一体何がしたいですか?   Official tumblr of The Kurosawa Project. Sharing film awesomeness, focusing on Japanese film of the 40's, 50's, and 60's. thekurosawaproject.org

twitter.com/KurosawaProject:

    

"Akira Kurosawa: When I conceive an original idea that I wish to turn into a script, I lock myself up in a hotel with paper and pencil. At that point I have a general idea of the plot, and I know more or less how it is going to end. If I don’t know what scene to begin with, I follow the stream of the ideas that spring up naturally.



Marquez: Is the first thing that comes to your mind an idea or an image?
Kurosawa: I can’t explain it very well, but I think it all begins with several scattered images. By contrast, I know that scriptwriters here in Japan first create an overall view of the script, organizing it by scenes, and after systematizing the plot they begin to write. But I don’t think that is the right way to do it, since we are not God.”
Read the LA Times’ selections from Gabriel Garcia-Marquez’s six hour interview with Kurosawa, which took place in Tokyo in 1990, during the filming of “Rhapsody in August” (1991), here. 

    "Akira Kurosawa: When I conceive an original idea that I wish to turn into a script, I lock myself up in a hotel with paper and pencil. At that point I have a general idea of the plot, and I know more or less how it is going to end. If I don’t know what scene to begin with, I follow the stream of the ideas that spring up naturally.

    Marquez: Is the first thing that comes to your mind an idea or an image?

    Kurosawa: I can’t explain it very well, but I think it all begins with several scattered images. By contrast, I know that scriptwriters here in Japan first create an overall view of the script, organizing it by scenes, and after systematizing the plot they begin to write. But I don’t think that is the right way to do it, since we are not God.”

    Read the LA Times’ selections from Gabriel Garcia-Marquez’s six hour interview with Kurosawa, which took place in Tokyo in 1990, during the filming of “Rhapsody in August” (1991), here

    — 3 days ago with 51 notes
    #Akira Kurosawa  #Kurosawa  #film  #art  #Japan  #cinema  #cinephile  #cinefile  #Gabriel Garcia Marquez  #creative process  #Japanese film  #Japanese cinema  #Japanese movies  #Rhapsody in August  #interview  #filmmaker interview  #magical realism 
    acafanmom:

thekurosawaproject:

acafanmom:

thekurosawaproject:

Film stills don’t get much better than this. Mifune (L) and Seiji Miyaguchi (R) in “Seven Samurai” (1954). 
After “Ikiru,” Kurosawa and his screenwriting team - Shinobu Hashimoto and Hideo Oguni -  wanted to make a film exploring a day in the life of a samurai, but the idea was too vague. Looking over the enormous amount research material compiled, Kurosawa found a tidbit about a group of samurai who came together to protect a village from bandits.
The team sat down to explore the idea and ended up writing a 500 page script. 

Well, not quite. The idea wasn’t too vague, it was too specific. Kurosawa wanted to make the most authentic samurai film ever, and charged Hashimoto and two assistants from the Toho art department to work up the scenario and research it. The story Hashimoto came up with - the last day in the life of a samurai who is compelled to commit seppuku to atone for the mistake of his branch of the fief government - got hung up on a single, insurmountable detail; with great trepidation and no small amount of soul-searching, Hashimoto himself pulled the plug on the project and, in so doing, brought Kurosawa’s wrath down on both him and the Toho assistants (the screenplay later became the genesis of Hashimoto’s film Seppuku). Once Kurosawa had gotten over the disappointment (a few days later), he called Hashimoto to him and said that there was a change of plan: they’d now be doing a film called The Lives of Japanese Swordsmen - an omnibus film that would look at the lives of eight famous Japanese swordsmen. Hashimoto was once again charged with working up the scenario, and when he returned a few days later with what he’d written, Kurosawa looked it over and laughed, saying - basically - “there’s no actual story here - it’s just episodes strung together!”
It was only a bit later that, discussing options with Kurosawa’s producer at Toho, it came out that there was something interesting in the idea of itinerate samurai (which was one of the eight samurai to have been featured in the omnibus film). The people from Toho informed Kurosawa that there were villages that sometimes allowed a samurai to stay with them - gave them room and board, if they would keep watch at night for bandits. According to Hashimoto, Kurosawa looked at him, he looked back, and thus The Seven Samurai was born. 
All this and more in Compound Cinematics: Akira Kurosawa and I, coming in February 2015.

