Journal of Literature · Night reading at the moment
Reading on bedtime, a beautiful article that takes you into the world of reading memories.
It's Hirokazu Kore-eda · Tree Shirin
What would the director and the actors talk about out of the script? Outside of the lens, what is the relationship between the two? Flipping through the transcript of the conversation between the director Kore-eda and the actor Kiki Kirin, our curiosity may be greatly satisfied.
Recently, the new classic culture launched the only book "Still Have to Live in Everyday", which is completed by branches and trees together. In six in-depth dialogues spanning 12 years, the two talked about film, television, advertising and performance, shared professional insights, gossiped about life clips, and showed the evolution of Japanese performing arts and film culture in the past half century.
What do the branches and trees look like under the lens of different photographers? How did they take a selfie on their way to the awards ceremony? The photographs in the book are of different styles, but they jointly present the interdependence of life and art, echoing the two people's lives and creative philosophies. The tree said, "As an actor, you still have to live in your daily life." "Why not be human? Looking through the hand-drawn schedule of the branches, you can understand his working mode of switching back and forth between procrastination and multitasking, and you can also see the sharpness and cuteness of the trees. "Did you hear I'm hard to deal with?" The first time they met, she happily said such a word to Shizhi.
From "Walking Non-stop" to "Thief Family", Kiki has never starred in a film of Zhizhi, but it is an indispensable presence in the eyes of the director and Zhizhi. It is Zhi who found that the tree has the perspective of the director and is good at examining the script and performance from the overall situation, so he can make himself have the idea of "being a reliable director"; In the eyes of the trees, who are accustomed to speculating on where she stands, she is just thinking about "what kind of color paint to become to highlight the beauty of the painting."
The original Japanese version of "Still Have to Live in Everyday" was released on the first anniversary of the death of the tree, and the commemorative significance is overflowing. With a longing for the absent, it was Zhi who completed the compilation work: "The loved one is no longer here, and the hand cannot reach it." Maybe this book is a 'love letter' that is no longer possible for me to send. ”
"Still have to live in the daily life"
[Japanese] is by Kore-eda / by Cao Yibing / translation
New Classic Culture, Nanhai Publishing Company
Interview notes
Before the interview began, Mr. Shirin said to me, "Come here. "She called me to another room and showed me the PET film given by the doctor. Black spots that embody cancer cell metastasis are all over her bones. Previous regular heavy ion line therapy has also failed to stop bone metastasis in cancer cells.
"That's the way it is, so I'm going to arrange things after the scenes, and this movie really became our last collaboration."
It is said that the doctor told Mr. Shirin that she may not be able to survive next year. After explaining to me, she walked out of the room with a happy expression. The interview started smoothly, but my mind was full of the PET film I had just seen, and until the manuscript was sorted out, I couldn't remember what I asked, and how Mr. Shirin answered.
"This is the last time I'll play your movie."
I only remember when Mr. Shirin stressed this point again, I finally understood that this was already a reality that had to be accepted, but I could only give an ambiguous answer of "no no", and I couldn't help but feel angry for my own indisputability.
In addition to the question about "The Shoplifters", I originally planned to broaden the topic and prepare other questions to bring the long interview to a successful conclusion. However, at that time, Teacher Shirin could no longer eat a decent meal. Her voice was untenable, as it had been two months earlier. I couldn't bear to let her say it again, so I ended the interview early.
"It's pretty pretty" and "Thank you very much"
Family Thief poster
Kiki: You told me about the idea of "Shoplifters" at Shinsen's ramen restaurant, right? But I seemed to say something like I was like, "Oh, you're going to shoot this?" Then I'll act." I just went to that ramen restaurant.
IT: Is it? Actually, I like that shop a lot.
Trees: Because my grandson loves it. They used the soup that came out of the boil, which was very elaborate, but I don't know why, but after eating it, they didn't have the satisfaction of eating ramen noodles (laughs).
Yes: It is true that every time I take the young staff to eat, everyone will say that they have not eaten enough.
Trees: Right? I'm old and don't have much of an appetite, but it's good to go there when I have to pad my stomach. There are also a lot of actors of this type. It can be used, but after using it, there is no satisfaction, and I always feel that something is missing.
Yes: (laughs) That's the way it is, you want to get to the point.
Today I want to talk to you about "Thief Family". After you read the script, you often ask bluntly, "Why is there such a person in this family?" Or "Isn't this person supposed to be like this?" ”。 So I think, "Ah, yes! So why is this person here? Then he thinks about the inevitability of the character's existence, and then reflects the result of the thinking in the script. It's like this every time I work with you, but in this "Shoplifters", the process is particularly important. Of course, the role of "Hatsue" that you were asked to play this time was written by you from the beginning, but how to say it, the image of those characters around Hatsueda is gradually constructed by answering your blunt questions.
So when the original script came out, a lot of things were still hazy. We filmed the summer scene first in this state.
Stills from "Shoplifters."
Trees: Yes, that's the scene where the whole family goes to the beach in the summer.
