Growing Reed 2006.05.28 @ Gaki N Me

7 June,2007 12:36

Growing Reed 2006.05.28

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Thanks to tommy for translating this particular episode of Growing Reed. I never really understand the summaries from the official site and it's so good that tommy translated it and let me know more of how Junichi thinks. It is cute to see Junichi always wanting to improve his performance and aiming for perfection. Get someone else to do the part....hahahaha...so cute...I didn't expect him to speak like that.

Growing Reed 2006/05/28 http://www.j-wave.co.jp/original/growingreed/contents/69/

SUMMARY

This week's theme What is the Power of Reflections?

Okada:
The directer Koreeda-san has made films for documentaries, commercials, movies or any kinds of them, do you make them each in different ways?

Koreeda:
I make plans and then start to make movies and documentary films, but commercials are generally ordered.
Documentary films are, for me, one of the methods for how I think about the world.
I'm distressed, I've reached here or not yet, I want people to experience the process of my thought as if they have been my own.
To share my thought with people, that is documentary I think.
And I have made movies in the same way for documentary films. I don't discriminate between movies and documentaries so far, but this movie "Hana" I have changed a little, movies are delutions....I think.
Documentaries are communications, but movies are made by a man's delution.

Okada:
Are documentaries plain ?

Koreeda:
People may think the plainness is filmed in documentaries, but "the plainness" would go away when the cameras were on. Hidden cameras are not documentary, either. Documentaries do not only record the straightforwardness, but relationships to the matter while cameras are participated.

Okada:
I say about the reality, "Hana" is really completed with character sketches, especially their minds.
I think in movies, the reality is a communication after all.

Koreeda:
I can film only the surface, I can't see the inside of their minds.
I have decided I only film the casts by surface.
I don't like to play a sad music when the cast is miserable.
When the main cast conectted with other casts, it would be shown his emotions or changes. I know the camera can record only the surface, it's the limit.
However this is a reflection itself.

Okada:
A lot of people may think that the indivisuality exists only in their minds, and how do you think about it?

Koreeda:
It's nonsence.
Can you explain what your indivisuality is?
It will be shown in comunications with other people, I think. It might difficult for you to answer what you did to create the part, but if you were asked how you communicated with other people or how you thought to see other actores playing in this movie, through them your indivisuality shows up.

COLUMN
I talked alot with Koreeda-san while shooting. Really, we did too much.
I have never talked as this with any other directers before.

About Soza, I thought it for the first time "I can't dig any longer, if you wanted to make this movie better, please use somebody else."
Every time I played, I was pessimistic about I could have done it better.
This time I was so into Soza, if you don't like my Soza, make it with somebody else! (laugh)

I think the reality is what we can see now and also the things ahead of us we haven't seen yet.
The things ahead of us, and those what we would never be able to see,
that's the reality and and the truth,
how to film them is a reality for reflections, and also lies, I think.

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