More Of Everything!

All Hail the Great and Powerful Skeleton!

Almost two months since the last entry. 

Ugh... Not sure if this is a blog or an afterthought.

So, what have I been up to...? Let me dig around the ol' brain and see if I can't find something in there to recall...

First off, I finished subbing 3 features films: BLUE SKIES, WHITE CLOUDS by Shusuke Kaneko, DEAD SUSHI by Noboru Iguchi, and another I can't comment on until it's officially announced, which is actually the biggest film of the 3.

BLUE SKIES, WHITE CLOUDS is the story of a rich girl whose life goes down the toilet following the 3/11 earthquake. I suppose that sounds serious - and 3/11 was serious business - but the film is more a coming of age film than a grim, finger-pointing look at events surrounding the quake. 

The movie stars several friends, Takeshi Nishina, Yui Murata, Nanako Kaneko, and Hiroyuki Watanabe. It was written by Jiro Kaneko, who did the Japanese script for my first film, THE iDOL. I also have a short scene in it where I play a Godzilla loving English teacher explaining to lead actress Hikari how much I love Japan and how much Godzilla means to me and how I'm never going ever to leave Japan despite the radiation and uncertainty of the times. No, it is NOT typecasting! I can say it's true, that I don't plan on ever moving out of Japan, but this is more because of my hatred of the act of moving than anything else. BLUE SKIES is just completing its theater run in Japan. 

The other film I subbed, DEAD SUSHI, won't be out until the fall, or there about. As of this writing, I'm halfway through the subbing process. I spent a day at Pabaan recently, overseeing the sub insertion, making changes on the fly, and writing new lines, which popped into the film during the "after recording" session. Once I get a DVD, I'll go over it, brush it up, and do my utmost to up the insanity level.

In addition to doing subs on DS, I also wrote the film's English PR, which is something I enjoy doing. (I know... I know... I went on about this in a previous blog entry!) I was also set still photographer during the shooting of DS. (I know... I know... mentioned in a previous blog entry!) As the film is still basically under wraps, I can't run any photos. However, here is the cover of the mini-poster. I would run the back cover, but I can't seem to find it on my computer right now. And, yes, it's another over-the-top Iguchi film, this one about sushi coming to life and attaching humans. 

No wait! I found the back scan of the mini-poster of the mini-poster! 

And finally, here's the DEAD SUSHI trailer:

 

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I recently worked on another short film with director Yoshihiro Nishimura. Titled THE HELL-CHEF, it's part of an anthology film called THE PROFANE EXHIBIT. Or something. I can't remember exactly. Another of those seemingly endless shoots, it started at 6:30am and went on until 10am the next day.

I can't say these shoots are enjoyable, as they brutally test the limits of one's endurance. However, as an experience, they can't be beat. For one, in charge is Nishimura, an intense character to begin with. Then you have the gore. And then you have the seemingly endless hours. On sets like this there always comes a point where you completely bottom out. Fake blood and body parts are everywhere. Space is limited. Tensions are running hot. You look at your watch. It's 4am. It was exactly 24 hours ago that you crawled out of bed following a 4 hour night of sleep. You want to sit. If you do, you'll fall asleep. But you can't stand up anymore. Suddenly blood is once again spraying all over the set. You get some on your face. You look at your watch. 4:05am. Still hours and hours to go. This is when things just cease making sense. 

My job on this one, as is often the case, was set stills and behind the scenes video. I also put in a brief bit of acting as a murder victim. Like I haven't done that before. (Insert sarcastic emoticon here.) Honestly, I don't know how many films I've died in. I was thinking the other day that when my time finally arrives I'll be completely ready to face death given all the experience I have facing it. 

Since my photos on "The Hell-Chef" are under the control of the film's producers, I can only offer up shots that have run on-line already. As you can see the film stars Shiina Eihi, making this the 500th time we've worked together. (Ok, maybe that's a slight exaggeration).

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The latest issue of Eiga Hiho is out and for my 3rd installment I wrote about the film THE STUFF. You know, "Can't get enough of the Stuff" THE STUFF. It's by far my favorite Larry Cohen film and as it deals with the subject of addiction, I used the piece to talk about my own experience with addiction. 

Not that I've ever had a drug addiction, but during the 1980s my NYC roommates were hooked on heroin. It was something I had to deal with until I moved onto a new place (and they onto rehab clinics). The Eiga Hiho gig is going really well and I'm now putting the finishing touches on my 4th entry. 


I guess I should mention that my second article was on the film C.H.U.D. For this story I touched upon New York under then mayor Ed Koch and the homeless condition that led to the story of C.H.U.D.

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In other news, I recently filmed the last scene of my new film. Although a laborious shoot, I'm happy to report it went super well. Other than one or two logistical headaches, when the reality of the set didn't mesh with the planning (which is fairly common in filmmaking), it went surprisingly trouble free. This meant that first and foremost I could concentrate on working with my actresses and not get pulled into things a director shouldn't have to deal with. 

As I'm still keeping much of the film secret, I don't want to reveal too much of the scene, especially since it is the final scene in the movie. I will say that the crew did a wonderful job, the set decoration was fantastic, the lighting great, and the camera work just what I was after. We also had a very cool fight between the two leads that was directed by Masaki Suzumura, who I shared a room with and got friendly with during the filming of DEAD SUSHI (he was action director on that too) last year up in Nasu. Although not a very big guy, Suzumura is one of the toughest guys I have ever met. He also has real skill at designing fights and knows which shots are needed to pull it off. 

