- 2 days ago
Zaroichi
Category
๐ฅ
Short filmTranscript
00:29I'll see you next time.
00:58I'll see you next time.
01:01Here's his answer to what will your Zatoichi be like.
01:18Takeshi Kitano remains a comedian, even in these circumstances.
02:10Takeshi Kitano's entertainment can now begin.
02:24Exteriors are shot in the village of Miroku in Hiroshima prefecture.
02:28To create period atmosphere, minute details are included down to the shop signs.
02:48To make his film entertaining, Kitano pays attention to the camera.
02:53To create a dynamic film, he decides to use unfamiliar techniques like short shots and dolly shots.
03:07I'll see you next time.
03:25I'll see you next time.
03:28I'll see you next time.
03:36Most of the cast are actors who have not been in any of his previous films.
03:39Tadanobu Asano as the Ronin Hattori, Zatoichi's rival.
03:50And Akira Emoto as the innkeeper.
03:55For Itoku Kushibe, who plays Ginzo, this is his second Kitano film since Violent Cop.
04:09Asano, a Ronin turned bodyguard, says the sword training gave him blisters.
04:18I've been walking around and walking around.
04:22I've been practicing at home and alone.
04:26I only allowed a guy to come in alone.
04:28I put a problem with that.
04:30My feeling is hard than I knew.
04:34And I was just having to take care of it as much as I can.
04:39Fight scenes require Asano to master his sword perfectly,
04:43so he started practicing three months before shooting began.
04:52The director wants to film a new kind of fight scene.
04:57Will the training pay off?
05:17It's finally time to shoot.
05:20Asano must defeat all the Yakuzas of one clan.
05:23It's the film's biggest fight scene.
05:27Some last instructions before cameras roll.
05:54The director himself gives a demonstration.
05:58In this film, he wants the fights to appear real.
06:29He says,
06:38Tata Nobu Asano recognizes that for him, this was the hardest scene to film.
06:43Tata Nobu Asano.
07:19After so much rehearsing the shoot goes well. The director is satisfied the scene is realistic so as not to
07:29lose face he also starts training
08:00Far from easy we can't wait to see how he'll play Zatoichi
08:17A week after filming in Hiroshima the crew returns to the Nikatsu studios. They start with the interior scene between
08:25Hattori and his wife
08:48The director usually gives few instructions but is very present this time
08:54Yui Natsukawa as the wife of Hattori says the atmosphere was tense but enjoyable
09:17Here are those who often work with Kitano and help create the good on-set atmosphere
09:28Costume designer Kazuko Kurosawa on her first film with him also seems at ease
09:36The next day outdoor shooting restarts at Kazamachi in Ibaraki prefecture where we'll finally see Zatoichi in action
09:53First the scene when Zatoichi takes Aume home
09:57But playing a blind man has its difficulties
10:10When I open my eyes and see someone who sees them
10:12I don't know where to feel like they do
10:16I can't even see that they don't really believe
10:17If you still see how they face the Kopel
10:18You can hear those who watches and you shall talk
10:22I can't even know who's speaking
10:23But considering having eyes
10:24I don't know who's seeing anyone
10:29Playing Zatoichi isn't easy, even for Takeshi Kitano.
10:36How did Michio Oogusu, as Oume, find him?
10:41Takeshi-san was wearing Zatoichi's shirt, and I thought it was interesting.
10:50I thought it was interesting. I thought it was cool.
10:57It was very charming.
11:00It was a place where the wind is going.
11:05I thought it was the beginning of Zatoichi.
11:12This 21st century Zatoichi owes much of its youth to Daigoro Tachibana, who plays Osei, the geisha.
11:21Discovered by the director on stage in Asakusa, Tachibana is making his film debut.
11:27He gives a superb performance of a dance he has studied since a tender age in popular theatre.
11:49But he recognizes performing on stage, and for the camera, are different.
12:17On-set tension dissipates with the film's many comic scenes.
