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- So, this is how it starts. - Yes.
I couldn't remember what happened in the opening scene.
I've just remembered now.
This is back when people used over-the-top sound effects.
Were the sound effects by the same guy who did Tetsuo: The Iron Man?
That was the music.
- Oh, right. The music. - Chu Ishikawa.
Someone else did the sound effects.
- Right. - A man called Kenji Shibasaki.
He's known in the industry for being...
fussy about his work, but also just generally.
He's a real artisan.
I always work with him.
Oh, I see.
Here comes Mickey Curtis.
He hasn't changed at all.
No.
I'm not sure whether he seemed old to begin with,
or he's still youthful after all these years.
But he hasn't changed a bit.
Was it a deliberate choice to make it look like he had no teeth?
They're false teeth, so he can take them out.
Oh, I didn't know he had false teeth.
Whenever he works with people for the first time,
he plays a joke on them with his false teeth.
There's a scene where he falls over.
In the rehearsal, when he fell over, he just lay there without moving.
He was groaning too, so the assistant director rushed over.
He asked if Mickey was okay, and he said, "No, I am not!"
He had his teeth out yelling, "Look what you did to me!"
That's what he's like.
I see.
Amazing.
Everything was handmade back then.
We made the manhole and the doors and everything.
It's all made from paper.
Oh, right.
So when it gets wet, it gets wrinkled like this.
Right, of course.
Some people might say it looks shoddy in cinematic terms.
But we did the very best we could.
He wouldn't be able to break through the wall for real,
so we couldn't shoot the scene any other way.
So rather than try to prioritise the visual quality,
we thought it was better to make things by hand.
That's how we were able to have scenes like this in the film.
But I don't really think you'd get away with it now.
When we were making it...
Well, it was eventually screened
at a number of international film festivals.
But it was never actually intended to be screened in cinemas
as a theatrical feature film.
Oh, really?
It was planned as a straight-to-video release.
Right.
But when we saw the first rushes,
we thought that maybe...
people should see this as a theatrical feature.
Yoshinori Chiba, the producer, suddenly said to release that way.
So that's how the decision was made.
Oh, I had no idea.
So those of use who were making it
changed the fate of this film by ourselves.
Whenever I go to international film festivals,
everyone has heard of Fudoh.
Everyone in the film industry knows about it.
Everyone's heard of it.
So it's really... How should I put it?
Everyone has the DVD.
Oh, really? So the DVD was released overseas?
Well, even before it was released in Japan,
bootlegs were already circulating in Hong Kong.
Right, so those were already available.
And then it was released officially in several other countries.
Some countries released edited versions of the film.
Oh, really?
Some parts were too edgy.
Oh, right. I see.
Huge numbers of people around the world have seen it.
I heard that it won an award, but I didn't know that.
Oh, here's Toru Minegishi.
He's so cool.
"Meth Temple"!
What kind of nickname is that?
Right?
Did you think it was going to be a feature film while you were shooting?
Well...
Just shooting it was enough for me.
I feel the same way now.
When I'm on set, I'm not really thinking about what the film is going to lead to
as it comes together while we're shooting it.
Just shooting it is enough for me.
So really,
more than a child, a finished film is...
Well, I don't have any grandchildren, but it's kind of like that.
So, really, it's...
If films were just a tool that allowed me
to live a comfortable life that would be really sad.
So when someone you like likes the film,
or someone on the crew has good memories of being on set,
that makes me feel like we've really
made the best film that we could.
If you're thinking about how it's going to turn out,
the moment you become ambitious, it turns into something else.
I prefer just going for it without really thinking.
But we really didn't have any time to spare on this film.
Yes, we were completely immersed in it.
This was only my second film.
I was surprised you agreed.
No, I put myself forward.
I saw Shinjuku Triad Society
and I knew I really wanted to work with you.
It was brilliant. Absolutely unforgettable.
Look at that back wall.
It's like it's on fire.
It was based on a manga, right?
I don't really know if the flames were necessary.
The production designer is a little eccentric.
His name's Akira Ishige, I still work with him now.
This is quite typical of his taste.
His living room is probably like this.
And then the cinematographer also shot
some fireworks, and whiteout too.
- Oh, Hideo Yamamoto? - Yes.
When Yamamoto saw the set design with the flames,
he was shooting another scene at the time,
but he was passing through and saw
Ishige painting them on the wall.
He came running up to me, grinning, and said:
"Ishige's doing something weird."
So we both went to have a look.
