|
Interviews
Yusaku accepted many kinds of interviews. At the time of his debut he was a shy and quiet person. But after a few years he became more talkative to assist in the promotion of his films. He talked about his work and life, sometimes including his private life.
Yusaku Talk is edited by Takeshi Yamaguchi, who gathered interviews from Japanese magazines. I chose some information from Yusaku Talk and edited it myself for fans abroad. Sometimes his words are very difficult even in Japanese. My friend Annie helped me a lot, I don't know how I can thank her enough for her enthusiasm, effort, and kindness.
In the quotes that follow you will notice that Yusaku loved the word "nuance." It's a big key word for him. It's connected to his philosophy or spirituality. In Japan, we use it as "loan word" without translating it into Japanese. The meaning is "tiny bit of difference of feeling, meaning, colors, sounds" or "delicate feeling which touches the heart though is hard to express."
Acting
I wanted to be an actor ever since I was a child. I especially loved Nikkatsu Action Movies, Tohei Samurai Movies, and the darkness of the movie theater. Then I started thinking of taking part in the films, not only watching. I really appreciate that my dream came true. [1977]
When Yusaku was a kid, the Japanese film business had vitality. Many program pictures (low budget films) relied on movie stars. Yusaku's career began on TV and he continued to appear on TV throughout his career, although his main focus was on films.
I was inspired by Mr. Yoshio Harada. His acting is very natural and sounds impromptu. At that time I was in a traditional dramatic company, so his lightness and anarchism were refreshing. One day I realized that I was neglecting to copy the tiny details of ordinary living (e.g., picking up chopsticks, eating, little things between a man and a woman, etc.). This was a problem for me. Maybe I shouldn't have worried about those things because, in itself, acting is so childish and selfish. But I didn't want to be typecast in the kind of roles I had been playing. [1983]
You can see Yoshio Harada in The Hunted starring Christopher Lambert. He and Yusaku were more like brothers than close friends, and they lived next door to each other. In the early days of Yusaku's career, his acting seems much like Harada's, but Yusaku developed his own originality year by year.
After Kagerou-za, I thought I could play nothing but running around with a gun; I felt I couldn't say one word of dialogue correctly. However, when I finished Yaju shisubesi I felt, arrogantly, that there were no more roles which I should play. But then in Kagerou-za, I lost self-confidence. I thought I understood how I should play, but I couldn't express as an actor. Trying harder made it worse, and although the director was pleased with my work during this chaotic period, I was confused and regretted my acting choices more and more.
This period of confusion became a big turning point for Yusaku's acting.
When I started the TV drama Haru ga kita, I recognized that I was consciously thinking too much about my acting and that led me to a dead end. I became stuck in this way of over-thinking and I could not get rid of all my complicated ideas. I didn't realize for a long time that drama exists in the details of daily life.
At this time, Yusaku was looking back at his own changes, including marriage.
I couldn't imagine how to change my present situation, but thought 'whatever will be, will be.' I felt I should keep going. Many of my changes are learned from women. Learning from men is limited. I found a deeper understanding of myself by understanding women. [1983]
The next interview was soon after And Then (Sorekara). His co-star, Miwako Fujitani (Michiyo), was known as a troublemaker who often irresponsibly skipped work or canceled appointments. On the other hand, her childishness allowed her an extraordinary sensibility for acting. The interviewer may have been expecting Yusaku to relate some episode, but Yusaku didn't speak ill of her at all.
With co-workers, it is important to have trust and to understand "nuance." It's hard to explain, but it helps everyone to focus on a common goal and affects every aspect of the production. Not everyone has the same point of view, but I prefer to work through a difficult beginning to the point where everyone can appreciate each other's strong points. [1985]
The next interview was done before Yusaku knew he had cancer. The interviewer asked him "How do you see your future?" and Yusaku answered this way.
I have no future. I'll never be complete until I die. If someone allows me as a defective product, I'll do any role, even a milkman or a waiter. Being on a film set and total commitment to a film are very important. I'd like to continue to be an actor until the day I die. [1988]
Looking at this quote now, it seems like a prediction or spiritual statement. However, Yusaku had only one functioning kidney and was often in ill health. He may have thought, "I won't live as long as others," which is a common feeling for sickly people. He confessed, during his period of confusion, that he was thinking of quitting acting, but he couldn't. I think the reason is he purely and deeply loved acting; film sets were sacred places to him.
Each Movies Yaju Shisubeshi
This movie was based on a hard-boiled detective novel written in 1958 and filmed once before in 1959. It seems old-fashioned and Yusaku had already made Yomigaeru Kinrou by the same author in 1979. This time, Yusaku and screenplay writer Maruyama changed the story a great deal. Then Yusaku was concerned about his appearance for this role (named Date).
