00:00And how would you describe Sonatine?
00:06The word Sonatine is the certain musical terms which is one of the piano learners' textbook.
00:14If you're a piano learner, you begin with a viol and you move on to Chalney and
00:18then you move on to the Sonatine.
00:20And there are some amazing efforts, such as the effects of hard work.
00:24We may proceed with this.
00:27Of course, we will advance the theater to the theater to the theater.
00:29It might be possible.
00:32You will be able to recommend theaters to other theaters.
00:39We decided to recommend this movie to theaters.
00:46It may be possible.
00:56I am...
01:04I created a video in Japanese.
01:05My work is the first to be featured.
01:05If it were real
01:07So, we
01:07That's why this video is being used
01:09About the poster
01:10I am being a little careful.
01:12Hajimeshi,
01:13This is our video.
01:14It depicts an Ister.
01:17About July
01:18Napoleonfish
01:20Recently, there's something amazing about this fish, thanks to the birds that eat this fish.
01:28Recently, I've been noticing that this particular fish is a special kind of fish.
01:33What I remember is having this fish fish fish fish
01:43This fish of the fish of the fish will be found in the fish from now on.
01:46I just thought it came across my mind all of a sudden
01:50that it would make a striking contrast or a striking image
01:53to have the beautifully shaped, beautifully colored fish
01:58tone apart by the spear.
02:00It just popped into my mind.
02:05When he heard that Quentin and his Rolling Thunder company
02:09was interested in releasing Sonatine in America,
02:15what do you think of that?What was his reaction?
02:20Sonatine, to me, is almost like a lost masterpiece.
02:25So when I heard that Quentin has found the film,
02:28I thought that he must have a good taste.
02:40What does he think about Quentin's films?
02:45Well, actually I like the films by Quentin,
02:49but I always felt those films would have been better if I were more of an English native speaker.
02:57Then I would have understand that the funniness of the dialogues in his films.
03:03But unfortunately I have to read the subtitles to understand what the characters are saying.
03:11So it would have been better, far better, if I could speak English properly.
03:17After making movies for so long and not having any released in the United States,
03:22How does he feel about having two released at the same time?
03:30Even in the case in Japan,
03:33It took me years to be recognized as the film, just as a film director.
03:39So I assumed it would take longer to be recognized in America as a film director.
03:46So it was quite a nice surprise to see the two films released at almost the same time.
03:56It's quite interesting for me how this film is going to be fared among the U.S. audiences.
04:06And so far this film was like a breakthrough.
04:12European audiences pointed out to me that the film is obviously a violent film.
04:19But at the same time the maintaining certain kind of tension throughout.
04:25It also includes the games of the child played by Yakuza's on the island.
04:31European audiences kindly gave a review about this incredible combination of violence and children's game,
04:41while at the same time maintaining the tension and those inconceivable combination is so good and that sort
04:47of stuff.
04:48But those are the words of other people so...
04:56The American audiences are probably not used to seeing a Yakuza film.
05:05What do you think the differences between an American gangster film and a Yakuza film are?
05:11You know even though the gangster films depicted in American mafia movies and the Yakuza's depicted in
05:20my films are so to speak in the same realm because they are obviously bad people.
05:27But the biggest difference is that Japanese Yakuza's in general do not hesitate to say it out
05:34loud.
05:35I mean that they put the name which is popular among the Japanese public as the company of Yaku
05:42za
05:42And they do not hesitate to put the name of the building with their company's name.
05:48And that sort of things are inconceivable in American society I believe.
05:54So that would be the typical difference.
05:58Most of the films that you've chosen to direct, write and direct, have been Yakuza films.
06:07What is the appeal for you?
06:14In Japan, cops and Yakuza are the only two occupations which deal with the matter of death
06:23or violent daily.
06:24The general Japanese citizens are not allowed to carry a gun or do not bump into violent scenes in everyday
06:34life.
06:35So that's maybe the main reason that I am interested in these kinds of characters.
06:41But what bothers me always is that the actual Japanese Yakuza people are very interested in myself.
06:49That always troubles me a lot when I went into a bar or walk along the street.
06:57Now that he does everything with his films, he writes and he directs and he stars in them and
07:05I think he's editing them.
07:07Is there ever a conflict that he has trying to play all these different roles?
07:15I don't think I feel that inner conflict when I make films because I'm getting used to play
07:22A variety of characters.
07:25I appear in a TV show as a comedian beat Takeshi.
07:29And when I direct the film I use the name of Takeshi Kitano.
07:34So it feels to me sometime like I have a multi personality.
07:39It's in my habit to play various different kinds of parts.
07:48The part I enjoy the most would be the editing.
07:54And the part I find the hardest would be the acting part.
08:01And the easiest would be the TV shows.That's the easiest ones.
08:14The Yakuza film has had a long history in Japan.
08:19The industry flourished, the Yakuza film flourished up until maybe like the last 15 years.
08:27And then it was on the decline.
08:30He has single-handedly revitalized the genre.
08:35Why does he think that it went away for so long or it kind of died off for so long?
08:43A lot of the Yakuza films in the 50s and 60s, the actual Yakuza
08:48sell the tickets to the public.
08:50And they forced to buy the tickets.
08:53That's why it flourished.
08:55And my film is not sold by a Yakuza organization.
09:01That's why my film hasn't gained a certain amount of success in Japanese market until now.
09:11When I wrote the script of Sonatin,
09:14At the very beginning I came up with a four block carton strip in Japanese papers.
09:19The first one is the image of Yakuza who happens to go to Okinawa.
09:25And the second one is the Yakuza finally arrived at the island of Okinawa.
09:31And the third one is the shootout of the machine gun.
09:35And the final one is the main character who put the gun on his head and shoot.
09:39Next is fill the space between these four images with another images.
09:46And my way of shooting is very much spontaneous to the extent that I allowed the film to go its
09:55own way.
09:56If only the film go through the basic four visuals that I have just mentioned in between them.
10:07I do not have a single specific ideal which I would like the audience to feel or audience to interpret
10:18from the film.
10:19I rather leave the interpretation to the audience and they can draw their own pictures by watching my films.
10:27It's ok to interpret the film the way you want to because that's what entertainment is all about.
10:34And if I were to force the audience to interpret the film in certain way that can lead to a
10:40certain kind of fascism.
10:42ifying the film in certain ways, then the film is ok to interpret the film.
10:43And if I had seen more content, please do not miss the film.
10:43Thank you very much for this film.
10:44And the film is gonna be posted in the background.
10:44If you can see it, the film was a film, it was an film.
10:44You can see it.
10:44I can see you again next time.
10:45thank you
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