"What on earth are those?" We were thinking.
We thought he was testing something to use somewhere else.
Oh, I see.
But when we went to shoot the scene, there were the flames.
People could do things like that without anyone saying anything.
It was an environment
where we respected people's ways of doing things
and allowed them to do as them pleased.
So the cinematographer too thought that if the director
said things like this were okay, he'd have a lot more freedom too.
That's how we operated.
"I don't get it, but that's okay. It's up to Ishige."
It was the kind of set where we allowed each other to do what we wanted.
Things like that happened a lot.
I still talk about it sometimes when I see Yamamoto.
Oh, is that so?
It might seem trivial, but it was a big deal to us.
If I'd said to Ishige that I thought it was weird
or a bit strange or something,
while he was busily painting away,
then perhaps my relationship with Yamamoto would be different.
Yamamoto was focussing on the camera.
Yes.
We're all just having fun.
That's how we felt about each other while we were on set.
We could all just do what we wanted without needing to discuss it.
Right.
I don't know if it's really such a big deal.
But we were busy shooting,
we didn't really have time to be surprised by every little thing.
This is pretty shocking, right?
So after this scene, there's the time jump.
That's when you appear.
Ah, that takes me back.
- This was all in Hakata dialect. - That's right.
My delivery's a bit flat.
Have you done any roles in dialect recently?
Not recently, I don't think.
How do actors feel about dialect? It must be difficult.
Unless you have the knack.
Yes, you have to repeat things a lot until you get the hang of it.
Me, anyway.
Ah, I remember this sound.
This isn't really about the film, but the producers for GAGA,
Yoshinori Chiba and Hiroshi Yamaji, are not at GAGA any more.
I heard.
They've gone off to do what they want.
Have you seen them since then?
Yes. So...
They go to action figure festivals.
They're doing all kinds of things.
- Oh, really? - Like games, too.
They weren't really the type
to stay in the mainstream film industry.
That's why they let me get away with this.
Right.
They were the people who wanted to make this kind of film.
In some ways, this film
came to represent my work
as a director, but actually...
I didn't make it on my own,
there were producers, the creative team, and the crew.
So...
So I can't really say it's "mine".
But that's the role of the director.
Right.
It's just a title for someone
who bears responsibility for the film.
That's something that I realised while watching this film.
I knew right away when I saw the rushes.
Whatever happens, this film needs
to be screened in cinemas.
That's how I felt.
That's amazing.
People in Europe and America were very sensitive about
violence being committed by and against children.
The scene where they're in plastic bags--
People screamed.
In the West,
God has a very strong presence.
Yes, unlike Japan.
It's like there are things that cannot happen
in front of God.
But at the same time, as much as they criticise the film,
they enjoy the act of criticising it.
Ah, I see.
So it's quite a complicated way of enjoying the film.
When you look at the audience reaction,
obviously, some people walked out because it upset them.
The rest of the audience enjoys seeing people walk out in disgust.
The people who leave are also taking their own stance.
It's like they're saying they're better than the people who stayed to watch.
It's a bit like a litmus test.
Whether you support the film or enjoy it.
The stance you take against the film
becomes a kind of barometer.
So maybe you could say
that in the West there's like a cult audience
that supports children killing and being killed.
Maybe not "supports",
but thinks they're things that exist naturally within this film.
We're busy talking about children
and now there's blood pouring out from the door.
It makes it seem ridiculous we're even talking about it.
But then whether you like it or not isn't about whether it's well made.
People divide along lines of whether they liked it or not.
People come out and say they liked the movie.
The people who like it really like it.
They like the creators and the actors in the film
so they continue to support us.
They carry on liking Fudoh.
It's taken on a life of its own.
It's like it's become this monolith, and we're just chasing along behind it.
- Shunji Takano is a big guy. - You got that right.
Too big, really.
He was shot to look even bigger on the set.
A high schooler probably shouldn't be doing this kind of thing either.
I still quite often meet people on the set
who tell me that they really liked Fudoh.
But it was something I did so early in my career.
I think it was really more like
I was just following along behind you.
I'm grateful to you for that.
But you know,
I think it was like drawing things out of myself.
It's very me in a way.
By that point,
I'd been working as a director for about five years.
I was fairly new, so I was mainly just doing
the kind of work that came to me as a rookie director.
When I had the chance, I could do things I wanted to do.
I had more of those chances over time.
It was around this time that I started working with
people who liked what I did.
So really,
I think this is the first film where I felt
we were having fun making something of our own.