And if that isn't enough, we had a freakin' snake and a freakin' tarantula on set, as well as an honest-to-god skeleton! Not one of those plastic knockoffs, but a real human bone skeleton. So...we did the respectful thing - wrapped it in Christmas lights and put a pink bra on it! 

The film has one more day of shooting that I'm in the midst of planning out. Hopefully I'll have the whole thing "in the can" within the next month so I can get the sucker edited and out there where it will hopefully offend a lot of people.

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I made it to a few events recently too. Although this happened last Feb, I forgot to mention in my previous blog entry that I traveled over to Wonder Festival to hang out with friends Ed and Bill and catch up with certain friends I don't see all the often since I don't hang in otaku circles any longer. 

I do admit these Super Fest / Wonder Fest things are interesting. I like seeing old toys and holding things I never thought I'd hold again. But truthfully, much of it is a real trial. 

First, although you would think otaku, who are basically social misfits into fantasy stuff of one kind or another, would be more receptive to the thought of people from other lands (I'm talking about foreigners) in reality they have to be one of the most closed minded lot I've met. The fierce pride felt for their precious fantasy anime worlds, dewy-eyed ink drawn female characters, and gargantuan breasted high school girl model kits makes no sense. Given the nature of their interest, treating non-Japanese like the minority family who has just moved into the homogenous neighborhood seems to go against the nature of the imaginative driven world they use for escape. It would be like going to an event celebrating the multi-race universe of Star Trek one day and then the next going to a Klan meeting. 

Another source of annoyance is that no one even thinks to speak to me in Japanese. So, if I am somehow breaking a set-in-stone otaku rule of conduct, rather than tell me in Japanese, they try speaking in impossible to understand English punctuated by laughable body movement. This is the kind of stuff I used to get in the countryside of Japan 20 years ago and which is pretty much gone, expect at these events. 

At these times I simply stand staring unblinking as they go through some anger fueled attempt to tell me how I've just spit on the entire history of Japanese otaku culture by, say, taking a photo without waiting my turn on line (when what I want is not the photo of a toy or a cosplay model but rather the whole thing: the model and the nerds lining up to take photos). Once they calm down, I ask in Japanese what it is they want. This only seems to fuel their anger more.

Anyway... if it wasn't for Ed and Bill going there I wouldn't have bothered. Although it was nice to bump into my buddy Matt Alt, Sagae, Anzai, Kakusei, and a dozen others I can't seem to recall just now.

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I also had a good time at the premiere of LUST OF THE DEAD at the head of March. As a film, I don't want to comment, but the event was a lot of fun. It was held in Shinjuku at some theater, the name of which I can't remember and am too lazy to look up. All of the film's actresses were there. I guess that's why I enjoyed the event as much as I did.

The film stars Asami, who I've worked with a bunch of times. I'm always happy to see her and be submitted to her "Asami aura of intensity." Riri Koda turned out too. I worked with Riri twice and she's really great, always smiling, always positive.

Also on hand were Saya Kobayashi, Arisu Ozawa, and Yui Aikawa. The adorable Saya is one of the more over-the-top women I know, and totally bursting with raw energy. I enjoy her company and look forward to the wacky shit that comes out of her mouth. Yui, despite making some of the most hardcore porn out there, is incredibly personable and genuinely friendly. She also looks great in a high school girl uniform. Of all the girls in the film, Arisu is the hardest for me to figure out. She comes across as somewhat suspicious of guys, which is what I'd expect from a porn actresses but which, oddly enough, is usually not the case in Japan. Still, she's sweet. I like her. Oddly enough, Saya, Arisu and Yui speak English to varying degrees of accomplishment, with Saya being the best (she even did a home-stay in Texas).

I was at the show taking pictures and hanging out backstage because...well, because I could! Seriously, I have a credit in the film, however, my involvement was limited to taking photos (done as a favor to director Tomomatsu), and shooting a "behind the scenes" video on a rinky-dink camera-thingy that looked more like an electric razor than a camera. I edited it down and Tomomatsu included it on the film's  DVD. I also gave the English subs a brush up. 

That I want to touch upon. Despite what it says on IMDB, I did NOT write the subs. Also, I didn't act in the film, which is also claimed on IMBD. I did wear a zombie mask in a few long shots, choosing to hover around in the background rather than be up close where I might do something I would regret later. Ugh...I guess I'll have to get those "credits" on IMDB erased. 

Here's a trimmed down version of my "behind the scenes" vid:

Anyway... much more going on but I have reached the limit of my blog writing endurance. 

I leave you with a shot of all the LUST OF THE DEAD folk.

Until the next time.

Whenever that will be...

Eiga Hiho - 映画秘宝

This brief update to my blog is to alert readers that I have begun writing for "Eiga Hiho," one of Japan's biggest cinema magazines.

Being a columnist for Eiga Hiho is an awesome opportunity. Not only because I'll be able to write for a large audience, but also because I will be writing about my experience seeing movies in New York City during the 1980s. I have so many stories from back then that I really want to put out there. 

At the time I worked in the Brill Building on 49th and Broadway and spent my free time viewing films on the now long gone "Grind House" strip running down 42nd street between 7th and 8th avenues. I'll be writing every month on this subject for the magazine, which can be bought in just about any bookshop in Japan. (As you can probably figure, although this blog is in English, the articles are in the Japanese language.)

