Asian American International Film Festival

The AAIFF, sponsored by the Asian Society and Asian Cinevision, will begin starting July 10th until July 19th. 

There seems to be many interesting films being screened this year so if you are interested, click here for the full program.

NAKADAI and NOGAMI

Yesterday, Taylor and I went to go see Seppuku (Harakiri) at the Film Forum, which was followed by a Q&A session with the star of the film, Tatsuya Nakadai. There were many great questions. I can't remember all of them but here are a few:

Q:"How much of the film was improvised/ad lib and how much was it scripted?"

A: "Everything was scripted. None of it was improvised."

Q: "How do you feel about the messages of Harakiri?"

A: "Concerning bushido and authority, I feel that every individual should be free to choose how one lives. When I was brought up, I was told that we must give our lives to the Emperor, which of course is not the case today. Nowadays, we are all free to choose how we think which is a great thing."

Q: "How was the film received in Japan?"

A: "The film met with a decent amount of praise in Japan, but the funniest part was at Cannes. During the screening, apparently, at least 10 french ladies fainted at the harakiri scene and so the director and I thought that the film was doomed. However, after the screening, we were met with so much praise that the Japanese media thought that we would win the Grand Prix. I specifically remember going to several interviews being asked how I felt about winning the Grand Prix when the winner wasn't even announced yet. In the end, Luchino Visconti's The Leopard, ended up winning it. At the dinner party, I saw Visconti and Alain Delon celebrating at the other table and we were sort of huddling together in jealousy at our table. It was quite funny."

I also had the great opportunity to ask my own question:

"So I heard a story that during the shooting for this film that you and Rentaro Mikuni had an argument regarding projection of voice. Mikuni, being a film actor, argued that he didn't need to speak loud because the mic was right in front of him but you, being from theatre, argued that you can't respond if you can't hear his lines. Director, Masaki Kobayashi, finally stepped in and stopped shooting for 3 days until you two came to a resolution. Is that true?"

A:"That is absolutely true. During the scenes where we are speaking, the distance was just like where you and I are standing (app. 20 ft.) so it was difficult for me to hear him if he didn't speak loudly. We got into an argument and so the director told us to resolve our conflict and stopped shooting for three days. I can't imagine that happening today in the U.S., or in Japan for that matter, but back then we had lots of time to spare."

So apparently, my question was pretty interesting and a man from the Japan Foundation pulled me to the side and gave me an invitation to a special screening of Ran followed by a reception with Nakadai and Nogami, which was to be held the next day.

Before the screening, however, Nakadai and Nogami visited the Japanese bookstore, Kinokunia (located across the street from Bryant Park), for a book signing. 

Mr. Nakadai signing my Criterion DVD inserts for Harakiri and Ran.

Ms. Nogami signing my copy of her book. She's drawing the Seven Samurai flag t-shirt I was wearing today (or rather yesterday seeing that's it's 1 AM)

After the book signing, I hurried off to the Japan Society and saw Ran again and was blown away. It's really something to see on the big screen. Mr. Nakadai said a few words after the show and then we hurried on to the reception.

Ms. Nogami and I at the reception following Ran.

Mr. Nakadai and I.

Well there are two more chances that I'll see them. One on Tuesday for Nakadai's lecture at 8:20 PM at the Film Forum, and one the next day for Nogami's lecture at 6:30 at the Japan Society. I don't know if tickets are still available but if they are, you should definitely go and check them out!!

50 Years with Akira Kurosawa

Legendary director, Akira Kurosawa's, script supervisor will be coming to New York City on Wednesday the 25th of June to lecture about Kurosawa and the inner workings of his creative mind. Nogami stood by Kurosawa from Rashomon to Madadayo and has been through the ups as well as the downs with the master filmmaker. It's definitely worth checking out and a must if you are a Kurosawa fan.

Click here to buy tickets or to find out more.

Nogami on the far right with actor Toshiro Mifune

in the middle and Kurosawa at the bottom.

Werner Herzog in NYC

Today, I had the great privilege of seeing Jonathan Demme interview Werner Herzog at the Times Center. Demme has created many great movies including the classic Silence of the Lambs and Philadelphia which both won oscars. Herzog is an international phenomena, who has made the legendary Aguirre, the Wrath of God and has recently finished his documentary, Encounters at the End of the World. 

To give you a little sense of what Herzog's past was like, he grew up in the remote mountains of Bavaria, Germany and saw no film, TV, or radio during his childhood. He started traveling on foot at the age of 14 and made his first film when he was 19 (by stealing a camera). Despite this, he is one of the most interesting (and great) filmmakers today.

Like the Gondry interview, I did record the whole conversation so if anybody is interested, please let me know. 

Demme and Herzog started out by discussing a letter Roger Ebert has sent to Herzog expressing his admiration toward his works (which could be found on Ebert's site), then transitioned into some aspects of Aguirre, particularly the river scene after the people descend the mountain. Herzog explained how he had his DP hold the shot of the river to get a sense of the rage and anger of the water, which will ultimately be the demise of the soldiers. He also talked about filmmaking in general and his take on sound in his films. He also went on to speak about various other things (such as his relationship with Rainer Werner Fassbinder) but what I found the most interesting was when he talked about what makes a filmmaker. 

"You have to know the heart of men. If you don't, you are not a filmmaker". 

-Werner Herzog

I think that's very true, especially for young student filmmakers, like myself, who may get too absorbed in the technical aspects that they forget what is most important: the connection with the audience. I could be speaking for myself, but sometimes I feel that I lose that connection with people or I'm not connecting enough. I don't know if everybody knows the "heart of men" but I think it's something many filmmakers (or at least I) should be aware of. 

On a different note, some of you may have already heard the news but two guys climbed the New York Times building today. Right before the Herzog interview, I was waiting for my good friend Nestor, when spider-man started scaling the wall in front of my eyes. It was quite a feat.

Crazy things happen when Herzog is around...

While we're still on the topic...

Professor Ramin Bahrani was featured again, this time on a bi-weekly podcast I listen to called "filmschool". They interview independent filmmakers and various indie festival officials about the making of their films and some significant news in the industry. You can listen to the podcast by subscribing to it on iTunes or you can download the Bahrani episode by clicking here.

They also interviewed Hunter alumnus director Guy Moshe about his first film Holly. That could be downloaded here.