Yes: As soon as you arrived at the meeting place on the shooting site that day, you said to the other actors, "This shooting is not necessarily retained." (Laughs) I was secretly anxious to hear it, and I thought, "If the people in the cast think that I am a director who will not keep the scene, it will be too much to go." I originally planned to at least shoot some real scenes. Because this work is about a whole year's story, I wanted to show a sense of seasonality, and it took a while to convince the production department. If you have a rare opportunity, let the children take two steps on location. After leaving, it is better to shoot the whole family to go to the beach together, so I took the same trend. So at that time, I hadn't actually seen the whole picture of the movie.
Trees: A few of us actors only know that we are not an ordinary family, and in the state where everything is still very vague, you look at me, I look at you, and walk by the sea.
It's Zhi: But thanks to that shooting, I saw a lot of things clearly, and built the front and back with this as the core, so from the results, the harvest is very much. One thing that surprised me in particular was that. That seaside scene was the first scene we shot for this movie, but it was also the last scene you made in the movie.
Trees: Yes, I died not long after, so that was my last live appearance.
Yes Zhi: Tell you the truth, I looked at you that day and thought, are you not feeling well?
Trees: Yeah.
Yes Zhi: Is it really ah?
Trees: Hmm. I was unwell and the shooting conditions were particularly bad (laughs).
Obviously, it was summer, but it was so cold, and I wondered why it was so cold. Everyone felt cold.
Kiki Shirin with is Kore-eda
Yes Zhi: But didn't we first shoot the first branch before the whole family went to the beach to play in the water, and only in the winter did we shoot the scenes before that in order? When editing, I strung those scenes together and looked at them, and found that the first branch was still very spiritual at first, and then slowly went to death, and the process of gradually weakening the sense of existence was perfectly presented by you.
Trees: When I was filming the summer scene, I didn't know the situation, so I didn't have a sense of existence.
YES: Is that so? [Laughs]
Trees: All in all, I don't have much autonomy as a person. I didn't know what to do, so I stayed there in a daze, and since the camera was facing me, I just said something, it's as simple as that. For example, Sakura Ando (Sakura Ando) was right in front of my eyes, and looking at her face was shiny, I casually said, "This girl looks closely, it's quite beautiful." ”
YES: I'd like to ask this first. I didn't have that line in the script, but you suddenly came up with that. Why do you say that?
Trees: Because I really feel that way. Summer light, with smooth skin, although the clothes on the body are tattered, and the appearance of eating (corn) is also a mess, but I just want to talk about it, "It's so beautiful, take a closer look, your girl looks pretty good." So I said it subconsciously, and Sakura showed an expression that she didn't know how to answer. I thought that would be just right.
Itaba: But after watching this movie, everyone does think that "Sakura Ando seems to be quite beautiful when you look closely."
Trees: I feel the same way.
Yes: Your words seem to predict this. Why can you say that line? You say because you really feel that way, but I always feel that it is not that simple.
Trees: Not so esoteric.
IT: Is it? (Laughs) But thanks to that line, I added some content to the script that shows Hatsue's concern for other people's appearances, and even the director's general direction of "how to make Ando Sakura more beautiful" was set.
Kiki Shirin advertises: "Take off the age, put on the adventure, I am who I am." ”
Trees: That's fine. Heck, I just think she's really pretty.
Yes: I don't know if it's appropriate to call that feeling motherhood, but Nobuyo, who played a childless child, even had a gentle expression because she adopted a girl. As I patted it, I even felt that her whole being radiated divine radiance. And the starting point of all this is the line you said in that summer scene.
Trees: Speaking of "sacred", I am reminded of the passion scene she made with Mr. Lilly, who plays her husband. It was raining heavily, and the children playing outside rushed home and asked, "What are you doing?" ”。 The adult gently covers the towel on the child's head and prevaricates it. As I watched, I thought, to be able to show daily life in such a form, everyone is really great, this scene is really awesome. And for ordinary movies, the actors will definitely cover up a little, and the camera end will also have some concerns, but their mentality is "it doesn't matter to the staff to see, as long as they are not photographed by the camera", they are happy to take off. When you took the picture, you also had a look of indifference, and I thought, it turns out that you are still quite unorthodox (laughs). But that scene is really great, really sacred from all angles.
YES: I have one more question for you about the summer scene. The last shot of that scene is also the last shot in the film where you play Hatsue. It's you looking at your family's side face frolicking by the sea, and you're talking to yourself, right? But I didn't figure out what you said on the spot. When editing, I didn't read it out, and I read it many times with the staff in charge of editing, and I understood that what you said was "really thank you".
Trees: 欸 ... It's true?
Documentary "Living Out the Tree Shirin"
Yes: That's exactly what you said. I was shaking with excitement because that line wasn't in the script. I originally thought that side face was very good, and it was better to end with such a shot, and added a "really thank you". That's for unrelated family members.
Trees: I said that... But well, staying at the beach in the summer, I did feel that way. It can also be regarded as a crooked fight, in fact, it is the result of you trusting the actor enough to shoot it like that. I'm not a trusted actor. The people who participated in your movie probably think so.
New Media Editor: Fu Xiaoping
Illustration: Movie material
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