It was an awesome era back then, a boom time for wild, exploitation films: Day of the Dead, Reanimator, CHUD, The Gate, Fright Night, Howard the Duck, Invaders from Mars, Return of the Living Dead... I could go on and on about the films I saw in the area around Times Square. 

Strange though the films may be, stranger still were the people in the audience. My stories for Eiga Hiho touch upon my direct experiences in the theaters at this time and are designed to put these films into cultural perspective for the Japanese audience. By relating how they were viewed and by whom, I hope to give readers in Japan an understanding of the mindset of the times.

My first piece is running in the issue currently selling. It's the "April issue," as seen in the photo here held by my lovely belly dancer friend Hiromi Goto.

Here's the link to the Eiga Hiho website: http://www.eigahiho.jp/

I would like to give a big thanks to my friend Yoshiki Takahashi who made this job possible.

The first installment is on the film "Cannibal Holocaust". Now what should I write from the upcoming issue? So many stories to choose from...

Not sure when I can get around to the next update, but I'll have lots to report when I do!

Tagline Mania!

A bit late, but here is my first entry of 2012.

It's already the end of January, which means New Year has come and gone. I hope that for you reading, your time during the holiday was filled with idiosyncratic endeavors, like watching irrelevant-yet-beloved TV shows (nothing sets the holiday mood like a couple of over-the-top season 3 episodes of  "Lost in Space"), re-reading the same tired book (something entertaining, like Shaw's "Man and Superman"), listening to music (preferably Goblin, my favorite band) or just gathering with friends and/or family and doing whatever it is you do to deaden the din of the escalating noise produced by our "connected" world.

My New Year was pretty much a bust, as I was running around prepping for 3 days of shooting on my newest film.

 
New Neighbor 

As mentioned in an earlier post, "New Neighbor" is my latest self-produced film effort. A low-budget film, it is an under-20 peopled production, which means I'm saddled with numerous tasks and responsibilities: Director, producer, assistant director, set photographer, production manager, and continuity, to name a few. It can get a bit overwhelming. However, don't take this as a complaint. That's the way it goes at this level of filmmaking. And I knew it would be this way from the get-go. On the contrary, I feel pretty lucky. The people working with me are all skilled film-craftsmen and women. So what if I have to bust my ass.

To detail "Phase 2" of the production, the shoot began in the morning of 4 Jan at a studio near Nishi-Shinjuku. The first scene called for an office setting. Although I know a lot of people in Tokyo, as hard as I tried, I couldn't find an office that, for various reasons, suited the story. However, I've recently become aware of a company in Tokyo that rents "theme"studios. Not sure if that's the best way to describe it. Simply put, you want a hospital? They have one. You want a jail? They have one. You want a convenience store? Look no further! Skimming through their catalogue, I found an office that looked like it would suit my needs. Prior to shooting, I went with my DP to inspect it.

The place was great. A fully stocked office, it was complete with desks, white boards, copy machines, plants, folders, binders and all the knickknacks you find in Japanese offices. There was even one of those Daruma with an unpainted eye atop a cabinet. Satisfied, I booked it for a day's shooting.

For those interested, here's the website of the studio I used: http://www.planear.co.jp/

On the office agenda were two scenes, which took a total of seven hours to capture.

I would like to mention that the script called for just the hallway of an office. However, since the studio came with such a cool looking office and since I was paying for it, I thought, "what the hell" and wrote a new scene the day before shooting that would take advantage of what the the location had to offer. We improvised during shooting too, which was a lot of fun for both myself and the actors. All in all, it went quite well.

That evening we switched to an apartment setting and shot in the lobby and elevator of a friend's building. Unfortunately, by this time, we were all pretty much beat from the office shooting. Would have been nice to separate these two shoots, but as stated, the budget gods demanded otherwise!

The following two-days had us working in the large apartment of the film's co-producer. While more comfortable, both days were long, intense, and filled with rewarding as well as frustrating moments. You know, your typical film shoot.

Frame Cap from New Neighbor. ( R- Kentaro Kishi. L- Ayano)

My cast and crew are people I've known for years, having picked them up from various films I've worked on in Japan over the past ten plus years. The film's cinematographer is Shu G. Momose, who I met during the shoot of my first film, "The iDol," when the film's main DP couldn't get back to Japan for some pickup shots. Since then I've worked with Shu G. on a number of features, as he is the main cameraman for Yoshihiro Nishimura.

Fram Cap from New Neighbor. (Ayano)

Also involved is Hiroshi Ota, a lighting director I met on the set of the film "Tokyo Gore Police." He and Shu G. are a near inseparable pair, as is often the case with DPs and lighting directors. Ota also directs short films and recently helmed the "Catch Me If You Can" piece for the recent DVD / Blu-ray release of HELLDRIVER.

I still have two-days left on the production, which if the schedule holds, should be in the can within the next month and a half. I'll probably be unable to update the blog until after the next phase of shooting, but when I do, I'll provide more info on the shoot, the cast and the crew.

Tag Line Fun!

As mentioned, I work as a subtitler for several studios in Japan. It's a challenging yet enjoyable gig. Recently, my film duties have extended into the PR realm: synopsis, staff / cast bios, and, my favorite, taglines.

