It’s noisy here in the Sumi residence in the morning. Around five or six in the morning, these mutant-sized crows start cackling at each other. Then some other bird — R told me the name in Japanese but I haven’t a clue what’s it called in English — starts making this weird whooping sound. And then the lions, tigers and bear in the adjacent zoo start roaring and growling. In response, the dogs in the neighborhood start barking. And finally, just as I begin to adjust to the rising noise level and return to a fitful sleep, the cicadas kick in. One of these bugs makes quite a racket; a swarm of them creates a deafening wail that is routinely used in Japanese movies to depict homicidal insanity. While half-asleep this morning, I had the distinct sense this insect cry was actually the sound of my own brain being grilled over a hibachi.
I guess such gruesome imagery is fitting cuz it’s wicked hot here. Yesterday, I managed to prod Miyazaki-san into helping me with a shoot of my own. Anyone familiar with my films Tokai or Beautiful People will probably gather what I was shooting this go around — static pictures of creepily banal architecture. It also gave me the chance to play with R’s sexy new Panasonic DVX-100. For those of you who don’t wax poetic about lines of resolution or image compression, I spare you the details. But the DVX-100 is a pretty cool camera.
Perhaps it was the omnipresent whine of the cicadas that reminded me of my own cooking brain or maybe it was the fact that the back of my neck had turned beet red but two hours into the shoot I went out and bought a ¥500 hat. I don’t wear many hats. I’m not a “hat person.” But I dig this hat. One could say that the hat makes me look remarkably like Jean-Luc Goddard during his cameo in Breathless. One could also that the hat makes me look uncannily like my grandfather Crow who wore a similar hat while gardening. Whatever, the hat protected my head and looked pretty good doing it.
The shoot itself proved to be less than successful, thanks to the heat coupled with some less than satisfactory light. Basically, Miyazaki and I shot for a couple hours then cooled off for a bit, usually at one of Kumamoto’s fine eating establishments. First we stopped by Mister Donuts (which was in an American-sized mall called You Me Town where incidentally I also bought my cool new hat); later we ate soba at a local noodle shop; then around three or so we ate at Mos Burger, which is probably the tastiest fast food joint I’ve ever eaten at; and then finally weary and sunburned, we ate yakiniku in one of Miyazaki favorite haunts which was packed full for some reason with spastic toddlers.
Basically, yakuniku is a platter of raw meat that you grill yourself. Miyazaki, who I think goes to this place something like every week, didn’t even look at the menu when he ordered for the two of us. Soon after, plate upon plate of meat arrived at our table, each more gruesome-looking than the last. When a plate full of raw tripe, intestines, kidneys, and livers arrived, I was dreading that next plate might have nothing but eyeballs and testicles. Though Miyazaki gently mocked my American culinary prudery, I was too tired to rise to the challenge. I stuck with the cuts of meat found on the exterior of the cow and ordered another beer as he merrily munched on charred tripe.
Anyway, most of the week was spent edited that promo for Yamaga. I managed to dredge up some taiko music that not only perfectly fit the length of the piece but also gave it a sense of drama and mystery. Once the timing was set, which took some doing, I had a blast trying out all these effects and techniques I’ve never had reason to use before. I’ll spare the grizzly details, but by Thursday I felt I had edited together a pretty hip little piece. Of course, on Friday after three days of editing, Oshima finally managed to get a hold of the TV station that was going to air the promo and was told that the promo had to be 42 seconds and not 45 as we were originally told. After uttering a number of curses in two languages, I rearranged some shots, tossed a few more and managed to pull something together that was pretty good but not as kick-ass as the 45-second directors cut.
You can see the director’s cut here:
Fortunately, the day ended with me pleasantly inebriated and chatting with models. Yamano-san, who was the cameraman for a shoot I was on in June, was throwing his famous annual summer festival party and all attendants were required to sport festival wear — either yukatas or happi coats. Oshima, who was the other representative for BIG, managed to dig up a shockingly gaudy happi for me to wear — it looked more like a soccer uniform than a piece of traditional Japanese garb. As we were driving to the party, she told me that Yamano’s wife was a hairdresser so I would be able rub elbows with both film and fashion related people. Basically, the beautiful people of Kumamoto, as such. Oshima and Yamano whisked me around and introduced me to lots people including a commercial director who lived in Australia and who spoke pretty good English, a film enthusiast with a moustache whose name I never really caught, and a pair of models named Misa and Maki. Unlike their American counterparts, these models weren’t tall, gaunt or hollow-cheeked. Instead, they looked like Japanese versions of the girl-next-door albeit with preternaturally good skin. They both thought it was cool that I lived in Los Angeles (compared to the blank stares I got when I said I was from Ohio eight years ago in Ibaraki) and they complained about modeling in Kyushu. I hoped that they would dish out about a seedy-side of Kumamoto filled with drugs, violence and red velour but sadly none was forth coming. Later, I talked to local TV reporter about New York City. She later proceeded to get rip-roarin’ drunk and talk on and on to Yamano-san’s wife about hair care tips. Of course, I was enjoying a bit of the drink myself. Eager to rid myself of the day’s stresses and annoyances, I made a beeline for the beer tap and made several return visits while stuffing myself with yakitori, grilled shrimp and edamame. Yamano soon started filling my glass with Shoju – a rice alcohol somewhere between sake and kerosene. Around midnight, when I spotted Oshima looking bored — she doesn’t drink because of migraines — I bayed the models and all farewell and went home in my happi coat.
WITMOT? 