Because you had so much freedom?
Yes, because I was really still a beginner.
The hardest thing was
the schedule and the physical toll it took.
It's so silly.
For some reason,
I have very clear memories of shooting this scene.
The atmosphere on set.
So this is Manzo Shinra.
He closes the curtains.
I'm not sure why,
but I remember this day really well.
We were on location in Nakasu here.
Yes, that's right.
It was just three or four of us.
It was a bit lonely.
I was really surprised.
The bartender is played by Hiroyuki Tsuji.
He's directed quite a lot of yakuza films.
That's what he does now.
I saw him recently at Daiei.
He's put on a little weight.
Tsuji's the go to guy for yakuza films these days.
He's very active in the straight-to-video industry.
Oh, right.
I remember this scene in Shinjuku.
A bodyguard came with us.
- Because it was Kabukicho. - Right.
It was all very new to me.
It was a series of new discoveries and worlds I'd never encountered before.
This stage here probably looks like some kind of joke.
But it was like that already.
- Really? - Yeah.
What kind of shows were they putting on here?
We didn't create this set.
We used it as it was.
It's a theatre in Asakusa.
So it was already there.
Whose idea was this?
Ah, well...
Is it in the manga?
Yes, I think so.
This was quite...
How should I put it?
The manga's quite surreal.
We were just happy
that we were able to adapt it as live action.
So this part's not my fault.
It was in the manga, so I diligently adapted it.
So I felt like I was one of the victims too.
You felt that way while you were shooting.
It's really over the top.
He's asleep.
So you watch your old films sometimes?
Very rarely.
I think I watched Fudoh about 18 months ago.
Really?
So pretty recently.
A chance came up.
My father had the DVD.
I found it with his things.
I'd given it to him.
I found it as I was cleaning up and it brought back memories.
Look at the set decoration.
In the script it says they're the Bishamon Group.
But this is a bit extreme.
Yeah.
The statue at the back is Billiken.
Oh, right.
It's a carved wooden statue of Billiken.
Like the "Bi" of Bishamon like the yellow character on the wall.
- It's Hakata, right? - Yes.
Why Billiken?
You can't really read the name, can you?
No.
It's like, who is this guy?
Ah, Takeshi Caesar.
Is he okay?
He couldn't do shootboxing like this.
We went to see one of his tournaments together after this.
He said he had a shootboxing tournament coming up.
At the Budokan.
Oh, that one?
I directed it.
It was fun figuring out how to direct
at the Budokan for the first time.
Have you heard of Parinya?
Oh, Parinya? Yes.
The celebrity Thai kickboxer.
It was Caesar who brought her to Japan and made her famous.
Oh, is that right?
She was in one of his tournaments.
When I was directing the tournament at the Budokan,
there's a female pro wrestler called Kyoko Inoue.
She fought a match with Parinya, which was crazy.
That's what it means to be at the Budokan.
The main event.
Masato was there too.
And Kohiruimaki,
Takeda too.
The people who are top of their class right now were just young back then.
There were a lot of different organisations involved
and the people they sent were the best they had.
It was really exciting to do live.
We didn't know who'd win, so we had to be prepared for anything.
Right, of course.
They have their own victory songs.
You need to play the right song for the person who won.
We were on constant standby because of the unpredictability.
It was completely different from making films.
It was hard work, but it was a lot of fun.
- Anything could happen in the end. - Yes.
It progresses two at a time.
Ah, that takes me back.
Was it Shinobu who designed the tattoos?
Who was it?
Asami?
No, maybe not?
- I'm pretty sure it was Kasumi. - Oh, right.
- The master. - Yes.
"What lovely skin you have," he said.
"It's nice to be young."
That's how he was.
He read my palm, too.
In the old days, he used to do Tokyo.
Someone else used to do Kyoto.
Western-style tattoos are more popular nowadays.
So there are new artists.
But these are obviously Japanese-style tattoos.
Younger people
are entering the film industry.
Lots of people are doing tattoos.
Oh, really?
Kasumi is a veteran.
I don't know how we got away with this.
I really remember this.
When Takano passed me, he put his hand on my shoulder.
His body's not really like the average person's.
He only touched me lightly, but I kind of stumbled.
It's still funny no matter how many times I watch it.
The fight at the graveyard later was something else.
He gave it everything he had.
It was as much as people could take.
This part here.
People everywhere love this bit.
Shinra was big back then too.
That's right.
He had enough power to fill that body.
It's really impressive.
Wow!