Taglines, for those who don't know, are those phrases you see on movie posters that are supposed to entice you to buy a ticket. Here are some examples of some good taglines:

In space, no one can here you scream. – Alien (1979)
Trapped in time. Surrounded by evil. Low on gas. – Army of Darkness (1992)
His story will touch you, even though he can't. – Edward Scissorhands (1990)
Be afraid. Be very afraid. – The Fly (1986)

And my favorite:

When There's No More Room In Hell, The Dead Will Walk the Earth. – Dawn of the Dead (1978)

For more on the subject: http://www.taglineguru.com/movie_taglines.html

I've got a few taglines coming up, but as with any unannounced film, I can't mention titles until the owners / producers of the film do so themselves. However, one example of my work in this field is the teaser poster for the upcoming Iguchi film, "Zombie Ass: Toilet of the Dead." (One hell of a title, right?)

Creating a good tagline is not as easy as it seems. Short, to the point, and unforgettable is the goal. It's a big responsibility. For the "Zombie Ass" tag, I got a call from poster designer Yoshiki Takahashi a few months back asking me to come up with an interesting tagline. Yoshiki explained what he was looking for and I said I'd think up a few ideas and email them to him.

As I did the subs for the film, I was familiar with the story and what its director, Noboru Iguchi, had set out to do, which was to make the most ridiculous zombie film ever made. As a long time, "first generation" zombie fan, I'm pretty well-versed in the genre. As I was writing typing typical things like "Terror from Behind" and "Watch Your Ass," etc, I suddenly recalled what has to be the most balls out tagline after "Dawn of the Dead." The tagline for Lucio Fulci's "Zombie":

WE ARE GOING TO EAT YOU!

I remember seeing this tag back in the early 80s. I laughed at it at first, thinking it was dumb. But the thing is, it stuck with me as it was unforgiving and to the point. I mean, when it comes to zombies, that's about it. All they are ever going to do, all they ever want, is to eat you. It's a perfect tagline.

As "Zombie Ass" is a parody of sorts, dealing with zombies emerging from toilets, I suddenly had this flash... What if I parodied the "Zombie" tagline?

And there it was floating before my eyes:

WE ARE GOING TO FLUSH YOU!

After I wrote it down I couldn't stop giggling. I immediately called Yoshiki and said, "No need to send you a choice. There can only be one." I read him my tag and he started cracking up. We had our tagline!

I've a few more taglines coming up that I'll share in future blog updates. 

Anyway... That's enough for this entry. I have another Nishimura shoot at the start of February for which I'll be shooting stills, doing a "behind the scenes" video and even some acting. I think this will be my 3rd or 4th time to appear in a Nishimura film. Tough shoots, but the results are worth it.

Until the next time...

Set Photography Unleashed!

Recently, I decided to expand my photography work and took the job as set photographer on Noboru Iguchi's new film (unannounced as of yet, so don't look for the title here). 

I've been taking set photos as long as I've been doing sets visits. My first stab at it was in 1997 on the George Romero directed TV commercial for the "Biohazard 2" ("Resident Evil 2" in the US) video game. Of course I didn't just grab a camera and hope I'd get decent shots of maestro director Romero directing or moody shots of stumbling zombies, I learned to take photos in the mid-90s with a used, glorious full-manual Nikon FE, going to Kyoto from then home Osaka, shooting stills at every temple that would allow this mangy foreigner within their compound. (The photo of the red leaves on green moss on the below right is one of my favorites I took in Kyoto during this period.)

Although I've been doing the set visit thing for over ten years, the Iguchi set marked a shift in my normal role as set photographer as it was the first time for me to be the "official" still cameraman on a feature film.

Normally, I go to sets for anywhere from a day to a week or more and take shots for my articles or take them as a favor for the director / producer / studio. For example, with Nishimura's "Helldriver" I took a load of photos that Nikkatsu liked and used on various ads / program books / whatnots relating to the film. In the case of the many Godzilla sets I practically lived on in the early 2000s, the photos I took were for articles and to document the productions for the staff (and myself).

In other cases, I take them because I can. That is, I'm allowed on set, I have a camera, I like taking photos, and no one seems to mind if I just do my thing. I did this on the Ultraman Max set, visiting when I had the time and shooting this and that to stay in shape. (Yes, "stay in shape." People who don't do this work have no idea that the skills required for set photographer differ from other types of photography. It's not just the ability to take a good photo, it's also knowing how to move about a set, knowing what to look for, knowing how to shoot it without imposing on the crew and cast, and mostly, having the ability to get a nicely framed shot with only a second or two in which to do so. I've found that if I don't do set visits regularly I get rusty, not finding my fit into the crew as quickly as I'd like.)

Over the summer, I decided to try my hand as sole photographer, taking on the responsibility for the still look of two short films. These were "Bailout!" (Dir. Yoshiki Takahashi) and "Catch Me If You Can" (Dir. Hiroshi Ota), two films that now appear on the "Helldriver" Blu-ray. Both jobs went well and when I was asked to work on the Iguchi film I felt I was ready to take a stab at this important creative contribution.

For the shoot, we traveled up to Tochigi prefecture and into the city of Nasu, a sleepy, onsen town a few hours up north from the Tokyo area. I don't think I saw a single convenience store there it was that far removed from life as I know it in Tokyo. Fortunately, the hotel we stayed in was also the location for most of the shoot. With days running 20 hours or more, and sleep averaging 3 hours a night, the closer your bed was to the set the quicker it was to dash under the covers for a few winks.

