Japanese director Takeshi Kitano has directed several films

Takeshi Kitano has directed 13 films so far. I hope it will be helpful to you! The details are as follows: (There is still an unfinished movie "Brother")

In 1983, he made his first appearance as a film actor in the film "Merry Christmas, Mr. Lawrence!" directed by the famous director Nagisa Oshima.< /p>

The 1989 directorial debut "The Violent Man"

Subsequently directed "3-4×October" (1990)

"That Summer, the Last "The Teaching of Tranquility" (1991),

"Sonata" (1993),

"What Are Everyone Doing?" (1995),

"Bad" "Child's Sky" (1996)

"Hanabi" (1997)

"Kikujiro's Summer" (1998)

"Big Brother" (2000)< /p>

"Sexual Rhapsody" (2000)

"Broken Silk Connection" (2002)

"Doll" (2002)

"Zatoichi" "(2003)

"Long Live the Director" (2007)

Attached is his personal information: Takeshi Kitano, a Japanese director in the 1990s

July 2000 NetEase report at 13:38 on the 29th

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Kitano Takeshi, born in Tokyo in 1947, with the stage name Beat Takeshi, is a famous Japanese crosstalk actor in the 1980s. In 1983, he made his first appearance as a film actor in the film "Merry Christmas, Mr. Lawrence!" directed by the famous director Nagisa Oshima. In 1989, he made his directorial debut "The Violent Man" and subsequently directed "3-4×10 Month" ( 1990) "That Summer, the Most Quiet Teaching" (1991), "Sonata" (1993), "What Are Everyone Doing?" (1995), "Bad Boy's Sky" (1996) and "Fireworks" (1997) "Summer of Kikujiro" (1998). He is one of the representative figures of Japanese film directors in the 1990s.

Note: Takeshi Kitano is 167cm tall and weighs 64kg. In 1995, he had an accident while driving a motorcycle, causing half of his face to be paralyzed.

Perhaps no other Japanese film is made as completely free-spirited and free-spirited as Takeshi Kitano's. The old Japanese film industry's traditional scripting method of beginning, succession, transition, and conclusion has nothing to do with Kitano Takeshi's films. Similarly, the traditional basic directing techniques, photography methods and editing methods that the old Japanese film industry adhered to have nothing to do with Kitano Takeshi's films.

At the same time, the attempts by those "innovative filmmakers trying to make new movies" in the old Japanese film industry to completely deny and destroy those traditional methods have nothing to do with Kitano Takeshi's films. Kitano Takeshi's films don't have that artificial, rigid attitude of distinguishing who is right and who is wrong.

For nearly a hundred years, the old Japanese film industry has been centered around the studios of major film companies producing films. Kitano probably doesn't know or care about this orthodox film production system that has been passed down from generation to generation. He had nothing to do with that "wordy" thing in the first place. Therefore, he will not completely deny and there is no need to destroy things that he does not know.

Of course, he has watched a lot of movies so far. There are both foreign and Japanese films. Perhaps he was once very free to identify what he thought was "really interesting" and what he thought was "really poorly photographed" through feeling, and accumulated and stored it in his own sensibility. In fact, it's exactly the same as going through all the other life experiences, jobs, games, and pranks.

Soon, as a person, he became a comedian, partnering with others to talk about crosstalk, and gained popularity. He also appeared in comedy shows, skits and quizzes on television and radio, as an actor in movies and TV series, and even as a model in commercials. He also became a topic of discussion due to personal incidents. He wrote essays and novels, and also painted. On this extended line, in 1989 he starred in the film "Violent Cop" under the stage name Peter Wu and directed under the real name Kitano Takeshi.

This is a detective film starring Peter Wu planned by other directors and based on a playwright's script. However, the director backed down, and just like that, Takeshi Kitano became the director. Just as he did when he was a comedian, doing cross talk, appearing in television, radio, movies and commercials, writing essays and novels, and drawing, Takeshi Kitano remains completely true to his own sensibility when directing his films.

However, precisely because this should be a work shot by a professional director from the old Japanese film industry, with a script written by a professional playwright, and collectively supported by the crew members of the old Japanese film industry, it is not It’s hard to imagine that there would be considerable resistance if he wanted to follow his own sensibilities and make films that suited him freely and unrestrainedly. As a director's debut, it certainly has its shortcomings. The result is an overbearingly violent detective film that seems to be trying to destroy the Japanese film industry's production model.