This is interesting, the first (I think), response we’ve received on such a post. According to Stuart Galbraith IV, who quotes Hashimoto in “The Emperor and the Wolf” - and is obviously evidenced by the Hashimoto quote above - the problem was that, in getting hung up on detail, Kurosawa and the writers were unable to find a story, and therefore, the idea was vague on narrative, and thus not fit for the type of movie they wanted to make. 

Yes, I think the detail part comes out more in A Day in the Life, and the vagueness in Lives of Japanese Swordsmen. Honestly, I don’t normally do this kind of response, but I’m fresh off the translation of the Hashimoto book and The Seven Samurai story was easily my favorite for just how labyrinthine it was, so I got a bit excited to share a bit of the detail from the book. I hope I haven’t overstepped!

This is a great little dialogue, love the back and forth. No overstepping at all - love learning new things, especially about the process that went into great films. Pre-ordered the Hashimoto book!

    acafanmom:

    thekurosawaproject:

    acafanmom:

    thekurosawaproject:

    Film stills don’t get much better than this. Mifune (L) and Seiji Miyaguchi (R) in “Seven Samurai” (1954). 

    After “Ikiru,” Kurosawa and his screenwriting team - Shinobu Hashimoto and Hideo Oguni -  wanted to make a film exploring a day in the life of a samurai, but the idea was too vague. Looking over the enormous amount research material compiled, Kurosawa found a tidbit about a group of samurai who came together to protect a village from bandits.

    The team sat down to explore the idea and ended up writing a 500 page script. 

    Well, not quite. The idea wasn’t too vague, it was too specific. Kurosawa wanted to make the most authentic samurai film ever, and charged Hashimoto and two assistants from the Toho art department to work up the scenario and research it. The story Hashimoto came up with - the last day in the life of a samurai who is compelled to commit seppuku to atone for the mistake of his branch of the fief government - got hung up on a single, insurmountable detail; with great trepidation and no small amount of soul-searching, Hashimoto himself pulled the plug on the project and, in so doing, brought Kurosawa’s wrath down on both him and the Toho assistants (the screenplay later became the genesis of Hashimoto’s film Seppuku). Once Kurosawa had gotten over the disappointment (a few days later), he called Hashimoto to him and said that there was a change of plan: they’d now be doing a film called The Lives of Japanese Swordsmen - an omnibus film that would look at the lives of eight famous Japanese swordsmen. Hashimoto was once again charged with working up the scenario, and when he returned a few days later with what he’d written, Kurosawa looked it over and laughed, saying - basically - “there’s no actual story here - it’s just episodes strung together!”

    It was only a bit later that, discussing options with Kurosawa’s producer at Toho, it came out that there was something interesting in the idea of itinerate samurai (which was one of the eight samurai to have been featured in the omnibus film). The people from Toho informed Kurosawa that there were villages that sometimes allowed a samurai to stay with them - gave them room and board, if they would keep watch at night for bandits. According to Hashimoto, Kurosawa looked at him, he looked back, and thus The Seven Samurai was born. 

    All this and more in Compound Cinematics: Akira Kurosawa and I, coming in February 2015.

    This is interesting, the first (I think), response we’ve received on such a post. According to Stuart Galbraith IV, who quotes Hashimoto in “The Emperor and the Wolf” - and is obviously evidenced by the Hashimoto quote above - the problem was that, in getting hung up on detail, Kurosawa and the writers were unable to find a story, and therefore, the idea was vague on narrative, and thus not fit for the type of movie they wanted to make. 