I bunked with Demo Tanaka, the tall, bearded actor who is a regular in Iguchi and Nishimura productions. In addition to acting, Demo shoots and edits the "behind the scenes" films for the Pabaan people. Demo had a small role in the film and managed to coax me into shooting video when he was working before the camera. 

I first met Demo on the set of "Machine Girl." He's a character, a true original; a hard drinker, a hard worker, Demo is one of my favorite people in the Pabaan group. And his loyalty, love and dedication to the scene is without question. For example, when Iguchi called "cut" on the last shot of the film and then proceeded to give a "thanks" speech to the crew (an insanely cool moment as the sun was just rising and bathed the large tatami mat hall we were working in with golden sun beams), Demo was doing his usual by shooting it for his "behind the scenes" piece. However, I noticed streams of tears running down his face. Man, I freakin' love this guy!

In any case, the film is still not officially announced. Once it is, I'll be able to share photos and detail more of the amazing time I had on the set.

Another project I'm involved with is the American compilation film, The ABCs of DEATH. This is a collection of short films by 26 directors from around the world, each making a film about death culled from one of the 26 letters of the alphabet. Just just two days before leaving for Tochigi, and as seemingly warm-up for the above-mentioned Iguchi shoot in Nasu, I worked as still set photographer and also shoot / directed a "behind the scenes" piece on Iguchi's ABCs entry.

A one-day shoot, the staff met up in the Hachioji area at the crack of dawn and proceeded to work into the late evening. Again, as a job I don't know what I can or cannot reveal, I'll have to side with caution and refrain from writing anything for now. Let's just say the piece will be the zany kind of cinema you'd expect from director Iguchi.

The "Helldriver" Blu-ray has finally come out in the US and my "Sushi Typhoon: Tokyo Invasion!" piece mentioned in previous blog entries can be found in the extras on the disc. Here's a link to distributor Well Go's page:

http://wellgousa.com/detail-helldriver.php

Overall, this disc represents a lot of work on my part. In addition to writing the film's English subtitles, I have a small speaking cameo in the film itself. For two of the spinoffs ("Catch Me If You Can" and "Bailout!") I did acting (Catch Me), and set stills (mentioned above), as well as the English stuff for "Bailout!". And of course, there is my own 20min video entry in the extras section.

All in all, the "Helldriver" disc is a nice looking package with plenty under the hood. I don't know if the content is for everyone, but I think people into the kind of extreme cinema that director Nishimura serves up will enjoy the sheer outrageous audacity of the whole endeavor. As draining as it all was, I'm glad to have been a part of the "Helldriver" production. And with this release, I think I can officially put it behind me. 

On a side note, I've begun shooting my first narrative film in two years. My staff and I put in a day of exterior shooting two weeks ago. Things were hurried, but went well. I'm happy to announce that the lovely Ayano, whom I met when I subtitled her film "Natural Woman 2010," plays my lead. We've been looking to work together since first meeting at the premiere of "Natural Woman" and I finally came up with a story / project that I feel exploits her talent. The main shoot will commence at the start of January. I'm very excited by it all as I've assembled a terrific cast and staff. For now, though, I think I should just leave it at this brief announcement. More to come in future entries!

I'm not sure if I'll be able to update the blog until after the shoot in January, as I have at least five Fangoria articles due, and two more "behind the scenes" to shoot (one for Yudai Yamaguchi, the other for Nishimura, their ABCs of DEATH entries) as well as having about 15,000 set photos to wade through and edit. Oh, and I've got four feature films waiting to be subtitled. I'm also set to "debut" as a staff writer in an ultra-cool, major Japanese film magazine this February. Looking forward to officially announcing that as well in the next entry.

So yeah... the blog has to take a backseat to my real work. 

In any case, I don't know if I should be knocking on wood, but it seems as if my workload has actually increased since the March 11th earthquake. I doubt there is any connection, but I am always grateful for every job I receive and enjoy the uniqueness of every work situation.

Until the next entry... 

Flat Out!

Here it is, the middle of September and I haven't gotten in my monthly blog update. It's not from lack of want. My workload has hit a peak and I've been racing completely flat out, trying to reach the finish line without missing a deadline (well, not missing a deadline too badly...).

Not sure where to start, and I feel this entry is going to be a bit of a ramble (as stated at the top of the blog: You have been warned!) Might as well begin with the most recent since it's freshest in my mind. This was a subtitle gig I did for the upcoming Noboru Iguchi film, "Zombie Ass: Toilet of the Dead."

Nice title, no?

I visited the set several months back to take photos (if you look at a previous entry you can see a shot from the shoot, although it's just one of Iguchi roaring with laughter), get a feel for the set and to meet the actors I didn't know already. Iguchi, feeling the zombie genre tapped out yet still desirous of doing something in the genre, came up with a story / film that manages to send up the genre while resting outside of the genre at the same time. With a title like that, I think it comes as no spoiler that the film is rampant with toilet humor. Normally not one into such comedy, I was surprised at how much I liked the film. And as a job, it was not only a challenge to come up with a bunch of silly fart jokes, it was a lot of fun.

Working at Pabaan, the company run by directors Nishimura and Iguchi (seen on right with Nishimura choking Iguchi with one of the Zombie Ass parasites), VFX artist Kazuno and special makeup wiz Taiga, I spent two days overseeing their staff editors as they laid in the English script, checking on timing and making last minute corrections.