Even so, the voice of "New Japanese movies appear!" is still quite high.

"3-4x10 Month" in 1990 is a film written and directed by Takeshi Kitano himself, and starred under the stage name Peter Takeshi. This work mixes the story of a young man on a baseball team with his gang of violent gangs. Having said that, in Kitano Takeshi's film, this kind of story framework is not too important. Many uses of improvised photography. The impact of the depiction of sudden violence, the co-starring of Takeshi Kitano's team members and professional actors, the fun of the dissonance effect produced by the incredible allocation of roles...these are intertwined to create a It is a wonderful work that, although amorphous and somewhat rough, is very free in feeling. It is a wonderful "unbalanced work" that shines brightly and destroys the theory of balance in works.

The 1991 film "That Summer, the Most Quiet Sea" was planned, written, directed and edited by Takeshi Kitano. In this work, he did not play a role. The film tells the story of a young deaf surfer who spends a summer at the beach with his deaf girlfriend. Therefore, there is almost no dialogue in the film, and it relies solely on images to move forward. A free pastoral world was created through improvisational photography, with sudden and wonderful video gimmicks and a very unnatural tragic ending. After watching this work, one feels that the origin of Takeshi Kitano's film may be the film "My Uncle" written, directed and starring by French Jacques Tati.

The 1993 film "Sonata" was written, directed, and edited by Takeshi Kitano, and starred under the stage name Peter Takeshi. Kitano puts his own sensibility at the highest priority and relies on the filmmaking method of improvisational photography. Starting from this film, he suddenly has a smooth and even sense of body. The film tells the story of a gang leader and his minions who are drawn into a confrontation after traveling to Okinawa. However, this film is also a wonderful summary, which can be called a video record of Peter Wu and his team's partners enjoying their summer vacation on the isolated island of Okinawa. The final scene exudes a chaotic pessimism.

The 1995 film "What Are You All Doing?" Getting Any is another work written, directed and edited by Takeshi Kitano, who also starred under the stage name Peter Takeshi. Kitano Takeshi's previous works were mainly shot on location, but for some reason this film is mainly shot inside the studio. It is an experimental, short story-like, obscene action comedy style film. . Therefore, the image world is artificially closed inward. It's a pity that this is his worst film.

The 1996 film "Kids Return" is a work written, directed, and edited by Takeshi Kitano. It is also the second film in which he did not appear. This film depicts the incredible truant life of two idle students in a second-rate high school. The horror film revealed in the film is Takeshi Kitano's own youth. The original feeling of the script was that this film describes young people embarking on a new life and is an inspirational film. However, the result of the free shooting through improvisational photography was unexpected, and it became a work that "although you are still young, you are an older young man". Here again, unbridled freedom and chaotic pessimism cohabitate in one work.

HANA-BI, the seventh film "Hanabi" that won the Golden Lion Award at the Venice International Film Festival in 1997, is coming to us. This is a film written, directed, and edited by Takeshi Kitano, and starring under the stage name Peter Takeshi. After many explorations; Kitano's films have reached a refined maturity. Duo Duo's use of improvised photography as a filmmaking method creates an unprecedented fun. Although it is still free and unrestrained, it naturally forms a world of work.

The heroes and heroines played by Peter Takeshi and Kaeko Kishimoto are always taciturn and have few lines. The descriptions of violence are all sudden and extremely concise. The cast, which is dominated by members of Takeshi Kitano's team, also creates a real sense of unity. Everyone has played their own role. The sporadic gimmicks are not superficial, but become humorous with profound meaning. The amorphous roughness and sensory freedom maintain a wonderful balance, forming a relaxed and joyful new image world.

Especially the paintings drawn by Kitano Takeshi himself appear on the screen, achieving very good image effects. The detective played by Ren Osugi was shot and injured and could only sit in a wheelchair. His wife left him and he was very lonely. He started to learn painting under the persuasion of the protagonist. This setting is very outstanding. Through his painting style, Kitano Takeshi's beautiful and brightly colored pictures that personify flowers are edited into the film as the play progresses. It supports the image world of the entire work, and it is indeed effective.