12:26The director seems to be having fun. Comic scenes are included for a particular reason.
12:35I was looking at the scene of the scene in the scene.
12:40I was looking at it and I was looking at it.
12:47I was looking at it when I was looking at it.
12:53I was surprised at that scene, but I can't forget about it.
12:59It's a balance of balance.
13:06And as for comedy, he's the man, Taka Guadalcanal,
13:11playing the gambler, Shinkichi.
13:16In this sword fighting lesson, he must suffer for our amusement.
13:28They practice the gags, then shooting restarts.
13:36But not without surprises.
13:51I don't think he expected such a strong blow.
13:58Indifferent to Guadalcanal's pain, the crew prepare for the next scene.
14:03The director plays innocent, too.
14:05I don't know.
14:07I don't know.
14:10I don't know.
14:15I don't know.
14:17It's okay.
14:17Not enough.
14:17But I want to tell you to open the็ฎฑ.
14:22I can't even hear anything from that piece.
14:24It's impossible for me to be able to prepare for it.
14:27I thought it would be better to gather it quickly.
14:32And it's very rough.
14:37Poor Guadalcanal has a big bump, but the show must go on.
14:53The director seems amused.
14:57Having been KO'd, he must now stew in a boiling bath.
15:01It's close to harassment.
15:13For Guadalcanal, it's been a tough day.
15:24The third week of shooting is back in Miroku, near Hiroshima.
15:31The crew shoot the scene where Zatoichi first meets his rival at the inn.
15:39Kitano has an idea on how to sheath, to speed up the movement.
15:56Just as he worked on the action scenes to give more impact to the master swordsman, he uses the same
16:02meticulous approach to his costume and cane sword.
16:11He's a big man.
16:22He's a big man.
16:24He has a big man.
16:27He's a big man.
16:29You can see a big man.
16:29He's a big man.
16:30The other thing was that it was a good thing.
16:36Even when it was a good thing, it was not cool.
16:43It was a good thing.
16:46I had to think about it in theๆ ๅ.
16:49If you think about it, I think it was good.
16:51I thought it was good.
16:55I thought it was good.
16:55I thought it was good.
17:02Many fight scenes are shot in the third week,
17:05such as Zatoichi's and Hattori's,
17:08three days after they meet at the inn.
17:14While the crew are preparing, the director has another idea.
17:20He suggests Hattori attack him with a reverse stroke.
17:25Only Takeshi Kitano comes up with ideas like that.
17:32Tadanobu Asano didn't expect that
17:34and starts practicing immediately.
17:45Such sudden changes are frequent on Kitano films.
17:50Tadanobu Asano is anxious.
17:58But time is short.
18:03The shoot gets underway.
18:06It's soon time to film the fight.
18:13The tension mounts.
18:16The fight will last only an instant.
18:37The shot is in the can.
18:45The shot is in the can.
18:48With no doubt.
18:48No problems.
18:52Asano breathes a sigh of relief.
18:54But it's time to film his corpse on the shore.
18:57There's no time for a break.
19:14Finally, a good take.
19:16It's freezing and Asano is soaking.
19:19Seeing this, Kitano retorts.
19:27He says that now, but it was his idea to shoot the scene like that.
19:33Relieved to have finished, Asano seems to revive.
19:48The next day, a vital scene will be shot.
19:52Satoichi's flashback in the rain.
19:54It's now Takeshi Kitano's turn to get wet.
20:10What's the most efficient way of showing Satoichi's fight?
20:14Kitano takes great care over camera angles.
20:19To follow the multitude of movements, two cameras are used for the scene.
20:26A shot under artificial rain made with a hose pipe.
20:32All the more striking for the blue sky.
20:35Just what the director wanted.
20:45A shot under the mention of the swatiros on the shore.
20:52How it is in the ocean, the reef jumping past?
20:54The sea on the sea is the sea- Gonzaga.