I enjoy working at Pabaan. The place is full of cool movie props and everyone is always in the midst of some new project that usually involves interesting, off-the-wall creatures. The people, too, are some of the coolest and most fun I've ever met. Movie making is tough, and tempers do flare due to the pressure, but not 15 minutes goes by when I don't hear heartfelt laughter erupting from somewhere in the Pabaan building.

When hearing this, I'm reminded how lucky I am not to be working in some "legitimate" business, like a bank or an office, where people are expected to dress and behave in "proper" fashion. At Pabaan people dress and behave pretty much as they like.

As much as I love living in Japan, one of the things that annoys me is the pretense that permeates the so-called top ranks of society. In the case of the film business you find it at all the major film companies, the ones enamored with themselves, the ones making "important movies" that audiences are expected to like yet never do because the films are often overly sentimental, meandering, and / or kissing the ass of the government who subsidize films that promote the social values they approve.

I was recently talking with friends who work at some of Japan's universities.  Tales of arrogant professors and their feverish stake in the status quo, their childish drive for personal recognition, and their fuddy-duddy approach to the students, makes me all the more grateful for not being a part of so-called normal society. These friends tell me they have to hide their affinity for genre films and the like, as such interest is frowned upon. Furthermore, I'm told, it's not unusual for professors to criticize everything and everyone, telling them what they should or should not be doing with their lives. I have friends with parents in this same profession and in positions of social standing who have been made insane from the pressure put on them by their parents to do some imagined "right thing," their parents stance being that their social position of "respect" gives them the license to preach.

OK... so what does this ramble have to do with what I was previously writing? Getting back to Pabaan, here is a place where people are united in their love of genre filmmaking and their desire to make genre films in an open, non-judgmental environment. Staffers dress how they want, speak how they want, and create the kind of things they want. They don't tell each other how to behave, how to talk, what to enjoy or not to enjoy, what to eat, what to drink. They don't tell each other how to live their lives. Not once have I ever heard Nishimura or Iguchi give out life advice simply because they are in the position to dish out such drivel. If I may, I want to state for the record that I hate people who feel they can tell others how to live their lives if for no other reason than 10 out of 10 times these hypocrites are unable to take their own advice.

In the case of Pabaan and the films they make, all I can say is, to hell with those who think this stuff is tripe and lowbrow. I would rather be working here writing fart jokes for zombie movies than at company where there is no freedom of expression and everyone is secretly unhappy. So, say what you will about the Pabaan people, call them outsiders if you must, but if that is the outside, then I want inside!

Working off my sense of Pabaan and their contributions to the Sushi Typhoon film line from Nikkatsu Studio, I recently completed a short film that can be considered a crash course in the people behind Sushi Typhoon, which I believe to be the most interesting film movement going on in Japan today.

As detailed in my last blog entry, Sushi Typhoon recently had what it dubbed a "matsuri," which translates to "festival" in English, with four films playing for a month at a theater in Ginza. Titles included: "Alien vs. Ninja," "Helldriver," "Yakuza Weapon," and "Deadball."

Taking the initiative, I secured use of a decent video camera and working with Tomoko Hayakawa, a lovely actress friend of mine, we hit the opening night of the show and conducted impromptu interviews with everyone involved with the films. Following this, I spent several weeks editing the footage into interview / montage segments. The results were met with positive reactions by Nikkatsu and they asked me to expand it with scenes from the matsuri's closing night. The film, which I call "Sushi Typhoon: Tokyo Invasion!" is now set to be included in the upcoming releases of Sushi Typhoon films in the US. I don't have specific details at the moment, but when I do, I'll post them here.

Another gig I enjoyed since last entry was working as still photographer on BAILOUT!, the third and final HELLDRIVER spin-off.

BAILOUT! was directed by Yoshiki Takahashi, the creative genius behind all the great Sushi Typhoon posters and co-author of the Sion Sono hit COLD FISH, to name but two of the many things he has done. (Yoshiki designed the Zombie Ass poster seen at the start of this entry.) 

BAILOUT! was a two-day shoot with the first being a day of location on the waterfront in Shin-Kiba; the final day being in a studio over in Hatsudai.

Both days were a blast. The first, unfortunately, was outdoors on what turned out to be the hottest day of the year. The scene was actors Takashi Nishina and Yohta Kawase making their way through a devastated part of Japan as they attempt to get over "the wall."

Following this we traveled not too far to a spot where a highway was under construction for more shots of Nishina and Kawase lumbering about in post apocalyptic Japan.

Doing special makeup on BAILOUT! was Kakusei Fujiwara, a makeup artist I've known since the '99 film "Godzilla 2000." I will always be grateful to Kakusei for building the 4-armed alien in my movie THE iDOL.

Yoshiki proved to be a highly competent director and kept things moving forward at a decent, constant speed. Better yet, under his direction, the staff had a strong sense of vision and destination. A good director is the backbone of a production. Without this spine, the body will collapse into a quivering mass of shapeless jelly.

The second day was, thankfully, indoors. Joining the cast were actresses Showko Nakahara and Riri Kouda. Showko I've known from the scene and Riri I met a few weeks earlier on another set (which I talk about below). Part of the short film's story involves the men stumbling onto the women's hideout and a gruesome discovery they make.

Although one of the more enjoyable sets I've been to, the very end of the shoot was a bit much to take. Taking place in what I called "the gore room," the scene featured horror filled screams that were tough to listen to. At times I felt my spine tingle in terror, a feeling I haven't had on a set since the shooting of "Ju-on 2".