We decided not to follow the novel and threw Date's body (physical type) away completely. I struggled with how I could play a man living quietly in the city. Seriously I wanted to cut my legs off about 5cm. I researched, and such an operation happened in fact, but the person is unable to walk rest of life. So I gave it up, (and instead) cut 10kg off my weight. Then I started to work on my teeth. I had four molars removed, which made my face appear haggard. It made my voice flat. I've stopped being so concerned with my appearance; I know it was luxurious distress. [1982]
"Luxurious distress" is a common expression in Japanese. It is used by someone who isn't satisfied though greatly blessed. (e.g. a beautiful fashion model might say, "I'm too fat!" or a rich man might say, "I'm too busy to enjoy my money!" This is called "luxurious distress") Everyone envied Yusaku's height but he felt he was too tall for this role.
Kagerou-za
Compared to a huge playground, I only played in the sandpit. I kept on grasping sand and dropping it between my fingers never recognizing the swing or the slide were there, in spite of the fact that other cast members were swaying on the swings comfortably. [1983]
Tantei Monogatari (Movie)
I used a popular film idol's (Hiroko Yakushimaru) vogue. I hope young people love movies more. I'll try to pull them into my next movie...but it's tricky, isn't it.
In this quote, Yusaku refers to Hiroko's popularity. Kadokawa (a publishing
company) produced a successful film called Ningen no shoumei. The company's next step was to create its own STAR. Hiroko was chosen by audition and co-starred with Ken Takakura. She was very cute, clever, and most importantly she was a very ordinary girl. She became a top film idol from the beginning. Kadokawa's contract with Hiroko allowed her to appear only in their films. When she was 18, she announced her temporary retirement from acting until she finished the entrance exam. Her fans were worried that her retirement might be permanent. However, the following year, after entering college, she came back to the screen. The first film that her fans had been waiting for was Tantei Monogatari. Her popularity assured the success of the film.
I want young people to identify with what they see in the movies in order to understand themselves better. It doesn't matter if it was Star Wars, a favorite singer's feature film, or anything. My own past or future flash around in many ways when I'm surrounded by the darkness of movie theater. I want them to know such a world exists. [1983]
The Family Game
At the New York airport lobby, a clerk came towards me and called me "Yoshimoto." I didn't think he meant me, but my staff mentioned about the role in The Family Game. I was surprised and very pleased. Usually I don't sign autographs, but I did it this time.
This film was released in ordinary movie theaters in the States and was highly rated. In spite of that evaluation it couldn't be chosen as Japan's application to the Academy Awards for foreign language film, because it was released the same year as the domestic business record holder Nankyoku Monogatari. The success of The Family Game in the States was greater than it was
reported in Japan.
All the characters in this film are a little bit odd, not only Yoshimoto. American audiences could understand the warped part of that movie very well, even though the film was about an ordinary Japanese family. They caught its surrealism, and focused on its twisted message which removed typical Japanese sentimentalism. [1984]
And Then (Sorekara)
According to the novel on which the film was based, Daisuke doesn't work but is rich enough to be a gourmet, so I gained 5 kg (ultimately, 7-8 kg) weight. To lose weight is easier because it suits ordinary life's esthetics. This time I needed courage because of the discomfort of being slowed down by the extra weight. [1985]
This film was based on the novel by eminent writer, Soseki Natsume, who also wrote I'm a Cat and Bocchan. Yusaku's analysis of the scenario is sharp and interesting.
I decided this character truly loves Michiyo, so he could do nothing. A woman loves me and another guy really loves her; such a love triangle is pleasant for men. Her brother's death broke up this insensitive game which existed in the love triangle, and they had to conclude suddenly. If Daisuke tries to help Michiyo, he'll loose his comfortable life. So he gave her up to Mr. Hiraoka, expecting she would be back some day. He acts out of his feeling of superiority. He had a guilty feeling about that, and it became a self-hatred because there was a terrible conflict between his heart and his brain. I could slip into Daisuke's skin using this interpretation. [1985]
Arashigaoka (Wuthering Heights)
This movie is based on the same story as Emily Bronte's Wuthering Heights, but the film is set in the middle ages in Japan.
I had a certain image of my role, but I gave it up. I couldn't do it in a Yoshida film; it was such a selfish and childish idea. I learned a lot from Yoshida; he gave me room to grow.
Director Kiju Yoshida made avant-garde films in the 60s. In recent years he has been less productive but he is still making serious movies. Yusaku respected his work.
When one plays a crazy person, it seems like a competition between bulging eyes and bared teeth. I knew it was wrong. It needs something to affect the very atmosphere, but I didn't know the method. If I play the natural way, the madness follows behind. I don't know if I can show it by my acting or not. Whether my acting seems right or not is up to the director. [1988]
As you can see from the photo on my Webpage, make-up like Kabuki was used in this film. Ran, a film by the great Japanese director Akira Kurosawa, has something in common with this film. Both were based on foreign novels and used style of Noh drama which is Japanese traditional play.
Horseback riding, dancing, and Noh were first experiences for me. But I didn't think of them as work; I just enjoyed them, because I'm an actor. [1988]
Hana no Ran
I worked well with director Fukasaku. I enjoyed working with a director who is knowledgeable about movies and keeps an open mind about what he doesn't know. I have gotten good results with young directors, but I'd like to learn more. I want to acquire the old movies' manner, grace, and abundance. I think now is the time for me to associate with a director who has a good understanding of lighting, dimension and perspective.
