quinta-feira, 16 de julho de 2015

Conversation between Kiriro Urayama and François Truffaut

Urayama: Mr Truffaut, I would like to thank you for watching and supporting Foundry Town at Cannes.
Truffaut: It's really a pity that your film didn't receive any prize there. I really enjoyed it.

Urayama: (laughs) I appreciate it. But if the film didn't receive any price, there must be reasons for that to happen.
Truffaut: The reason is because both the jury and the public are lazy. Everyone is busy with the receptions and they end up really tired. That's why brave movies rest unseen. Take for example a film like Naked Island by Kaneto Shindo. It's a film that was not considered  as it should be. Films like Foundry Town that deal with multiple subjects with both talent and correctness and do it with a realist touch are not well regarded by inernational festivals.

Urayama: Was seeing these films subtitled in french an obstacle to their understanding?
Truffaut: No, not at all. I still have not seen your latest film Each Day I Cry, but I found the previous one really interesting: Foundry Town. The film addresses many issues. The adolescence of a young girl, and many other thematic lines, all developed in an original way. Having seen the film only once, I was unable to grasp the realities described therein in all their complexity. But what really touched me, is that a very clear sensitivity can be felt in the film. Should I have one criticism about it, I would say the sequences with young people are wonderfully constructed, but, by contrast, those dedicated to adults appear as less intense. On the other hand, I think I need to recognize the great interpretation of  the actress in the lead role.

Urayama: That's Sayuri Yoshinaga. I will pass your remark to her. I would like to ask you a question, Mr. Truffaut. Us filmmakers, we can say that what we portray is deeply rooted in what we have experienced during our childhood. In my personal case, this period of life corresponds to the last years of the war and the time of the atomic bombing. I was just 15 years old and it's impossible for me to ignore what I felt at that time. I think that  young japanese filmmakers today all share this same type of haunting memory anchored in their childhood. What about in France?
Truffaut: I have practically the same age as you, and I, too, in my first film, The 400 Blows, appealed to a past reality that is still alive in me. I tried to render, in a modern way, my memories of the time of the Occupation and the Liberation in France.

 (Hiko Shojo, 1963)

Urayama: Do you happen to watch Japanese movies?
Truffaut: I watch the ones that come out in theaters in Paris, and then all the ones that are screened in the festival circuit.

Urayama: What films do you know by Akira Kurosawa?
Truffaut: Ikiru is the one that I like the most. But then I also watched Stray Dog and Seven Samurai. What surprises me the most in Kurosawa is that his films are completely different from one another. He also directed a considerable amount of them, but I have only seen those three.

Urayama: What differences do you find in the films of Kurosawa and mine, we who are both japanese filmmakers?
Truffaut: Your movies and those of Kurosawa are very different. On the other hand, I think that there are many commonalities between your films and mine, and personally I am very interested by what you do. I watched with great interest another japanese film, Crazed Fruit directed by Ko Nakahira. This film also addressed the issue of young generations and its screening in France was a real success.

Urayama: What similarities do you see between your films and mine?
Truffaut: I think there are many. For example, the question of wandering. It is something very present in my first film, The 400 Blows. I find it very interesting that young filmmakers from different countries end up dealing with the same subjects in a completely independent manner, and without even realizing it.

Urayama: Being a french filmmaker, what kind of films do you expect from japanese cinema?
Truffaut: Before being french or japanese, I think we all share the fact that we are men of cinema. That is why I do not expect anything of Japanese cinema as such. For example, when I'm speaking to you, I feel the same thing if I was talking with a french filmmaker. We belong to the same family. Then of course cinema, be it japanese, american or english, is unique to its country of origin. But what I expect from cinema are simply good films.

 (Hiko Shojo, 1963)

1 comentário:

  1. hi!
    any change where to find 'Nikkatsu roman porn no sekai' soundtrack?