Speaking of Yoshiki, I neglected to announce that I recently wrote a piece on him for Fangoria. You can find the article here: Yoshiki Takahashi Fangoria article.

Lastly, I recently completed a "behind the scenes" video for a direct-to-DVD film called "Rape Zombie." All I can say in my defense is, I don't name 'em, I just report 'em.

From the bizarre imagination of Naoyuki Tomomatsu, a director / writer with a resume that includes "Stacy" and "Vampire Girl vs. Frankenstein Girl," RZ is one of the many quickies he is well known for in Japan. Under budgeted, his films are usually shot in a day (days that last more than 24 nonstop hours). However, the shoot of RZ went on and on and the main day lasted nearly 40 straight hours. I got off easy. I was only there for 34 of those hours.

The first day was on a Sunday in Shinjuku in front of the Keio Plaza Hotel. This is where I met Riri, who went on to co-star in Yoshiki's BAILOUT! It had been a number of years since I worked with Tomomatsu and even though I think he's out of his mind, I was kind of glad to see him.

With pants down around their ankles, zombie men began chasing hapless living women around trying to have their way with them. I can't say which was odder, the sight of a dozen zombies with their pants and belts flapping in the wind running after screaming women as they tired to (and in some cases did) rip the womens' clothes off, pulling the females down onto the street, or the Sunday morning shoppers walking past this bizarre scene, ignoring it as if nothing out of the ordinary was going on.

The following weekend was the main day of shooting, and I traveled with the zombie extras from Shibuya to Gotemba where there is a location often used in Tomomatsu's films. It is, interestingly enough, a 400-year-old temple that appears to no longer have any real religious affiliation and is rented out by the city.

The main reasons I joined the set of RZ (besides Tomomatsu's begging me to do set photography and just be on hand) was because actress friend Asami was the film's star. I always enjoy working with Asami. She is lively, funny and very easy on the eyes. The other actresses, too, were equally lovely, and as is typical with Tomomatsu films, all were tapped from the Japanese porn industry.

Although this might sound odd, I enjoy working with porn actresses if for no reason other than they are easygoing. Unlike "normal" women, Japanese porn actresses don't have huge, protective mental walls built around themselves, that barrier having no doubt been smashed to pieces long ago. I am not saying I condone working in porn, but I am saying that I find it refreshing to be around women who are not inherently fearful of men from the get-go.

Much of my time on set was spent with actress Yui Aikawa, who was not only super fun but, as it turned out, a fan of mine. When Tomomatsu introduced her to me, she responded with an excited, "Wow! Norman from 'Stacy'! I love that movie!" "Stacy" is a film Tomomatsu made ten years ago.

The RZ shoot itself was a bit unbearable, not only lasting into the morning, but going through until 4pm the next afternoon. I attempted to be a zombie in the film (I am happy to report I kept my pants on) but the masks were uncomfortable and the humidity unbearable. I couldn't take it for more than an hour. The zombie extras proved to be more dedicated than I, and some lasted in makeup for 18 hours.

The shoot ended in a small tunnel in Tokyo just as a thunder storm broke. Yui, who had just been "used" by a group of zombies and who was covered in blood, ran out into the street to squirm about (she was prone to impromptu outbursts of "sexy" poses every 30mins or so) letting the downpour of rain wash the blood off her body and high school uniform.

While on set, I shot video footage and two-weeks after the shoot was over got a call from Tomomatsu asking if I wouldn't mind turning it into a "behind the scenes" piece for the films' DVD extras. As much as I find the film questionable, it was enjoyable to edit the footage and put together a 14min pieces that sums up that long, dirty day.

Well, this is by far the longest entry I've made to my blog, and I'll be surprised if anyone actually made it through to the end. Kudos to those who did!

I have a lot of projects in the works the mention of which will have to wait until my next entry.

Until then!

Let's Sushi Typhoon!

Summer 2011 continues to spear ahead like a javelin at a track and field match - and the amount of work and just plain cool things being tossed my way is making this summer my busiest ever in Japan.

Although I appreciate the concern, more and more I'm glad I didn't take any of my friends and family member's offer to bail on Japan when the earthquake and subsequent, on-going, nuclear crisis struck. This in no way means I look down on those who did, as the emerging information shows the government in Japan was / is doing everything in its power to downplay the situation, which is still grave. How this is going to play out is anyone's guess...

One of the first things I involved myself with following my last blog entry was an appearance in a HELLDRIVER "spinoff."

Spinoffs are not merely new ways to fill the airwaves with the same Happy Days characters ad infinitum, they are, as used by directors Iguchi and Nishimura, short hops back into the universe created within their films. Among others, Iguchi made a nifty one for his RoboGeisha movie that was quite the typical, insane Iguchi romp, and one I very much enjoyed. This time around, Nishimura has three spinoffs taking place in the world of HELLDRIVER.

The one I appear in is number two of three and was directed by Hiroshi Ota, who is Nishimura's lighting director since TOKYO GORE POLICE. In typical grueling Japanese filmmaking style, the shoot was limited to a day. And when I say a day, I mean ONE day! When getting on set at 7am they were already shooting and when I was lucky enough to creep out of there at 11pm, Ota and crew were still shooting.

This spinoff stars two very attractive women, Momoko Kato (who sometimes appears under the name Yumemi) and Shijimi. Momoko I've known since the VAMPIRE GIRL VS. FRANKENSTEIN GIRL shoot, but Shijimi I first met at a screening of HELLDRIVER earlier this year. Shijimi plays a prominent zombie at the end of HELLDRIVER who bites the tongue off of the Japanese prime minister. This spinoff is her zombie's back-story.