    Yes, I think the detail part comes out more in A Day in the Life, and the vagueness in Lives of Japanese Swordsmen. Honestly, I don’t normally do this kind of response, but I’m fresh off the translation of the Hashimoto book and The Seven Samurai story was easily my favorite for just how labyrinthine it was, so I got a bit excited to share a bit of the detail from the book. I hope I haven’t overstepped!

    This is a great little dialogue, love the back and forth. No overstepping at all - love learning new things, especially about the process that went into great films. Pre-ordered the Hashimoto book!

    — 2 weeks ago with 367 notes
    #Akira Kurosawa  #Kurosawa  #film  #cinema  #Japan  #Seven Samurai  #Japanese film  #Japanese cinema  #Japanese movies  #chanbara  #chambara  #samurai cinema  #samurai 
    acafanmom:

thekurosawaproject:

Film stills don’t get much better than this. Mifune (L) and Seiji Miyaguchi (R) in “Seven Samurai” (1954). 
After “Ikiru,” Kurosawa and his screenwriting team - Shinobu Hashimoto and Hideo Oguni -  wanted to make a film exploring a day in the life of a samurai, but the idea was too vague. Looking over the enormous amount research material compiled, Kurosawa found a tidbit about a group of samurai who came together to protect a village from bandits.
The team sat down to explore the idea and ended up writing a 500 page script. 

Well, not quite. The idea wasn’t too vague, it was too specific. Kurosawa wanted to make the most authentic samurai film ever, and charged Hashimoto and two assistants from the Toho art department to work up the scenario and research it. The story Hashimoto came up with - the last day in the life of a samurai who is compelled to commit seppuku to atone for the mistake of his branch of the fief government - got hung up on a single, insurmountable detail; with great trepidation and no small amount of soul-searching, Hashimoto himself pulled the plug on the project and, in so doing, brought Kurosawa’s wrath down on both him and the Toho assistants (the screenplay later became the genesis of Hashimoto’s film Seppuku). Once Kurosawa had gotten over the disappointment (a few days later), he called Hashimoto to him and said that there was a change of plan: they’d now be doing a film called The Lives of Japanese Swordsmen - an omnibus film that would look at the lives of eight famous Japanese swordsmen. Hashimoto was once again charged with working up the scenario, and when he returned a few days later with what he’d written, Kurosawa looked it over and laughed, saying - basically - “there’s no actual story here - it’s just episodes strung together!”
It was only a bit later that, discussing options with Kurosawa’s producer at Toho, it came out that there was something interesting in the idea of itinerate samurai (which was one of the eight samurai to have been featured in the omnibus film). The people from Toho informed Kurosawa that there were villages that sometimes allowed a samurai to stay with them - gave them room and board, if they would keep watch at night for bandits. According to Hashimoto, Kurosawa looked at him, he looked back, and thus The Seven Samurai was born. 
All this and more in Compound Cinematics: Akira Kurosawa and I, coming in February 2015.

This is interesting, the first (I think), response we’ve received on such a post. According to Stuart Galbraith IV, who quotes Hashimoto in “The Emperor and the Wolf” - and is obviously evidenced by the Hashimoto quote above - the problem was that, in getting hung up on detail, Kurosawa and the writers were unable to find a story, and therefore, the idea was vague on narrative, and thus not fit for the type of movie they wanted to make. 

    acafanmom:

    thekurosawaproject:

    Film stills don’t get much better than this. Mifune (L) and Seiji Miyaguchi (R) in “Seven Samurai” (1954). 

    After “Ikiru,” Kurosawa and his screenwriting team - Shinobu Hashimoto and Hideo Oguni -  wanted to make a film exploring a day in the life of a samurai, but the idea was too vague. Looking over the enormous amount research material compiled, Kurosawa found a tidbit about a group of samurai who came together to protect a village from bandits.

    The team sat down to explore the idea and ended up writing a 500 page script. 