See what I mean?
He only touched me lightly, but I really kind of stumbled.
Those are his own boots. We didn't have any that fit him.
Oh, right.
His shoe size must be over 30cm.
Like 31 or 32.
They're not a regular person size.
He had to bring his own shoes.
There's the fight with Takano here later.
How should I put it?
The guys he was fighting
were no match for him either.
You can't control your body when you're in the air.
Where they'd land was up to Takano.
But no one was hurt.
Oh, really?
I see.
He's a professional when it comes to fighting.
You're really good at sword-fighting.
I used to be a stand-in when I was an assistant director.
Though I was just really messing around.
When you're an assistant director, you have to be ready for anything.
Is that a gong?
There's a bell ringing.
- He really threw them. - Yes.
He picks them up so easily.
He can kick someone while he's holding them.
We couldn't even put any mats down.
It's not like it was Takano's idea to do it this way though, right?
No.
They really fell hard.
We just did it once. It was too dangerous.
There are all these gravestones too.
I don't think they could've won in reality.
No matter how many there were.
He could do it.
He's not just strong, he has this murderous energy.
If you start a fight with him,
you can't really complain if he kills you.
- That's his vibe. - Right.
Shootboxing's really dangerous.
There's no future for Caesar.
- I think he'd retired by then. - Right.
I saw him recently and he was fine.
- You did this with mirrors? - Yes.
We used mirrors to make it look like
there were two of them in the previous scene.
No one fell for that. They all knew it was a mirror.
Masahiko Sakata.
Here comes one very unusual teacher.
What was her name again?
Jun Miroku.
Marie Jinno.
Riki is amazing.
Most people would look completely different in a wig like that.
She's writing her name.
Jun Miroku.
"Hey you."
That mole.
Her name's the same as a Buddha.
She's got a tattoo, too.
So when she has a shower...
Oh, I remember this.
The computer room.
The close-up on the eye.
- That's a big deal. - Right.
Bush should take a look at this.
It's the way things are today.
He better take Japan seriously.
Amazing.
I remember this.
I cut Miss Miroku's clothes off.
There's a hidden cut.
I remember now.
I messed it up, didn't I?
I was shocked when you said the last take was fine
and you'd use it as is.
You could see it on my face.
I didn't think anyone would notice, but a few people did.
That cut is coming right up.
Was it when you sheathed the sword?
I had it backwards, so it got caught.
You could see the confusion on your face.
Yeah, you could tell.
- I should've practised more. - It's fine.
Swords are really difficult.
But it was okay, we could still use it.
Was there a reason for that?
No, I just didn't think it was a big deal.
- It didn't matter. - Oh, right.
Overall, it went quite well.
Right.
You can't tell.
You always watch from below the camera.
She's crying quite a lot.
After you cut her clothes off, right?
Right after this bit with the sword.
You handle the sword really well.
I drew it okay.
It looks good, but what are you doing?
Amazing.
- Here we go. - This is it.
It's slightly off.
I'd never seen breasts out in public like this.
Never a dull day filming.
Like rolling her skirt up to her thighs.
Amazing.
There were a lot of tough girls, like Miho Nomoto.
That's right.
I wonder what they're doing now.
They were so cute.
They're so laid-back.
It's great.
Children are amazing.
You can see the bag moving while they're breathing.
They were almost crying.
"You never mentioned this!"
It depends on the audience.
Riki kind of smirks, and then it cuts to the plastic bags.
So when they see that,
there are some people who are confused.
They don't realise until they notice the hand.
Some people think, "What's with the hand?"
So people have
different reactions to that scene.
It's not a question of who's right.
They're all watching the same thing,
I just hope everyone enjoys it.
Here's Satoshi Niizuma.
Yeah, Niizuma's great.
- He retired recently. - Oh, really?
He gave up boxing a few years ago,
but he hadn't done a farewell match.
I really wanted to go,
but I was stuck on the set.
Oh, I didn't know.
I'm sure he kept fighting
right to the end in his own way.
Normally, he's a detective.
Well, more like a bodyguard.
As well as a detective.
The business cards he gave me said something else.
Yeah, it's a bit shady.
Right.
I didn't really know what it meant,
so I wondered if the job had another name.
Like a bodyguard or something.
Niizuma's great.
Acting isn't enough on its own.
Right.
Toru Minegishi was a true veteran.
We shot the next scene first.
They introduced themselves, rehearsed, and then we shot this scene.
When they were rehearsing, Niizuma flubbed his lines.
