2008年09月25日

再び沖縄に 2

中江裕司監督作品『真夏の夜の夢』は9月6日の汐留ロケをもって無事に終了!
通行人は全員ボランティアで集まってもらったそうだが、新橋の方まで延々と歩いているという豪華さだった。
初めての主演作を撮り終えた柴本幸は監督から花束を受け取って涙・涙の挨拶。
この映画は4年ぶりのフィルム撮影だが、ラッシュプリントを焼かず、テレシネしてAVIDでノンリニア編集。14日にアオイスタジオでデジタル上映の編集ラッシュを見た。この環境では、正直、きれいなのかどうか、よく判らないのだ。

一方、拠所ない事情で長らく中断していた金子修介監督作品『プライド』の追加撮影がやっと始まった。
高島礼子さんがママを務める銀座のクラブ「プリマドンナ」で歌う主人公・萌。萌役は沖縄出身の満島ひかりちゃんであることもあり、金子監督はひかりちゃんの背景が、クラブの室内から沖縄の景色に変わるという優しいアイデアを考えた。
で、その、背景を撮りに行かなければならない。

この映画は、PanasonicのHPX3000Gという、P2カード5枚装填するデジタルHDカメラを使っているのだが、何日かかるかわからない実景ロケに持っていくには、1日単価が6万円というのがちょっと負担になる。そこで、実験的な意味も含めて、僕が持っているPanasonic HVX200という小型のカメラで行くことにした。『真木栗ノ穴』は全篇このカメラで撮影したのだから、小さくてもバカにはできないのだ。2枚のP2カードに収録する。

中江監督とコンビの長い監督補G志堅君に「典型的に沖縄らしい景色はどこ?」と聞くと即座に「瀬底島!橋が架かっているから車で行けますよ」と言うので、ネットで検索すると確かにきれいだ。で、助手のF屋君と二人で那覇からレンタカーでドライブ。
この瀬底ビーチはリゾート会社に管理されていて、車はすべて1500円の駐車場に入れなければならない。でも「撮影の下見に来た」と言うと「只でいいですよ」。ビーチは9月半ば過ぎだというのに海水浴客でいっぱいだったので、翌朝、再チャレンジ。誰も来ないうちに撮影した。

更にG志堅君に別の撮影スポットを教えてもらい、更にきれいなビーチを撮って、N津プロデューサーと名護で合流。観光名所も撮影することになった。
助手のF屋君は翌日には『二十世紀少年』に行かなければならないので東京に帰し、N津プロデューサーとドライブ。

存分に撮影して東京に帰ると、収録したP2カードを編集部に渡す。突然行ってもナンだから編集助手のO田さんに電話を入れた。
「今から沖縄実景のP2カードを持っていくから」
 「え?実景ですか?まだ電車なので、カウンターに預けておいてください」
僕もバスに乗っていると電話が来た。
 「アオイスタジオに向かっているんですか?」
「何言ってるの、東映ラボテックだよ」
 「ええ?」
しばらくして、やっと気がついた。O田さんは『真夏の夜の夢』の編集助手だった。


The shooting for "A Midsummer Night's Dream (真夏の夜の夢)",
directed by Yuji Nakae, was wrapped up safely in September 6,
2008 with a location shooting in Shiodome in Tokyo!

I heard that all passerbyers in the scene were volunteer extras.
The scene came out very gorgeously with them walking from
Shiodome to the Shinbashi area.

After this shooting, Ms.Yuki Shibamoto, who finished her first
starring role, received a bouquet from Director Nakae as she
made a speech that was filled with tears.

This was a film shooting for the first time in 4 years to me.
We used a telecine process instead of making a daily print and
had non-linier editing with AVID. On the 14th we viewed the
rough cut produced by Aoi Studio using Digital Light Processing.
Under these circumstances, to be honest, I couldn’t tell
whether it came out as we expected.

Meanwhile, a shooting for a film "Pride" with a director Syusuke
Kaneko was finally re-started. It was postponed from
unavoidable circumstance.

We had a scene where Moe, one of the main characters in this
film, sang in the night club "Prima Donna" located in the
Ginza and where the owner was played by Reiko Takashima.
Since Ms. Hikari Mitsushima, who played Moe, was from
Okinawa, Director Kaneko had a wonderful idea. While singing,
the background scenes shifted from the interior of the room
to a serene Okinawa backdrop.

It meant that I had to go to Okinawa again to shoot shots for
the background.

Although a digital HD camera, the Panasonic HPX3000G installed
with five P2 cards, was used for this film, it would become
a burden to bring it for location shooting, as there was no
exact shooting schedule and its rental rate was 60,000 yen
for a day. Thus, I decided to bring my small camera, the
Panasonic HVX200. This also had an experimental purpose.
Even though this was a small camera, you can’t minimize what
it can provide as a future film "Peeping Tom (真木栗ノ穴)" was
shot using this camera. It was installed with two P2 cards.

I asked Assistant Director Mr.G, who worked for a long time
with Director Nakae, "Where is a typical Okinawa place?"
He replied immediately, "Sesoko Island! You can get there
by driving a rental car. There is a bridge to the island."
I searched "Sesoko Island" on Internet and was assured that
it was a really beautiful place. Then I went to Okinawa and
drove a rental car from Naha city to Sesoko island with
Assistant Cameraman Mr.F.

Sesoko beach was managed by a resort company. All cars
had to be parked on a parking lot costing 1500 yen. However
when we told them that we came here for location scouting,
they let us in for free. The beach was crowded even in the
middle of September. Then we came here next morning and shot
before it became crowded.

Also, I got a name of different spot from Mr. G.
There, I shot a beautiful beach scene and met a producer,
Mr. N, in Nago City. We also shot several famous sight seeing
spots. Mr. F had to go back to Tokyo for a shooting of
"20th Century Boy (二十世紀少年)" next day. Producer Mr. N and
I continued to drive for shootings.

When we took enough shots and returned to Tokyo, I wanted to
give my P2 cards recording the shots to Assistant Editor Ms. O
for this film. I made a call to Ms. O beforehand to let her know.

I told her "I’m going to bring you two P2 cards with the shots
of Okinawa."

"The location shots? I am on the train. Please give them to the
counter."

While on the bus, I got a call from her.
She said, "Are you coming to Aoi Studio?"
I said, "No, what are you talking about? I’m going to TOEI LABO TECH."
"What?" she was surprised.
After a while I got to know that Ms.O was the Assistant Editor
for "A Midsummer Night’s Dream (真夏の夜の夢)."
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