    Well, not quite. The idea wasn’t too vague, it was too specific. Kurosawa wanted to make the most authentic samurai film ever, and charged Hashimoto and two assistants from the Toho art department to work up the scenario and research it. The story Hashimoto came up with - the last day in the life of a samurai who is compelled to commit seppuku to atone for the mistake of his branch of the fief government - got hung up on a single, insurmountable detail; with great trepidation and no small amount of soul-searching, Hashimoto himself pulled the plug on the project and, in so doing, brought Kurosawa’s wrath down on both him and the Toho assistants (the screenplay later became the genesis of Hashimoto’s film Seppuku). Once Kurosawa had gotten over the disappointment (a few days later), he called Hashimoto to him and said that there was a change of plan: they’d now be doing a film called The Lives of Japanese Swordsmen - an omnibus film that would look at the lives of eight famous Japanese swordsmen. Hashimoto was once again charged with working up the scenario, and when he returned a few days later with what he’d written, Kurosawa looked it over and laughed, saying - basically - “there’s no actual story here - it’s just episodes strung together!”

    It was only a bit later that, discussing options with Kurosawa’s producer at Toho, it came out that there was something interesting in the idea of itinerate samurai (which was one of the eight samurai to have been featured in the omnibus film). The people from Toho informed Kurosawa that there were villages that sometimes allowed a samurai to stay with them - gave them room and board, if they would keep watch at night for bandits. According to Hashimoto, Kurosawa looked at him, he looked back, and thus The Seven Samurai was born. 

    All this and more in Compound Cinematics: Akira Kurosawa and I, coming in February 2015.

    This is interesting, the first (I think), response we’ve received on such a post. According to Stuart Galbraith IV, who quotes Hashimoto in “The Emperor and the Wolf” - and is obviously evidenced by the Hashimoto quote above - the problem was that, in getting hung up on detail, Kurosawa and the writers were unable to find a story, and therefore, the idea was vague on narrative, and thus not fit for the type of movie they wanted to make. 

    — 2 weeks ago with 367 notes
    #Kurosawa  #Akira Kurosawa  #Seven Samurai  #film  #cinema  #cinefil  #cinephile  #Japan  #Japanese movies  #Japanese film  #Japanese cinema  #chanbara  #chambara  #samurai  #samurai cinema 
    Film stills don’t get much better than this. Mifune (L) and Seiji Miyaguchi (R) in “Seven Samurai” (1954). 
After “Ikiru,” Kurosawa and his screenwriting team - Shinobu Hashimoto and Hideo Oguni -  wanted to make a film exploring a day in the life of a samurai, but the idea was too vague. Looking over the enormous amount research material compiled, Kurosawa found a tidbit about a group of samurai who came together to protect a village from bandits.
The team sat down to explore the idea and ended up writing a 500 page script. 

    Film stills don’t get much better than this. Mifune (L) and Seiji Miyaguchi (R) in “Seven Samurai” (1954). 

    After “Ikiru,” Kurosawa and his screenwriting team - Shinobu Hashimoto and Hideo Oguni -  wanted to make a film exploring a day in the life of a samurai, but the idea was too vague. Looking over the enormous amount research material compiled, Kurosawa found a tidbit about a group of samurai who came together to protect a village from bandits.

    The team sat down to explore the idea and ended up writing a 500 page script. 

    — 3 weeks ago with 367 notes
    #Kurosawa  #Akira Kurosawa  #Toshiro Mifune  #Takashi Shimura  #Toho Studios  #film  #cinema  #cinephile  #cinefile  #Seven Samurai  #Criterion Collection  #Criterion  #samurai  #chanbara  #chambara  #Japan  #Japanese movies  #Japanese film  #Japanese cinema  #samurai cinema  #七人の侍  #Seiji Miyaguchi 

    You won’t find a better way to pass 78 seconds today than watching kogonada’s mesmerizing "Ozu//Passageways" on Vimeo. 

    — 4 weeks ago with 43 notes
    #Ozu  #Yasujiro Ozu  #kogonada  #cinema  #film  #cinephile  #cinefile  #Criterion  #Criterion Collection  #Japan  #Japanese movies  #Japanese film  #Japanese cinema  #video essay  #vimeo 
    Directing “Seven Samurai” (1954) like a boss. Note the dude in the background (L) totally jocking Kurosawa’s fishing hat style and the disembodied arm holding a light meter to the guy’s face front right. 

