Watched on 2007/08/10
ゼロからの風 ／ The Wind from Zero
+ 美しい夜、残酷な朝 ／ 3 Extremes
今回の調フィルムクラブはサマーホリデースペシャル。我が調フィルムクラブメンバーである江良さんとちゃこちゃん、それぞれの脚本によるフィルムを鑑賞いたしました。それぞれのフィルムのイントロダクションを当人が書いてくれました。どうぞ御覧下さいませ。This month is Cho Film Club's summer holiday special: 2 of our members introduce their own work. Era-san and Fujihira-san were the scriptwriters on these two examples, their introductions to the films are below.
Warning: Plot and/or ending details might follow.
注意 : 以降に、作品の結末など核心部分が記述されています。
ゼロからの風
知人の贔屓目を抜きにして、沢山の人に観て、考えて、感動して欲しいと願う映画です。田中好子さんの演技が、とにかくすごいです。脚本家の眼差しがストレートで、「いつでも誰でも、交通事故の加害者にも被害者にもなり得る」という恐ろしいメッセージが胸に突き刺さります。一人息子を事故で失った母の、すさまじい戦い。しかも実話で、暗くなりがちな題材だと思うのですが、外せない問題定義をしっかり踏まえた上で、前向きな主人公の姿を通して観る人を勇気付けてくれる、日本映画にはあまり見られない秀逸な脚本ですね。褒めすぎかな？ とにかく、一人でオ多くの人に観て欲しいです。
美しい夜、残酷な朝
この作品は、残念ながら脚本協力での参加です。
でも、思い出深い作品です。大切にしている作品です。
というのは、この作品で、素晴らしい感性と映画への情熱を抱くプロデューサーに出会い、多くのことを教えて頂いたからです。また、試写で作品を観た時には、監督の才能と映像美に酔いしれました。この作品に関れたことは、今でも私にとって大きな喜びであり、幸せでもあります。
藤平 久子
The Wind from Zero:
This is based on a true story: the woman who fought for and won a change and a strengthening of the law after her 19-year-old son was killed by a drunk driver. It's a sombre film, and intentionally moving - written to get that real-life message and emotion across. Era-san met with the woman portrayed here, and, of course, had to decide what to leave in and what to leave out of the true story and how to present her determined character. The title is a play on the name, Rei, of the son who was killed - Rei can also mean "zero" in Japanese - and is the name of the fictional tune composed for him in the film
3 Extremes:
For English presentation, this needs less introduction, as Japanese and Asian horror is already popular with a large English-speaking audience. Chako-chan (Hisako Fujihira - uncredited in Wikipedia and elsewhere, by the way) collaborated on the script and feels priveleged to have the memories of developing the deep intensity and strange beauty of the story, 'Box', for the Japanese section of this trilogy of Asian films (the other two, 'Dumpling' and 'Cut', coming from Hong Kong and Korea). It was an opportunity to really be in a position to learn much.
Extra information: In '3 Extremes', the director was Takashi Miike, who both Era-san and Chako-chan have worked with before - Era-san scripted his 'Visitor Q', for example. Currently, they are collaborating on a new Takashi Miike movie, '51 Ways to Protect a Girl'. His thought on scriptwriters? For example:
Writing the script is the scriptwriter's job and I respect his work. But there are different ways of interpreting that work. A script is a tool for making a film. How you choose to use that tool is up to you. If 100 people read the same passage in a script, they will have 100 different ideas about how to film it. How do you interpret this line? How do you express it? If the script says the character comes running in, you have to ask yourself how he runs, why he runs. Maybe he comes flying in? You have to interpret the meaning of "run."
For me, a script with defects is a good script. When I come across the boring parts I have to think about how to make them interesting. In that way I can work out my own approach to the script.
For a director, a perfect script is boring. All you can do is follow it.
(For the full interview go to Mark Schilling's website or see here)
- Andrew