20:54But the air is also the sea-to-sea,
20:55the tide-tested.
20:56Seem it up.
20:56And then, if it was really nice,
20:56you could see the ice pointed.
20:56I guess the sea-to-sea one side of the sea.
20:57I think the rain makes a few more?
20:59I'll try to get the ice-to-sea-solo now.
21:00I'll try to figure it out.
21:00I think it needs to be adjusted with the sea-to-sea.
21:01And I'll try to test it.
21:05Just a trial.
21:06But Zatoichi's swordsmanship is impressive, as is his speed.
21:11But as the cane sword is reversed, it is hard to handle.
21:15Even for Takeshi Kitano.
21:19When you use a sword, you can use a sword.
21:25You can use it, you can use it, you can use it, you can use it.
21:49ใจใใใฆใใฆใใใชใใจใฏใงใใชใใใใใใๆ้ฆใใญใใฃใฆใใใใ ใใญใ็ตๆง่ฉใจๆ้ฆใจ่ใฏ็ธๅฝ็ใใชใฃใใใฉใใใใคใง่จ็ทดใฏใๅใฏ็ตๅฑๆฌ็ช็จใ ใจใใใใใใชใใจ่ใใใฐๅ
ญใไธๆฌไฝใฃใฆใใใใงใใใใใคใๆใฃใฆใใฃใใใ ใใฉใ
22:00During breaks, Takeshi Kitano practices with his cane sword, until he's faster than the
22:05others.
22:07Trust Kitano.
22:21Digital mastering was used in a new way to heighten the impact of fight scenes.
22:33This accentuated the visual effects of spurting blood, ripped clothes and wounds.
22:40For some shots, special effects were used on set for gushing blood.
22:46Later these effects were mastered digitally as the director wanted a raw image that would
22:51give the impression of pain.
22:54I lived in the past, but now it's not like that.
22:59It's not like that.
23:00It's not like that.
23:00It's not like that.
23:01It's not like that.
23:02It's not like that.
23:02It's not like that.
23:03It's not like that.
23:10Takeshi Kitano even thinks of details like that.
23:16Shooting a whole day in the rain is tough.
23:28It's rather warm, but it is still the month of May.
23:32At nightfall, they fight off the cold.
23:35It's not like that.
23:37It's not like that.
23:38It's not like that.
23:41It's not like that.
23:42It's not like that.
23:43It's not like that.
23:44It's not like that.
23:46But everyone stays concentrated.
23:51The last shot is finally taken.
23:54Takeshi Kitano impresses till the end.
24:07On May 8th, shooting is interrupted.
24:10A rehearsal for the tap dancing scene is held at the Nikatsu Studios.
24:15The dancers wear traditional kimonos.
24:18Straw and wood sandals have been specially designed for the tap dancing number.
24:30The director's idea of a period film with a tap dance number surprises everyone in the crew.
24:38It's not like that.
24:47It's not like that.
24:58But if you're in the dance field, you're going to play the tap dance number.
25:03You're going to play the tap dance number.
25:32He oversees the dancing, but also pays attention to the dancer's positions regarding costume
25:38color and rhythm.
25:43The stripes must perform a traditional Shinto dance before the tap dance.
26:16Takeshi Kitano attends the final rehearsal.
26:23Keiichi Suzuki, the composer, is also present.
26:39The big tap dancing finale will soon be filmed after several months of rehearsal.
26:57It's the day of the tap dance shoot.
27:00Preparations begin in the morning for a nighttime shoot.
27:08Three cameras will simultaneously film the 60 dancers on stage.
27:16The editing wanted by the director requires even more precision.
27:20Rehearsals continue while it's light.
27:22Then, the dancers head to wardrobe and makeup.
27:36Meanwhile, the crew set up the crane, lights, and cameras.
27:41There's not a minute to lose.
27:49At nightfall, the dancers finally get into position.
27:54First, the traditional Shinto dance.
28:06The shoot is going well.
