hard to work overseas, but if you overcome the obstacles together, the real teamwork would be made. So I preached the advantage of "camp" life to them. It is still only my second time with the director, but I learned the way of communication between him and the team members then, James Ivory style, so I also explained such things to others occasionally. As for parties, this time, I restricted myself from them this time, other than big official ones. Everyday I had to learn English lines, and sometimes it changes the day before filming, so I did not have time to organize parties. Instead, I massaged the director's shoulder everyday. Other people watched it and lined up saying "I'm next." (laugh) So this time I was not a party boss, but rather a masseur, a healing boss, maybe.
Q. Do you invite people to your house for parties?
HS. In Hollywood, I don't often invite people to my house. Of course there are lots of invitations to others' house or birthday parties, gathering up tens of people. But don't you think that parties over here don't need "party boss", like start without noticing and dwindle down without noticing, with no speeches or agenda? If you do that, people would feel awkward. So the Japanese style "party bossing" is not wanted here. So I do like Romans do when in Rome, according to each house or occasion. I am participating them as a learner of how to behave in them, in different kinds of parties, rather than a boss. But sometimes things don't go smoothly, or food does not get served on time, just because nobody says anything. In such situation, where if one person says something the things would flow, I sneak in and arrange things quietly behind the scenes, then go back like nothing happened and drink. So that is sometimes even more tiring than "bossing" myself. I feel more natural cheering up everyone with headband (laugh), but I am a learner now.
Q. Which city would you choose as your "final destination"?
HS. I still don't know, at all. I think the film is asking the same question to the moviegoers. I have been going to different countries, meeting different directors and working with different actors, and each time I have contact with different values and learn many things. Then I seek the next place to utilize them, wonder what city is the best place for that. I have been located in L.A. for some years now but it is not final. If I find the place for the next thing, I will go there, and I think I will repeat that step. This is not necessarily my final destination, and of course Japan is my home base, where I feel the more homesick the older I get. But I still want to go different places to learn more things, so I don't think about settling down in one place, but rather I would drift around like a gypsy (laugh) according to what is best for me at the time. And maybe the place where I fall on the ground is the final place (laugh), but I have no idea where it will be.
Q. So what do you like and dislike about L.A.?
HS. First of all, I love the weather, not too cold and not too hot, great for relaxing and training, although it is inconvenient that you cannot go anywhere without a car, but I like driving, so it is not too hard for me anyway. And as the biggest reason that I am here now, this is the place where all the movie industry people gather from all over the world and all the information is centered around here. If I get contacted, I can just go and meet the person in the afternoon easily. That is why I felt it is necessary to be here, and I am glad I am here, at least for now.
Q. What do you want to convey to Japanese movie industry people or actors, among the things you learned here in Hollywood?
HS. First when I started working here, I had troubles with different systems. There is no union in Japan, and over here, I feel protected but at the same time somewhat resticted. I sometimes feel a negative side effect of the system that is too much advanced. In that sense, I think that Japan has just started to open doors to the world, and there are lots of room for improvement, so I want people to take good points about Hollywood, and blend with the old-fashioned, gun-ho, craftsmanship and spiritualistic style in Japan, in a good way. If you do that, I think we can make a ideal culture. In addition, over here, the top people in many areas such as props or costumes, are excellent, but there are also many average people. In comparison, Japanese staff people have to manage with a lot less budget and time, so they have come up with many techniques and tips to rationalize the process, and I feel that they are really great in such creativity. In London when I did the live theater work, they told me that the work that London staff would do in two weeks got done by Japanese staff in 30 minutes so they would lose their job. The same thing for movie making. So I learn great things about Hollywood but at the same time I newly realized how high the level and the quality of Japanese staff members. It really hit me big time. So now that this side is opening up the gate to them, I hope that more people would feel confident to come and jump in here, and learn and build on it, and repeat this process to expand. I want younger people, including actors like me, to think that way.
