InterBEE REVIEW2011 (EN)

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shot images that made lavish use of stunning Japanese traditional arts. “Even today, Japanese spirituality, tradi-tional designs, and culture represent the tools to take on the world” explains Mr. Hishikawa. This perspective of Japanese culture that Mr. Hishikawa possesses is also shown in Saka no Ue no Kumo. Mr. Kato says that in addition to entrusting the title sequences to Mr. Hishikawa, he also assigned him the role of “the person able to communi-cate on a common conversational axis.” This is how Mr. Kato puts it: “Over a production span of five years, stylistic changes develop in how the images are expressed. From the outset I intended to create images that did not get carried away by stylistic changes. Consequently it was necessary to have clear funda-mental ideas about filmmaking and to constantly renew ideas via communica-tion on the set. I asked Mr. Hishikawa, who I met on Komyo ga Tsuji, to design the title sequences, and arrange things so that the axis of dialogue about the images for this story also evolved out of communication with him.” The bonds between the three men deepened as a result of creating the epic-scale drama, and I asked them about Japanese filmmaking and creators.Hishikawa: To be active in the interna-tional arena it is probably best to assume that the more you align yourself with marketing, the less you will succeed in the world. If you conversely come out with designs that only a Japa-nese person can produce, and which are drawn from the earth and climate that only Japan has, the world will pay atten-tion. Japanese spirituality, traditional designs, and culture are relevant in the world even today. There is a great amount of diversity in culture and the arts in Japan, from Hokkaido to Oki-nawa. What the world is asking is where the central axis of a creator’s originality lies in his or her activities. Possessing an axis such as this also enables you to participate in international joint productions while exercising your own initiative.Hishikawa: Positioning the uniqueness only Japan possesses as that axis and then actively going forth into the world represents the globalism of the Japa-nese creator. For example, when it comes to the theme of expressing “Zen-like” imagery in modern times, clearly it will be possible to capitalize on the image of that theme as how Japanese people interpret it, compared to a case where foreigners interpret it.Kato: In the drama Saka no Ue no Kumo, shooting took place in a large number of foreign locations, and at each location local staff arrived with their own prefer-ences. Looking at independent creators and production crews abroad, I got a strong sense that all countries boast high technical skills, and that in film-making each has things they are particu-lar about. Generally speaking, when shooting abroad, the shooting schedule restraints are tight and so as you work you tend to keep in mind how efficiently you can record the necessary raw foot-age. As that intensifies, you don’t think about using local approaches and so forth. Naturally, there is a tendency to think that in some cases, rather than explain-ing too much to the local staff it would be better if they quietly did as asked. But that seems like an excuse for not overcoming the communication barrier. When you go to a location site, unless you can make that site interesting you won’t come up with interesting footage. In the work with the South Korea VFX production crew, there were things that couldn’t be fully communicated using words, but the task of expanding the images was made possible out of dialogue with them. In Latvia and Malta also, trying to make one image more appealing had an absolute value that exceeded words. Each person in charge of production inspired the staff to stand by that value. I was strongly aware of the potential of the film industry when the superior production staff is independently play-ing an active role. Japan needs more of this determined independence.Yuuki: For example, with program produc-tions in the United States, you sense there is more of an equal relationship with broadcasters and distributors than there is in Japan. Even in the broadcast program market there are a number of markets – not just the networks but syndications, local stations, and so on – and so there are more than a few oppor-tunities. However, there is also a certain severity – if you don’t get results or fail, you get fired on the spot. I don’t necessar-ily think the European and US approach is better than the Japanese approach, Discovering values unique to Japanthrough international collaborationsMr. Seiichi Hishikawa20■What are your thoughts on the current 　state of filmmaking and creators in Japan?

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