|Actresses, actresses, actresses...|
On hand for the shooting was director Sion Sono, who co-wrote the story with Alex. While I've met Sono before, this was the first time to be on-set with him and to get a taste for his directing style. Sono has an interesting, if somewhat crass, way of getting the cast motivated. I learned a lot watching Sono and was happy to add another director's film set under my belt.
Although holding a boom mike in the air for hours and hours, trying to get it as close to an actor's mouth while not getting in frame, is a pain in the rear, I enjoyed the day and doing the soundman role. All in all, a good experience and I'm looking forward to the final product.
|Tak and Sono wait for the action to begin.|
Now, the slowest films I've ever worked on were Godzilla ones. But I'm talking about the FX stage, not the live-action set. On those you get two, maybe three shots in per day. This is because of things like the all-consuming art direction (everything is built up, even the landscape), the Godzilla suit (which has an entire staff taking care of it), the explosions, the lights, etc etc. It would take hours and hours just to make a single shot happen. Yet it didn't feel slow at all because things were always moving along at a good pace. My feeling is that on a low budget film with only a few cast and crew members in a single room you should get in a minimum of 4 shots an hour, and even then that's slow.
I only did one day on her film, and from what I hear, I went on what was probably the hardest, least organized day. Just my luck... But here too, I'm looking forward to the final result.
After the screening we went out for dinner and drinks at a nearby Chinese restaurant where we engaged in the Japanese "mission accomplished" hand clap and then set in on "speech time". It seems just about everyone had to get up and say something. Personally, I find it unnecessary, but it's how people do things here. Once the speeches were over, Iguchi stood up, thanked everyone for coming and then called the evening at an end. One staffer yelled out, "Hey! We still have 40mins left on the clock." "Oh," exclaimed Iguchi. "That gives us time for more speeches!" Oddly, I was the only one who laughed at this.
|With Rina at the DS wrap party.|
Looking forward to working with Iguchi and crew again.
|To those about to rock...|
|Talk to the hand...|
The shoot took hours as Yoshiki and cameraman Ito and his staff set out to recreate the lighting in the original scene. During the session I noted that it probably took Romero and his crew no time at all to light, or no more time than usual. But trying to recreate the original lighting was a whole 'nother thing.
|AD Murakamai, myself, Kaneko|
The birthday party was a lot of fun, if a bit on the low-key side. The usual Kaneko regulars, family members, and some new faces to spark things up were there. All in all, a good time. Kaneko's been a good friend for almost 15 years now. I've learned a lot about filmmaking from him. I'm looking forward to working with him again and again.
And of course, my run of articles in Eiga Hiho continues with a piece on the 1986 film, "Maximum Overdrive". In the story I tell about why I think it's an amazing and totally outrageous bit of 80s exploitation and I talk about meeting King during the editing of the film back in 1985.
I leave you with a shot of director Kaneko pouring over my article.
Until next time...