    Directing “Seven Samurai” (1954) like a boss. Note the dude in the background (L) totally jocking Kurosawa’s fishing hat style and the disembodied arm holding a light meter to the guy’s face front right. 

    — 4 weeks ago with 45 notes
    #Kurosawa  #Akira Kurosawa  #film  #cinema  #movies  #cinefile  #cinephile  #Seven Samurai  #Japan  #Japanese movies  #Japanese film  #Japanese cinema  #Criterion Collection  #chambara  #chanbara  #samurai cinema  #samurai  #Toho Studios  #七人の侍侍  #behind the scenes  #black and white 
    We got some pretty gonzo fan art today from Mike Sitnikov (swolediesel on Instagram) combining a love of “Seven Samurai” (1954) with a love for, of all people, Miley Cyrus. That’s him with the long sword and the bandana. Anyone else got fun Kurosawa photoshop art?

    We got some pretty gonzo fan art today from Mike Sitnikov (swolediesel on Instagram) combining a love of “Seven Samurai” (1954) with a love for, of all people, Miley Cyrus. That’s him with the long sword and the bandana. Anyone else got fun Kurosawa photoshop art?

    — 1 month ago with 10 notes
    #Akira Kuosawa  #Kurosawa  #Seven Samurai  #film  #Criterion Collection  #samurai  #Samurai Cinema  #chambara  #cinema  #movies  #Japan  #Japanese movies  #Japanese cinema  #Japanese film  #Miley  #Miley Cyrus  #Miley Ray  #Wrecking Ball  ##侍 #七人の侍 
    There’s a great little article and video in The Guardian today on chanbara stuntman Seizo Fukumoto, who’s died on screen about 50,000 times. What a boss. 

    There’s a great little article and video in The Guardian today on chanbara stuntman Seizo Fukumoto, who’s died on screen about 50,000 times. What a boss. 

    — 1 month ago with 81 notes
    #cinema  #film  #cinefile  #Japan  #Japanese movies  #Japanese film  #Japanese cinema  #samurai  #chanbara  #chambara  #stuntman  #Seizo Fukumoto  #The Guardian 
    Mifune (L, caked in age make up), cinematographer Asakazu Nakai, and Kurosawa on set for “生きものの記録” (1955), alternately translated as “Record of a Living Being” and “I Live in Fear.” 
The film was the final collaboratin between Kurosawa and composer Fumio Hayasaka, who died of tuburculosis during filming. The two worked together beginning with “Druken Angel” (1948).
Masaru Sato, Hayasaka’s protegee, would finish the score for the film and work with Kurosawa on numerous subsequent projects. Sato’s iconic themes for “Yojimbo” and “Sanjuro” are among the most well known music from Kurosawa’s films. 

    Mifune (L, caked in age make up), cinematographer Asakazu Nakai, and Kurosawa on set for “生きものの記録” (1955), alternately translated as “Record of a Living Being” and “I Live in Fear.” 

    The film was the final collaboratin between Kurosawa and composer Fumio Hayasaka, who died of tuburculosis during filming. The two worked together beginning with “Druken Angel” (1948).

    Masaru Sato, Hayasaka’s protegee, would finish the score for the film and work with Kurosawa on numerous subsequent projects. Sato’s iconic themes for “Yojimbo” and “Sanjuro” are among the most well known music from Kurosawa’s films. 

    — 3 months ago with 57 notes
    #Kurosawa  #Akira Kurosawa  #Mifune  #Toshiro Mifune  #cinema  #cinephile  #film  #movies  #Japan  #Japanese cinema  #Japanese film  #film music  #Fumio Hayasaka  #Masaru Sato  #I Live in Fear  #Record of a Living Being  #Drunken Angel  #生きものの記録  #Asakazu Nakai  #cinematography  #behind the scenes