Director Kinji Fukasaku is famous for Yakuza movie sequels. Director Quentin Tarantino is well known as a big fan of Fukasaku's movies.
In the future, actors and directors should collaborate on films, each of them sharing the role of producer and presenting new ideas from their own unique perspective. [1988]
A homansu; Director and Star
I can't be a director or producer; it's such a schizophrenic job. It requires watching and listening to everything from only one person's perspective. And I can't abandon the attraction of an actor's narcissism when concentrating on my own role. [1985]
Yusaku didn't desire to be a director, although he experienced it accidentally. This movie title is not Japanese or English; perhaps it is a coined word.
I can act according to my own theory, starting from the state where ordinary life is broken or badly balanced, by hard concentration. But the director's job needs balance; I had to concentrate on one piece and the whole thing at the same time. This splitting of my concentration was really hard for me. Fortunately, in this film, I was playing, essentially, a replicant (robot). This allowed me to pay more attention to directing and less to the character I was playing. [1986]
He used the word "replicant" from Ridley Scott's Blade Runner.
When I made this movie, people said Yusaku missed making action movies, but I've always loved action movies, and I just wanted to make simple entertainment. I haven't changed. Some trouble happened about the middle of this film shooting and the director resigned, so I took his place. [1986]
Yusaku rejected many projects, so show business people thought he was picky. Fans thought he didn't like action movies anymore because he'd been acting in other kinds of art films and dramas for a few years. However, he was just waiting for a good director and script; the type of film didn't matter.
The director's job is really hard. I can't describe this feeling. I was constantly switching back and forth between acting and directing. It's so hard. I don't know how to find the balance between actor and director in myself; it's just mixed up. It's necessary to switch my thinking. Though I'm an actor basically, it's sometimes difficult to decide what to do about my own shots; which should I go with -- the director's opinion or the actor's opinion? [1986]
Television
I wasn't really an actor when I played in Taiyo ni hoero. I hated that program. I hated my relationships with the staff and other cast members, almost everything. I fought a lot and soon became known as a troublemaker. I was just a big kid and I was irritated with my uncomfortable situation. [1985]
Yusaku had a hard time when he was beginning as an actor. However he learned many things about relationships, filmmaking system, and how to chose the staff.
In this country, TV is a better medium in many cases for drama. Many excellent writers are doing good, really interesting work. TV drama can describe details of daily life without time restriction, unlike movies. Sometimes, for an actor, working on TV is more instructive than working in movies. [1985]
Some actors regard TV as less important than movies or stageplays. However Yusaku was learning positively from everything.
TV Commercials
It's a message. And money, too. If I think of Japanese film business, it's very poor. I think TV ads are tools for telling nuance of where I am or where my antenna is facing. For this reason, TV ads are the most powerful now. About money...for me, it gives me a chance to get some money ahead. [1985]
He did TV ads for men's hair styling products, cologne, liquors, audio, publisher, etc. This was a different medium for him as an actor and one that he enjoyed experimenting with.
It's difficult to decide which nuances to skip. Clearly ads are about selling products, not myself. But, we have to find a way of communicating everything to the public, separate from the products without combining with them. It's a most interesting point, too. I can learn a lot from such an attempt. Advertisements are the most advanced medium for information. An ad must be powerful from the very first moment it starts, and filmmakers should learn from that. [1988]
Usually filmmakers make longer films after they have learned the technique by making shorter films. They can learn the way of compressing the messages into very short films by studying TV ads.
Music
I like Bruce Springsteen and Bob Seger now. I want to be a rock singer. However, I feel the gap because I didn't start until I was over 30 years old. My favorite music was jazz. I used to think rock is just noisy kids' music; I could hardly imagine playing it myself and holding a concert tour. [1981]
At first, while I was still living in my hometown, I listened to pop music (called Enka) and movie soundtracks recorded by pop singers. After I moved to Tokyo, I was awakened to foreign music, especially jazz. Now I'm interested in reggae music and the influence of Bob Marley. [1982]
Enka is traditional style pops, a bit like blues, which consists of Japanese emotion.
Now I like Bryan Ferry because he is dangerous. My songs were not really Blues, but merely an imitation. It's very difficult to sing blues seriously. [1988]
I recognized the importance of ear comprehension by playing music. I got the opportunity to find a common point of classical thing and contemporary thing. [1988]
Fans
When I was young, I got angry if someone stared at me, but I recognized my job is giving dreams, too. Sometimes I feel guilty because I earn a lot of money for acting. When fans ask for my autograph, I try to do it for everyone. I don't mind it if such a little thing makes them happy, and I can also assuage my guilt. [1977]
I don't think about fans too much because I'll stop progressing, if I try to please them. Fans are fickle and selfish, but grateful. They will turn away if they find someone they like better, even though I try to keep their hearts. [1981]
Yusaku didn't flatter his fans though he always lived up to our expectations. Whether it was a concert, a movie or a promotional event, Yusaku always did his very best to entertain us.
Special Thanks : Annie
TOP | INDEX | PREVIOUS | NEXT
|