2009年05月28日

「わたしが子どもだったころ」撮影終了 2

わずか4日間ではあったけど「わたしが子どもだったころ」の撮影はとても楽しく終わった。

結局、僕はドラマ部分だけを担当することになり、ドキュメンタリー部分は、戸井さんがいつもコンビを組んでいるビデオのカメラマンが撮ることになった。これは戸井さんの作戦で「その方がドラマの映像が立つでしょ?」と言うのだけど、僕としては両方撮って、その差を出したかった。

カメラは予定していたRED ONEがスケジュールの都合で使うことができず、MOVIEtubeという、35mm映画用のレンズを付けて小型HDデジタルカメラに収録するという装置を使った。原理は、映画用のレンズで撮影された映像を特殊なピントグラスに結像させ、それをデジタルカメラで接写するというものだ。これまで、Mini35を始めとして、同じような機材が数種類あったけれど、MOVIEtubeが一番新しいので、それなりの進歩もあると思って、これを選択したのだ。今までは敬遠していたのだけれど、被写界深度の狭い、ちょっと面白い映像になるかもしれないと思った。

接写するカメラは使い慣れて気に入っているPanasonic HMC155を借りた。Panasonicのカメラでフィルムライクガンマを使うと、いとも簡単に映画フィルムのテイストが得られるのだ。映画っぽくしようという狙いでMUVIEtubeを使うのであれば、カメラは155を選ぶのが合目的的というものですね。

子ども時代の再現ドラマは、当然、美術スタッフの力が重要となってくる。映画ほどたっぷりとした予算がないので、知恵とワザが必要だ。ところが集まった顔ぶれを見て驚いた。
美術監督に『12人の優しい日本人』『プライド』などで一緒に仕事した今村組の常連、稲垣尚夫!
装飾兼小道具権(今回は)美術助手に『どっちにするの。』から何度も一緒にしている松本良二!
応援の助手に庄島くん!みんな、日本映画第一線のスタッフ。
この3人の掛け合いが面白かった。
松本「おーい、稲垣。イナガキ!」
高間「稲垣って呼び捨てかよ?」
松本「いいんだよ、オレより下なんだから」
高間「でも、立場ってもんがあるだろ」
松本「庄ちゃん、スイッチ配線し直せ」
庄島「オレに感電しろって言うのかよ!」
松本「だからブレーカー落とせって言ってるだろ!」
庄島「真っ暗になっちゃうだろ」
というような調子で、とてもおかしかった。

撮影が始まる前、戸井さんのホームページを覗いたらショック!
ユーラシア大陸横断行が今年7月出発だと書いてある。もう、すぐじゃない!この時点でお呼びがかからないとは!

戸井さんに聞いてみると
「オーストラリアのときは2ヶ月だったからいいけど、ユーラシアは4ヶ月かかるんだ。4ヶ月高間にギャラ払ったら成り立たなくなってしまうよ」
ということだった。
そんなに高いギャラを要求しようと思ったわけじゃないけど、いつものコンビのビデオカメラマンを袖にするわけにもいかないだろうし、僕は映画の仕事が重なっているし、これも運命と思って諦めよう。それにしても、生涯の夢だったのになぁ、グスン……


While it lasted only 4 days, the shooting of "Watashi ga Kodomo
Dattakoro" (literally translated:"My Childhood") was a lot of fun.

This drama combined drama with documentary. I shot the drama
portion while the other video cameraman whom Mr. Toi always
worked with shot the documentary. It was a strategy of
Mr. Toi. He said "The different styles will have an effect on
the drama part." However I wanted to shoot both portions to
create my own difference between them.

Red One, a camera we planned to use was unavailable due to a
scheduling conflict. Instead, we chose an adopter called
MOVIEtube which enabled us to use a 35mm film lens on a small
HD digital camera. The principle used here was that an image
shot through a film lens was screened onto a special focusing
screen and then photographed closely by a digital camera.
There had been several kinds of equipment similar to the
Mini 35. MOVIEtube was the newest, so I selected it expecting
some technological progress. Until now, I had avoided using
these kinds of equipment, but this time, I considered its
possibilities in creating interesting shots with a narrow depth
of field.

As for digital camera, I borrowed Panasonic HMC155. It was the
camera I got used to operating and like. When we use filmlike
gamma with Panasonic camera, we can get film images so
easily. So if you use MOVIEtube aiming to create film-like
shots, 155 camera is a great selection.

In this program, a childhood period is recreated as drama.
Since there was not much budget like in normal filmmaking,
the quality of the artistic staff was important. They needed
staff with professional knowledge and skills. So, I was
surprised when I met the members.

The Art Director was Mr. Hisao Inagaki, a regular staff member of the Director Imamura Group. I worked with him in "12 Nin no Yasashii Nihonjin (12 Gentle Japanese)" and "Pride."
Mr. Ryouji Matsumoto who was in charge of Decoration and
Prop, also took the role of Assistant of Art. I have worked
with him for many times since we worked together on "Dochi Ni
Suru No (Who Do I Choose)."
Mr. Shoujima came as support for the art staff! All of them
were leading staff in Japanese filmmaking.

