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00:00作詞・作曲・編曲・編曲・編曲 初音ミク
00:07編曲・編曲 netto 編曲 編曲 編曲 編曲 編曲
00:25みなさま 軽くお頭をおさてください
00:30шиеップも 初音ミク
00:35It's the project where you have the more pressure?
00:48Yeah, the more pressure and the more you have done.
00:52The music, the training, the physique, the acting.
01:01It's hot.
01:05It starts to be the brief.
01:25You can film it, Vichy?
01:41It's a pleasure!
01:43I want to visit my studio.
01:45Where are we?
01:47We are in the studio of the TOHO.
01:49For those who don't know,
01:51I will leave the voice off to comment.
01:53It will be you, the voice off?
01:55Yeah, it's great.
01:57I always dreamed of being a voice off.
01:59Welcome to the TOHO.
02:01The TOHO, founded in 1932,
02:03is one of the largest Japanese production companies.
02:07Known to have produced the series of Godzilla,
02:09films of Akira Kurosawa,
02:11and adaptations of manga,
02:13like 20th Century Boys.
02:15A dream for the Japanese cinema.
02:17It's legendary.
02:19That's why I'm very happy to have the badge.
02:21Hello, the badge!
02:23And that's our key truck,
02:25it's the truck in which we arrive.
02:32Wow!
02:33It's a reference to TOTORO.
02:35It's crazy.
02:37It's David who designed it.
02:39Ah, really?
02:40Yeah, with the band,
02:41and everything.
02:42Yeah, it's just another thing.
02:43Ah, yeah, it's not old, in fact.
02:45No, no, no.
02:46Eh, but,
02:47we didn't explain the film
02:48and how we arrived there.
02:50At the base,
02:51we were two,
02:52David Tomaszewski and I.
02:53It was 12 years ago.
02:54He made my clips.
02:55He had the idea
02:56to do one with armor.
02:57And we thought,
02:58it would be stylized to do it in a film.
02:59But finally,
03:00we didn't do it
03:01because of what we call
03:02the big train of life.
03:06Jusqu'à 4 years.
03:07One day,
03:08he called me and said,
03:09it's the time.
03:10It's still hot.
03:11I said,
03:12trouve-moi a crayon.
03:18What's the funny thing
03:19in this film,
03:20it's that everything is blind.
03:22The deco,
03:23it's blind.
03:25The action,
03:26it's blind.
03:30The special effects,
03:31it's blind.
03:34And in Japan,
03:35we still haven't finished it.
03:37You trust guys?
03:38There's a little risk.
03:39If you want a bit of intensity,
03:41there's a little risk.
03:42To make comedy,
03:44Japan,
03:45fantastic,
03:46armor,
03:47youkai in animatronic.
03:49It's not the most simple.
03:54What's your reunion?
03:55PPM,
03:56Pre-production meeting,
03:57it's the reunion
03:58with everyone
03:59to verify
04:00that everything is ready
04:01for the show.
04:02You have two languages.
04:03You have two languages
04:04on this film.
04:05You have the English,
04:06for everyone,
04:07for everyone,
04:08for everyone,
04:09for everyone,
04:10and the Japanese,
04:11for those who don't speak English.
04:12and the Japanese,
04:13for those who don't speak English.
04:15I don't know.
04:16I don't know.
04:17Is that right?
04:18Is that right?
04:19Is it English?
04:20I'm a super English,
04:21you know?
04:24My name is Abdoulaye,
04:25I am a boy.
04:28Production,
04:29Oredsan.
04:45I'm Oredsan,
04:46I'm an actor,
04:47and I wrote with David,
04:48the movie.
04:53David, director,
04:54I wrote a movie with Aurel,
04:56and you can call me Kent.
05:01Okay, no more fun,
05:02none work.
05:19The idea is that we work
05:20from seven to six
05:21with two hours of additional time
05:23on a nine hour day.
05:26The day official,
05:27we hope to shoot out
05:28on a normal day,
05:29but there is,
05:30the eight o'clock
05:31is not a cool time.
05:33You're ready to shoot.
05:34You can tell me where we are.
05:35We are at the Dojo,
05:37which is the team
05:39cascadeur
05:40with which we work
05:41on a part of the Japanese film.
05:43on a part of the Japanese film.
05:47Can you tell me where we are?
05:48We are at the Dojo,
05:50which is the team
05:52cascadeur
05:53with which we work
05:54on a part of the Japanese film.
05:56I went to train
05:57for a month
05:58for six months.
06:04And so,
06:05we are creating the Korean.
06:07and we are creating the Korean.