28:09It will soon be time for the tap dance scene.
28:19The atmosphere is electric.
28:20Everyone's excited.
28:38The earth quakes to the stamps of the 60 dancers.
28:41They emit such energy, it seems the shrine will collapse.
29:14On hearing OK, the dancers applaud.
29:17Everyone's happy, but they've only just begun.
29:31Indeed, the tapping won't die out until dawn the next day.
29:47May 26th.
29:49The set at the Nikatsu Studios for the fight scene in the Ogi House Garden.
29:53The shooting is nearly over.
30:10Zatoichi is faster than ever.
30:13Even this lantern is not spared.
30:24As interior filming begins, Kitano has another idea.
30:30As he falls, an opponent grabs Zatoichi's sheath.
30:35As he holds it, Zatoichi sheaths his sword.
30:38Will it work?
30:56He immediately checks.
31:09The take is accepted.
31:11The close-up of Zatoichi sheathing his sword is the day's last shot.
31:25It's Zatoichi's last day of shooting.
31:28The end is nigh.
31:42Two days later is the building of Oume's house.
31:46The percussive beat of the workmen preempts the rhythm of the tap dance finale.
31:51Here are the two of the gates.
31:54Shhh.
31:55There are the three figures.
31:56The nuns have the ters.
31:56These smalls are a little bit.
31:58Enjoy the ters.
31:59The white fruit are the ters.
31:59Yes, it's a keg.
31:59Five, six, seven, eight.
32:06That's right.
32:09The other one is a tariff.
32:10And it's a head.
32:14The ti-o-o-o-o-o-o-o-o-o-o-o-o-o-o.
32:19Yes, it's a head.
32:20The peatcers are some tiny toes.
32:27As the builders rehearse, Oume and friends seem vexed.
32:31They still don't seem to know their lines.
32:48The crew start filming the builders,
33:01the director says his inspiration came from listening to the rhythm of machines in a factory.
33:29Finally, the scene with Oume and friends,
33:31with the actors free to improvise.
33:53The first take is good.
33:56It's the last day on the set for Muchio Ogusu, Guadalcanal and Hidabo.
34:11The actors gradually leave the set.
34:14It's their last day of shooting.
34:26The flashback scene where Osei and Okinu watch terrified as their home is burglarized.
34:32It's the very last shot.
34:53So, I'll see.
35:01I'm going to run it.
35:03Yes.
35:05Then, we'll run the songs up.
35:10Please do.
35:11Okay.
35:15After two days of filming, the shoot is finally over.
35:18All the crew members seem satisfied.
36:03Kitano says he has no idea if the film will be well received.
36:07Indeed.
36:19Zatoichi is selected for competition at the 60th Venice Film Festival.
36:30Zatoichi posters are all over the city.
36:42Takeshi Kitano is the darling of festival-goers, as his welcome from the press testifies.
36:58Wherever he goes, fans want autographs.
37:09Some even have signs.
37:13The director appreciates the attention.
37:26Excitement reaches a fevered pitch with the screening of his film.
37:35He's already an idol.
37:42The crowd's welcome is such that he finds it hard to leave.
37:53Inside, he is greeted by applause.
37:59And the screenwriter, author of the montage, interpreter and director, Takeshi Kitano.
38:13The screening can finally begin.
38:20It has just ended.
38:24A standing ovation.
38:27Kitano hadn't expected such a warm reception.
38:30He can't help smiling.
38:38He spots something.
38:41God of film.
38:43Maybe he brought him luck.
38:50A success with the critics, he wins the Silver Lion, the prize for best director.
38:57He will win again at numerous festivals around the world.
39:10In Japan, the film meets with unprecedented success.
39:14It's a big hit everywhere.
39:17With Zattoichi, Takeshi Kitano has made a film of pure entertainment.
39:23What will he do now?
39:48It appears that some things only Takeshi Kitano can see.
39:55It appears that some things only Takeshi Kitano can see.
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