Their conversations were so interesting.
Matsumoto: "Hey! Inagaki. Inagaki!"
Takama: "You call him without an honorific?"
Matsumoto: "That's all right. He's younger than I."
Takama: "But we need to show respect for each position."
Matsumoto: "Sho-chan. Rewire a switch."
Shoujima: "You want me to get a shock?"
Matsumoto: "No just turn off the breaker!"
Shoujima: "We'll be in darkness."
…kind of atmosphere, it was so funny!

Before this shooting, I received a shock when I looked into
Mr.Toi's Web site. It stated that his project, travel through
Eurasia, was going to start from July. It was soon! I hadn't
got a call from him at this point, so it must have meant..

I asked Mr.Toi, and was told "When we did the Australian
project, it was ok as it was only two months. But this Eurasia
project was going to take four months. If I had to pay
your guarantee for four months, I wouldn't be able to make
this project."
I was not going to ask for such a high guarantee. But he might
have had to have his video cameraman accompany him. Besides
I also had a film project coming up…
Understanding this was a destiny, I gave it up. Although it
was my lifetime dream. Sob…
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2009年05月06日

『春との旅』撮影終了! 4

小林政広監督の映画『春との旅』の撮影を終え、4週間ぶりに帰ってきました。

大滝秀治をして「10年に一度の良い本」と言わしめ、仲代達矢をして「5本の指に入る作品」と言わしめたこの映画は、鰊の漁師を廃業した仲代達矢が自分の老後の面倒を看てもらおうと、失業した孫娘春(徳永えり)を連れて、疎遠となった東北の姉兄弟を訪ね歩くロードムービーだ。
その姉兄弟が凄い!

兄の大滝秀治・菅井きん夫妻!姉の淡島千景!弟の内縁の妻が田中裕子で近所の男が小林薫!下の弟は柄本明、奥さんが美保純。春の父が小林ムービー常連の香川照之で奥さんが戸田菜穂!

初めのシナリオでは増毛駅までのバス、増毛からのディーゼルカー車内、札幌で夜行列車に乗り換え、八戸で新幹線に乗り換え、一ノ関で大船渡線に乗り換え…というふうに、延々と旅する二人のシーンがあったのだが、最終的にはカットされ、鉄道ファンの私としては、返すがえすも残念!

そういうわけで、お芝居に招待してくださった松戸俊二さん、松枝佳紀さん、明樹由佳さん、すみませんでした。絵画展に招待してくださった武井宏允さん、有馬耿介さん、すみませんでした。写真展に招待してくださった飯田鉄さん、田中昭史さん、桑原敏郎さん、すみませんでした。


Completing a shooting for Director Masahiro Kobayashi's new
film "Haru tono Tabi" (literally translated "A Journey with
Haru"), I came back to Tokyo for the first time in four weeks.

For this film, even Hideji Otaki said "A great scenario once
in a decade". Tatsuya Nakadai commented "This will be one of
my best five". The film came out as a road movie. A main
character played by Tatsuya Nakadai was a retired herring
fisherman. He took his granddaughter Haru (Eri Tokunaga) who
lost her job currently to visit his three brothers and a sister
in northern Japan whom he hasn't seen for a long time. As he
was worried about his old age, he was going there to look for
someone he could count on. The castings for these brothers
and sister were amazing.

The older brother was played by Hideji Otaki and Kin Sugai as
his wife. His older sister was Chikage Awashima. The younger
brother's common low wife was Yuko Tanaka and a man in her
neighborhood Kaoru Kobayshi. Akira Emoto played another
younger brother and Jun Miho his wife. Also, Haru's father was
played by Teruyuki Kagawa, a casting favorite in Director
Kobayashi's films, and his wife by Naho Toda.

In an original scenario, there were lots of travel scenes. They
took a bus to get to Mashike Station in Hokkaido and spent
some time in a diesel train departing from Mashike town to
Sapporo. At Spporo, they switched to a night train coming
down to Hachinohe in Aomori Prefecture. Then they took the
Shinkansen from Hachinohe to Ichinoseki in Iwate Prefecture.
And there, they took Ofunato line…
But these shots were cut out from the final shooting schedules.
It was a great pity for me as a rail fan not to be able to
shoot them.

For these reasons, I was out of town. I give thank you's to
the individuals who invited me to their respective venues.
To Mr. Shunji Matsudo, Mr. Yoshinori Matsugae and
Ms. Yuka Akagi who invited me to their plays,
to Mr.Hiromitsu Takei and Mr. Kosuke Arima who invited me to
their art exhibitions, and to Mr.Tetsu Iida, Mr.Akifumi Tanaka
and Mr. Toshio Kuwabara who invited me to their photo
ehibitions.
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