One duty on the set was still photography, a job I absolutely love doing. I was also tapped to play a zombie. As I was getting made up it dawned on me that although I've been in several zombie films, I've only played a zombie once before (ZOMBIE SELF-DEFENSE FORCE). I realized this because, as I was getting made up, I remembered just how much I dislike getting made-up in this way. The zombies in HELLDRIVER get a lot of their "color" applied by airbrush, and I find the strong, focused blow of the airbrush insufferably ticklish!

My biggest concern was what to do about my glasses. Taiga, head of Hige Megane, the special makeup division within the Pabaan offices, insisted I wear them. "Zombie with glasses are the shit," he said while applying my facial wounds. As Taiga is one of the most awesomely talented special makeup guys I've ever met, I could only shake my head in agreement. Besides, I wasn't in the mood to stumble around an insect infested field unable to see.

After makeup I thought it would be a nice gesture to get ice cream for everyone working on the film. I went to a nearby 7-11 and despite being in totally ass-kicking zombie makeup replete with a cool, inexplicable wishbone-like antler protruding from my forehead, no one at the store paid me any notice. Even when selling me the ice cream, the girl at the register droned through the standard Japanese phrases that might as well come from a recording behind the counter. The only reaction I got was from some customers getting out of their cars who took slight note of me as I stumbled out of the store in high, living dead fashion. During the shoot, however, I am happy to report that I did spook some local kids on their way home from school.

After a few shots of my zombie partner and I lurching around we were ready to chow down on Yumemi, who I admit is always quite tasty looking. Although no prosthetics were involved, I was subject to one of those typical Nishimura blood showers, which is basically just a hose run into a garbage pail filled with stage blood. Held off screen, the hose sprays "blood" mercilessly into the air. I was totally covered in the red, getting it in my eyes, ears, nose and mouth.

Later that night I played a "hyper police," HELLDRIVER law enforcers who wear large crescent shaped headgear and black gi like outfits. This, too, was entirely uncomfortable as the helmet kept pressing down on my head making it impossible to wear my glasses. I am convinced that only Japanese can properly wear a gi. The one I wore kept coming undone no matter how tight the director made it.

HELLDRIVER is a part of Nikkatsu Studio's Sushi Typhoon label, which saw its domestic launch in Japan on July 23, 2011. Of course having worked on HELLDRIVER as well as having done countless things for the awesome Sushi Typhoon people, there was no way I was going to miss the opening.

Playing at the Ginza Pantheon in Ginza, four Sushi Typhoon films ran in what producer Chiba dubbed a cinema matsuri. The day started off with the cast and director of ALIEN VS. NINJA on stage talking about the film. Other movies included YAKUZA WEAPON, DEAD BALL and finally, HELLDRIVER. All films were attended by cast and crew, who made themselves available to fans outside the theater to sign autographs and answer questions. Hell, I even signed a few!

One of the most fun things was director Iguchi, the host of the stage shows, donning an outfit in the style of each film. The day saw him transform from ninja, yakuza, baseball player and finally into a zombie.

A partial list of guests includes Sushi Typhoon producer/creator Yoshinori Chiba, directors, Noboru (Karate-Robo Zaborgar) Iguchi, Yoshihiro (Helldriver) Nishimura, Yudai (Dead Ball, Yakuza Weapon) Yamaguchi, Tak (Dead Ball, Yakuza Weapon) Sakaguchi and Seiji (Alien vs. Ninja) Chiba. Actors include Eihi Shiina, Hara Yumiko, Ken Kishi, Takashi Nishina, Demo Tanaka, Kentaro Shimazu, Honoka, Asami, Hiji Mika, Masanori Mimoto, Akihiko Sai, and Arata Yamanaka. And last but certainly not least, designer, writer, director (and Satanist) Yoshiki Takahashi was on the prowl for foreigners to offend with his carefully worded t-shirt.

It's always fun to hang with the HELLDRIVER cast. From the inexplicable Eihi Shiina to the somewhat dizzy Yumiko Hara, they are a mishmash of some of the most unusual actors I've ever met in Japan. Probably my two favorites are Kishi Ken and Demo Tanaka. Demo I've known since the MACHINE GIRL shoot. He's an interesting guy with an unusual flair for keeping the mood going. He's also the best zombie actor this side of the Pacific. Kishi Ken, although he can play total cinema bad assess, is one of the sweetest guys anywhere, and of all the Nishimura / Iguchi regulars, is probably the most accomplished actor. I have never seen a guy get so lost in a part like I have with Ken.

After the show Nishimura led a bunch of us over to a ritzy joint in Ginza for some cold beer and food where I made myself at home at a table with Demo, Asami, Mimoto, Yoshiki, Alex, Marc and Tomoko. Possibly the most fun moment was when Yoshiki stood up and instigated a highly animated call / response session:

Yoshiki: Sushi!

Us: Typhoon!

Yoshiki: Alien vs!

Us: Ninja!

Yoshiki: Yakuza

Us: Weapon!

Yoshiki: Dead!

Us: Ball!

Yoshiki: Za!

Us: Borgar!

Yoshiki: Hell!

Us: Driver!

Yoshiki: Cold!

Us: Fish!

Yoshiki: Sushi!

Us: Typhooooooon!

Yeah, man... Let the good times roll!