So...
He was overwhelmed by Minegishi.
He admitted it quite openly.
No matter how long you've been acting, you know you're no match for him.
He's the real deal.
So then,
as soon as I called cut, he was really happy.
"Minegishi's so cool," he said.
You wouldn't normally say it out loud.
Or you'd apologise for having flubbed your lines.
You have to accept that
you've messed up as an actor.
That kind of natural talent is very powerful.
Niizuma has that flair because he's fought in the ring.
He trained really hard.
It's the way he lives his life.
He's out of his comfort zone,
but he's doing his best to act.
He's lost in scenes where there's no fighting.
But he has incredible energy.
He's got a murderous look in his eye.
Even if his lines sound a bit strange,
you feel like that's just how this character speaks.
He gets angry after eating the kimchi.
"What the hell is this?"
There's no need to get that upset.
He can't let it go.
He's really angry.
"You call this kimchi?"
Is it really that bad?
"You call this kimchi?"
He's really serious about it.
Scary teenager.
There's an explosion in the next scene.
The cameraman, Hideo Yamamoto, nearly died.
That was awful.
Half his face got burnt.
- That was at Ariake? - Yes.
It doesn't exist any more.
I didn't know that.
All the good places are disappearing.
It flew towards the camera.
The flames.
- Amazing. - It engulfed the cameraman.
Why didn't he get out of the way?
He couldn't.
The cameraman's instinct is to stay to the last second.
But he was blown back by the heat.
He got thrown back a long way.
But then he ran back to the camera to check it.
Once he checked that the camera hadn't moved,
he collapsed.
He finally noticed the heat.
Wow.
So cool.
I was preparing for my scene when they said shooting was cancelled.
I was really shocked.
And then there was this scene.
The guy showing off his bum is the assistant director.
What was his name?
Tobinosuke Sato.
That was probably his first job.
Assistant directors have to be ready for anything.
He had to get his bum out.
But it's a very nice bum.
It is indeed.
He worked with you for a while after that, though.
Yes, for a time.
It was a nice bum, wasn't it?
I just realised.
Even the teacher sneaks in.
He's wandering round at night eating kimchi.
It's crazy.
That kimchi was really tasty.
Oh, really?
We went to Ueno to get it.
You can't get it anywhere else.
It's the best I've ever had. By far.
Amazing.
Not even trying to have a conversation.
Amazing.
"It will be you."
He's so graceful.
It's the way he moves.
He really didn't want to do this scene, though.
"What? You want me to hit a girl?"
"It's only acting, but you really want me to hit her?"
"I guess I have to, right?"
He really went for it in the end though.
The way he views the world, he trains and fights
in order to be able to protect women.
So even though it's acting, he really didn't want to do this.
When you talk to him, he's very pure.
With the fight scenes,
Takano knows how to control his power because he's a pro wrestler.
But someone with Niizuma's background really comes at you.
He threw her out the window.
And he's still crunching kimchi.
These two are great.
Yeah.
There's something coming up now.
This is really shocking.
Here it comes.
I couldn't find anywhere that would let us shoot this scene,
- so this is actually my apartment. - Seriously?
The living room and bathroom.
Wait, so...
this is your own home?
- Where you live with your wife? - Yes.
It's my apartment.
We didn't have any money to rent another location.
So...
Was your wife there when you shot this?
Oh, no! Of course not.
She was watching the children.
Oh, really?
Do you still live there?
This isn't really plot relevant.
No, it's not relevant at all.
It has nothing to do with anything.
What happens next has even less to do with the plot.
Right.
When I first saw the film,
I thought, "Ah, so I guess this is V-Cinema fan service."
It's got nothing to do with the story.
It just happens because the characters are like that.
But the teacher was the brother's girlfriend, right?
So I guess she's bisexual?
The girl in the sailor suit, Nomoto,
they're intersex.
Absolutely.
That was so shocking.
The scene with the bulge.
The roles have reversed.
- Wow. - I know, right?
This is crazy.
You still live in this apartment?
No.
This kind of scene is...
really hard to shoot.
But...
It speeds up.
As it's going on?
But then...
It's completely different
depending on their characters.
But if you're going to do it,
you have to go all in.
You can't just show something like this,
you have to do it so that it makes an impression.
It has to stick in people's memories.
So you need to make it so they don't forget.
This is your home where you live?
Wow.
Amazing.
There he is.
I can smell death.
He suddenly switched to having a clever plan.
- Remote control. - Exactly.