06:08That's great.
06:15Nice to meet you.
06:16Nice to meet you.
06:17Nice to meet you.
06:47It's a little accomplishment
06:48for you?
06:49Oh, my God.
06:50I didn't come here.
06:51It's the one who contacted me.
06:52It's the one who contacted me.
06:53Yeah, it's cool.
06:54In fact,
06:55we met John Wick.
06:56That's the same.
06:58That's the same.
07:00That's the new John Wick?
07:01That's the new guy.
07:04I don't know.
07:05John Wick.
07:06John Wick.
07:07John Wick.
07:08John Wick.
07:09John Wick.
07:10John Wick.
07:11John Wick.
07:12John Wick.
07:13John Wick.
07:14John Wick.
07:15John Wick.
07:16I'm frustrated because I like
07:17watching Koji move.
07:18I'm a fan of his moves.
07:21I'm sure you can see Koji move.
07:23I'm like,
07:24I'm filming to record.
07:25To see if he's in the mirror.
07:26Me too.
07:27Here,
07:28I would like...
07:29Maybe she's on me.
07:30Maybe just one.
07:32And I do something.
07:33And we roll a little.
07:34And we're like...
07:35Hey!
07:39You can see the choreo is perfect, right?
07:40Yeah,
07:41we did the previous one.
07:42I did the previous one.
07:43Here, Koji.
07:51That was good, that was good.
07:52That was good.
07:53That was good.
07:54And that was good.
07:55I'm learning the choreography
07:56of the first scene of the fight.
07:58A sparring with Nanako.
08:00Nanako,
08:01it's my wife's character in the film.
08:03It's a franco-japonaise
08:05who knows the language,
08:06the sports of combat
08:07and has a good sense of humor.
08:08I'd like to say
08:09that to find the actress
08:10who corresponds
08:11was to find the pair of rare.
08:12I'm panicking now.
08:13But the most important
08:14is that the couple
08:15had to move on to the screen.
08:16I was like,
08:17I'm going to go straight to Japan.
08:20After six months
08:21of playing the same scene
08:22with several different nanakos
08:23we were on the other side.
08:24We were on...
08:25Clara Choi.
08:30She made the National Conservatory.
08:31Lashimi a right away.
08:33She came from Osaka.
08:35And her mother,
08:36who came from Osaka,
08:37gave me this little accent
08:38of the Kansai
08:39that I love.
08:40I'm going to go.
08:41I'm going to go.
08:42I'm going to go.
08:43I'm going to go.
08:44So we decided
08:45to take the scenes
08:46that were happening
08:47in Tokyo
08:48and put them to Osaka.
08:50But that means
08:51that you didn't have a speech
08:52of five minutes
08:53and you didn't understand?
08:54But I understood,
08:55your armure is maudite.
08:56You can attack us all the night.
08:57All the night?
08:59But what all the night?
09:00You thought you would do
09:01a day
09:02or not?
09:03No.
09:04You thought you would do
09:05a day
09:06or not?
09:07No.
09:08No.
09:09No.
09:10No.
09:11No.
09:12No.
09:13No.
09:14No.
09:15No.
09:16No.
09:17No.
09:18No.
09:19No.
09:20No.
09:21No.
09:22No.
09:23No.
09:24No.
09:25No.
09:26No.
09:27No.
09:28No.
09:30No.
09:31No.
09:32No.
09:33No.
09:34No.
09:35No.
09:36No.
09:37No.
09:38No.
09:39No.
09:41No.
09:43You gauge these?
09:44No.
09:46It's当chell
09:46top.
09:47Let's get it.
09:49Well, it's intense training.
09:51Yeah, good training.
09:53In fact, it's funny because there are many moves.
09:55These are mini moves, but in the end,
09:57when we're going to put everything together,
09:59it's not so easy.
10:09Let's go.
10:11It's fun.
10:13It's the day of the flowering of the cerises.
10:15It's too beautiful.
10:17It's really a dream.
10:19It's the KIF project.
10:21What do you want to do today?
10:23We're going to repeat the first fight.
10:29Yeah.
10:31It's because it's the first fight of the film.
10:39I've been training for six years to get to today.
10:41I've been training for six years.
10:43I've been training for six years.
10:45I've been training for six years.
10:47I've been training for six years.
10:49I've been training for six years.
10:51I've been training for six years.
10:53In fact, it's Olivia Afonso.
10:57I told him he wanted to introduce himself.
10:59He wanted to do a film with Bastion.
11:01And so he came and said, it's like this.
11:10There's a lot of stuff.