This is Hiroyuki Sanada's exclusive interview by Izumi Hasegawa, done in a Japanese restaurant Hamasaku in Los Angeles.
English translation:
Q. How did you prepare for the role? What was difficult for you in playing the role?
HS. This time I played the boyfriend of Adam, played by Anthony Hopkins. They have lived together for 25 years, so they are more like a family rather than lovers, and Pete is positioned as his son legally in the story. So I could interpret the situation in many ways. I happened to know a couple who are exactly the same as them, so I interviewed them a lot as a great reference. I also talked to other people who are similarly situated. But right before the filming, the director told me not to try to express it in how he looks, talks or moves. It was the very first thing he said to me. So he was telling me the superficial, cosmetic expression was not good enough. So at one point, I was contemplating various plans to express him with the voice tones, moves or way he talks, but the director wanted me to act just naturally, try not to "act like a gay". That was exactly what he wanted, so my plans were all got blown away. (laugh) So after that, I had to express how he loves Adam, and the history they have built up over 25 years. I had to fight, with a heart, as there were so many restictions. So after all that thinking, I stripped away the frills and made it simple, focused on showing the feeling of everyday life and his love to Adam.
Q. So all your preparation effort got blown away, and was that your biggest struggle?
HS. Well, in a way, but the things I learned in the preparation were not wasted. Pete's personal history was planted in me after repeating it in my head, so I believe it was not all wasted.
Q. Pete is set as Adam's lover, not a friend or an employee, both in the film and in the original novel. Why do you think he is?
HS. Hmmm, I don't know. There are various relationships among the personalities, which are not so many, and sometimes they split into teams, such as Arden/Pete team or Caroline/Adam team, but they all face sincerely to their love. And in the past and present, they all are influencing one another, and the company was not there if even one of them was not there, though they conflict sometimes. They are like a mysterious gear. So first, Pete has to be in a equal position to Adam, to be naturally in that world. In addition, considering the roles name, maybe the author, Peter, projected himself onto Pete, , to be placed in a story as a person who is in a corner but has solid links to all the participants just like a baseline in music. I think he entrusted such a role to Pete.
Q. What did you learn from the great Anthony Hopkins?
HS. There were just too many things I learned. It is hard to pinpoint one or two things, but throughout the filming, his appearance, the way he approaches to the work, his near-impossible relaxation (laugh), his consideration to other cast members, relationship with the director, there are too many things to list up individually, and these are not something you can use it the next day. They go inside my DNA and later, maybe in 3 or 5 years, I hope it will be beneficial somewhere in me. He emits the special atmosphere, wrap up everyone around him and bring them to the higher place. He has such leadership style, not forceful. During the filming, we took the same scene so many time, but he never repeat the same thing twice, everytime he takes a fresh approach, he deligiently follow what he feels at that time, but still keeping it within the basic framework perfectly. I was very impressed that he tried new approach in every take, every shot. I would like to learn it.
Q. Do you keep in touch with him, like going out drinking or dining together?
HS. Not after the filming. The first time we met, I spent some time at his house, for meeting him for the first time and for fitting. After that, he invited me to dinner once, to speak frankly about the role, the movie, our past experience, etc. So when the fimling started, I felt much relaxed compared to the first time. During the filming, there were many events, so we spent Thanksgiving, Christmas and New years together. The best memory was his birthday, December 31. All the cast and staff got together where we stayed, Estancia, and threw a huge party. Until midnight, it was his birthday party, and slid into the New Years party after midnight, and we all drank, danced. In that sense, the environment that everyone was like camping together for this film in a small town, was a good setup to create the family-like atmospherefor, that they spent a lot of time together for a long time, for the film. Everyday the director, cast and everybody had dinner together, talked about many things. It lasted for two months, everday. Towards the end, we were really like a family. One by one, a member went back to the home country, and everyone hugged one another with tears, saying "I will see you when the movie is done." And I have not met Anthony since such farewell.
Recent Comments