It would've been amazing if a whole bunch of kimchi
suddenly rained down.
Yeah, that would be great.
In this scene her whole body would be swollen from the chilli peppers.
It would smell so bad.
Amazing makeup and effects.
So impressive.
- This was Ariake too? - Yes.
The explosion scene was shot
between these two buildings.
Oh, I see.
Was it this scene I was on standby for?
Oh, it could have been.
He looks really like him.
Yeah, he really does.
There he is.
Mechazome.
That's so crap.
You just put some metal on his face.
It's weird, right?
We were all exhausted by then.
It exploded from the bottom.
He survived. Wow.
It's a bit different from here.
I like the calmness.
Was it Moon River?
Moon River.
The way he says the word for "river" sounds like "peel" like on a tangerine.
That's quite an expression.
Great expression.
Incredible.
Just, wow.
- Peel like on a tangerine? - Yeah.
This is a really great scene.
The two of you are great.
It was a miracle just getting the two of you together here.
Right.
I probably won't ever get to act with him again like this.
He really comes at you.
Why bother taping it?
That really hurt.
His kicks are lethal.
He fell in Moon River.
So this was...
We did it.
- Did you make the hole? - Yes, we did.
Did you have permission?
There was a possibility the building was going to be torn down,
but we said we'd repair it anyway.
So we did it and then fixed it afterwards.
Here he comes.
Oh, yeah. That's right.
Seems like you need to dial 119.
That's got to hurt.
It really did.
You can't really tell, but it was raining pretty hard.
Yes.
It was really cold.
This was at Hachioji Chuo Hospital.
It was a scary place.
Especially down in the basement.
Yeah.
I shot here a few times.
There was always a problem or weird stuff showing up on the film.
The pool where we heard something vibrating, was that here too?
Yes.
What about this scene?
I don't think anything happened then.
What about the crew?
We often shot here.
The art department would stay overnight
to do the set decoration.
Sounds scary.
Is it still there?
Yes, but you can't really use it for shooting any more.
Wow.
There were so many firsts on this film.
My first nude scenes. My first love scenes.
My first tattoos. Action and getting shot.
You were really skinny.
So cool.
He tattooed himself with his brother's blood.
And he was fighting his half-brother in the previous scene.
Yes.
It's about blood.
It's epic.
How did he do his back, though?
He's very dextrous.
He can't reach back there!
The flames look normal now.
Right.
The designer probably had
this image in his mind
thinking it would become normal.
He makes full use
of technology to protect himself.
It must have been hard to set that up.
He could have just slept in a different room.
It's really small, though.
Yes, when I look at it now, it's really small.
What would he have done if he aimed at somewhere else?
Wow.
The more your career progresses
the more you'll see the value of this film.
It'll look different again in another 10 years.
This was the very beginning.
Maybe I still haven't improved at all since then.
All of a sudden he's wearing that.
Of course he is.
Your films are so surreal.
He didn't lose in terms of skill.
But when Minegishi says "Riki" it means that he's already lost.
It wasn't just cutting off his head. He had a gun too.
His son already knew his father would have a gun.
So the older generation has to accept defeat.
So...
It's not an elaborate set up,
but it really works.
The son already knows his father would try to kill him with a gun too.
They're related by blood,
but there's something cold running underneath it.
He must have been thinking about that
looking at his father knowing he'd killed his brother.
From the father's perspective, not only did he see through his plan,
but his son didn't trust him either.
He wasn't expecting that.
The son was serving him sake in the previous scene.
Amazing.
He's got prayer beads around his neck.
It was only just starting and now it's finished.
We shot the last scene right at the beginning, though.
But you can tell there are a lot of inconsistencies.
You can see how we filmed it.
You showed me that final pose so many times.
How to hold the sword. Do you remember?
Not like that, like this.
But, you know...
Even if the production was reckless,
or disconnected, or artistically speaking,
if there were places the music wasn't right,
there were things that could be better,
those of us who made it love it anyway.
We all love the film.
The people who supported the film,
and the people watching,
they didn't judge the film
just on how well it was made.
I remember sitting in Cinepathos, which stank of piss,
and seeing my name come up in the credits right at the top.
That really meant a lot to me.
Let's do this again.
I think about that every now and then.
Back then, I was really just
a kid who didn't know what he was doing.
Now it's nine years later.
I'd like to use what I've learned to make something good.
I really want to.
- Nine years? - I know.
Time flies.
Yes.
- Thank you, everyone. - Thank you.