11:17He's very progressive. He's very progressive.
11:31He's very progressive.
11:33I've been doing it for a long time.
11:34Promised three years for the job.
11:35It's crazy.
11:36He's even in fact.
11:37He said,'m trying to do a lot of stuff.
11:38He's like this guy.
11:39The fourth time he came here.
11:40The man who came here a lot more.
11:41He's always trying to do it.
11:42He's hard to do it.
11:43He's never trying to do it.
11:44He's always trying to do it.
11:45He's always trying to do it for me.
11:46I could do it for a long time.
11:47He calls it my own business.
11:48You're not trying to do it too.
11:50To me, he says, I love it.
11:51Irained my professional and I love it.
11:52But he's always doing it.
11:53And after the third time,
11:54the guy's always trying to do it.
11:55He's always there, always there, he's always there, he's always there.
11:59It's not normal.
12:02You see, the kicks, the stuff, it started to be really bad.
12:25Hoi, hoi, hoi, nice.
12:37Can you explain what we did this morning?
12:39It's a prayer with the whole of the filming crew, right?
12:41Yeah, they do a prayer before each filming so that they can go well,
12:45because they're very superstitious here.
12:47They told me that, especially when it's films of ghosts.
12:50So here it's the real shrine, we had to do the ceremony,
12:54but as it can, we did it in the studio.
12:57Hello, how are you?
12:59Hello, how are you?
13:00Hello everyone, how are you?
13:02This is my parents, my father and my mother.
13:04Oh, lovely to meet you, I'm Georgina.
13:06Hi, Georgina.
13:07Welcome to TOW.
13:09She's the one who created the studio.
13:12Not the studio TOW, but the version for foreigners.
13:16J'ai rencontré Georgina grâce à David Gauquier,
13:18a producer who had invested in Comme un c'est loin, my first film.
13:21A l'époque, he told me,
13:23if you want to do cinema in Japan, I'm here.
13:26And at that time, I didn't really calculate
13:28so that it seemed impossible to me,
13:30but finally, we're here.
13:32Hi.
13:34The priest or the emcee will call your name.
13:37So when they call your name, get these leaves from the priest
13:42and go to this table, the altar, and leave the leaf on the table.
13:48Then two claps, and pray, and then one.
13:53Okay.
13:54Then I'll end my heart.
13:56Oh!
13:57If you don't she want to die there,
13:58and pray your name.
13:59Oh.
14:00She boîtees by a religion.
14:02Thank you very much.
14:05Mm, destruction.
14:06It's crazy, I'm going to do a film in Japan, and my friends, and my family, and my family.
14:36I think Godzilla, I think Kurosawa, I think respect the traditions, and at the same time, I really want to golry.
14:48Thank you very much.
14:51Thank you very much.
14:55Thank you very much.
14:57Thank you very much.
15:00I'm going to go in.
15:01I'm going to go in.
15:02I'm going to go in.
15:03I'm going to go in.
15:04Yes, I'm going in.
15:05Yeah.
15:06Yeah.
15:07Yeah, we need to go in.
15:08Oh, David.
15:09Prepared before the… 36 hours before the film.
15:1336 hours before the film.
15:1436 hours before the film.
15:15How does it work?
15:17It's the most strange film in the history of the French film.
15:22Why?
15:24Because it's an emotional rollercoaster.
15:27We had to reduce it because the film we wrote cost a lot too much.
15:32Every day, we reduced it and said,
15:34we couldn't do it, we couldn't do it, we couldn't do it.
15:36We were told that we would be able to beat a day and have nine,
15:39but it's just that there are so many things to fix.
15:41So we had to fix it.
15:42So we had to fix it.
15:43So we had to fix it.
15:45We had to fix it very quickly.
15:47I think that, in terms of work, it doesn't work.
15:50And then it's an artificial intelligence that we don't need now, maybe.
15:53Yeah.
15:55So, for a half a month,
15:57the day we did the prepa, the night we wrote,
15:58we wrote, we said, in fact, it's that.
16:00We always want more.
16:01We thought, we'd turn on.
16:02We could do more repeats, more everything.
16:04But the real concern is that
16:06we were a bit optimistic about the number of plans per day.
16:11that we were going to get in the day.
16:18We're going to go to the big train of the tournage.
16:20They're going to get in?
16:22They're going to get in the plans they need?
16:24They're going to get into the plans that they need?
16:25They're going to get down and floppy?
16:28The answer is in the next episode of Yo Roy.
16:31With me, the voice off,
16:32it's called a teaser.
16:34Goodbye.
16:41You
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