Tori: On 1st day, I felt I wasn't leading the film as leading actor. It was not right for me to think of myself as leader of this team rather we all have to work together make sth better than 1st one.
Tori: Me, Ryohei-san, and Nijiro-kun stayed in Hiroshima most of the time, while the others had to go back home immediately after shooting due to their work.
Tori: So, I told them: "Please throw everything you've accumulated into this! I'll take it all in!" I was hoping that everyone would leave after exhausting themselves. I thought that kind of energy would lead to the power of this work.
Tori: When I saw the completed film, I was very happy to see how the senior actors were enjoying themselves. Knowing the power of the previous work, I think they were like, 'We can go this far!"
Q: What is your "justice" as actors?
Suzuki Ryohei: I think there are times when the work you are involved in or the performance you give can hurt people. So, I think the moment when I can deliver a positive impact, such as healing someone's feelings, >>>
Ryohei: ...connecting them to the power of life, or making them feel happy, is the moment when the justice in my work came to life.
Tori: My kind of justice is to bridge the gap between the work and the audience so that the message of the work and what is underlying it, can be delivered to the audience. So, I also do things like interviews and promotions. It's my way of bridging the gap.
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His desire to avenge the murder of Gami is conveyed throughout the film without the need for explanation in dialogue.
2. Relationship to crew
This film is a completely original story by screenwriter Junya Ikegami. As it's a completely new story of Hioka, Matsuzaka must have felt not only the pressure of "sequel" but also the pressure of playing the lead role and taking over from Koji Yakusho.
2. Tokyo War Crimes Tribunal also called as "International Military Tribunal for the Far East" (this is also the term in Japanese but I used Tokyo War Crimes.... cuz of space.) en.wikipedia.org/wiki/Internati…).
Rurou no Tsuki's cinematographer is Hong Kyung-pyo. He is the cinematographer for Bong Joon Ho's Parasite, Mother, Snowpiercer....Na Hong-jin's The Wailing...+ Lee Chang-dong's Burning.
Art director is Yohei Taneda. He did Quentin Tarrentino's Kill Bill Vol1. The Hateful Eight. Hirokazu Kore-eda's The Third Murder and Lee Sang-il's 69, Hula Girl, Villain.
ehhhh Hong Kyung-pyo is super duper poetic cinematographer!!!!!!
He always 2x the quality of a film.
🥺🥺🥺🥺🥺
- Regarding the film's dark look
I tried to leave shadows in the dark areas. In recent movies, there is a tendency to put a lot of light on the scenes. Because of lack of time or budget, we're anxious. ashita.biglobe.co.jp/entry/2021/08/…
So, we put light on everyone's face so that we don't have to reshoot. But as a result, the technique of deliberately leaving shadows has lost. This time, I dared to try doing that. I wanted to do it without fearing that the screen would be dark.
During the period when I couldn't go outside due to Corona, I watched various films and thought that everyone in the world is taking on a lot of challenges, so I wanted to create something a little more aggressive.
The key to Uebayashi's past in the film is the house created by art director Tsutomu Imamura, who won the 42nd Japan Academy Prize for Best Art Direction with "The Blood of Wolves (2018)".
Imamura said about the set as if he had known Uebayashi since he was a child, "His father was a terrible violent man and he was always drinking. He lived in a ramshackle tenement where the wind and rain and everything else could come in."