In the opening scene where Peter Wu and Osugi Ren were driving at high speed with a group of young people, at first people thought they were the backbone of the violent gang and their minions. When people realized that they were actually senior detectives and their minions, After the subordinates, the film develops a strong sense of humor. Soon, people realized that it was all a play in memories, and they also learned that the protagonist played by Peter Wu was now unemployed because of money. The wife played by Kaseko Kishimoto seems to be suffering from an incurable disease - leukemia.

Peter Wu’s somewhat manageable image of a body injured in a motorcycle accident in real life and his sense of life as a middle-aged unemployed detective are cleverly blended into the film. The style of the film is to integrate the advancement of realistic shots and the sudden insertion of extremely complex memory shots into the flow of the entire work very naturally, creating a sense of unity. Kitano Takeshi's film has indeed climbed another level. '

The gimmick when Tetsu Watanabe plays the scrap iron factory owner and his strange red-haired daughter does not appear superficial, but produces ridiculous humor. This effect also illustrates Kitano's The maturity of martial arts films. The intense pessimism of the finale, which soon arrives, is wrapped up in a profound hymn to humanity; which is all very well.

This is a Japanese movie with a completely new visual feel. People's impression after watching it is that in fact, such Japanese movies are still very good. The reason why Takeshi Kitano's films are well understood by foreigners is probably because he can freely create based on his own pure sensibility, and because this is more universal than anything else internationally. This image feels like it has international power and is intuitively accessible to all. It is not a film from other countries, but a film from the Asian country Japan. It is a film produced by the Japanese, and it is a film with unique charm.

Kitano doesn’t like his evaluation, performance, and popularity to be fixed, so he seeks changes every day. At the Venice Film Festival in 1997, Takeno Kitano said, "The next work will be similar to the storyline of Searching for My Mother, without violence." Since his debut work "The Cruel Man" in 1989, Takeshi Kitano's performance has Destroying today's film grammar, the extreme streamlining of lines and explanations created his own new charm, "cut-off aesthetics." Just like the protagonist's "violent repetition" mentality, these blues-based images have made "Kitano Blues" famous around the world. Even though this style has been established, he was able to follow the promise of the 1997 Venice Film Festival and produce "Kikujiro's Summer", a heartwarming work that is different from the past, full of fun and touching.

"Summer of Kikujiro" appeals for "return to gentleness". "The Summer of Kikujiro" excludes the greatest charm of Kitano Takeshi's acting skills, "sudden violence". The story unfolds like "The Search for the Mother", with the ending and process being a standard plot that everyone already knows. Kitano Takeshi uses this to tie yourself up. In other words, from the beginning of this project, I will definitely absorb all the elements that I have openly disliked so far. Compared with the reticence and violence in the past, this time's talkativeness and comedy will be the wonderful stimulating elements that will make you and me happy and moved.

For these fresh changes, the staff of the Kitano team, photographer Yanagishima Katsaki and illuminator Takaya Sai, will regenerate and transform the "Kitano Blues" recognized by the world in "Hanabi" into "Summer" "The New Green", music supervisor Joe Hisaishi also produced a "highly transparent" spiritual music that moved you and me, bringing the warm artistic conception of this movie to the highest point.

Kitano Takeshi's latest work "Brother" is another film that combines writing and directing, and will also be the largest film in his film career. The film was produced by Japan's Kitano Office Co-produced with the British company Jeremy Thomas of Recorded Picture Company (RPC), the production cost is US$10 million. It was shot in Tokyo, Japan and Los Angeles, the United States. It started filming in Tokyo, Japan, on November 21, 1999, and moved to Los Angeles, the United States in January 2000. , is scheduled to be filmed in mid-February, and is expected to be released in Japan in late 2000 or early 2001

The original idea for this film was formed in 1995's "What Are Everyone Doing?" "After that, some time after the motorcycle accident, the general prototype was formed. After "Hanabi" won the Golden Lion Award in Venice in 1997, Kitano Takeshi and Jeremy Thomas, chairman of the British RPC company, gained preliminary knowledge on the cooperative shooting of the film. Since then, The two parties had serious and meaningful communication on relevant issues. After "Kikujiro's Summer" was completed, preparations began in an orderly manner. Press conference for "Kikujiro's Summer" at the Cannes Film Festival in France in 1998. Takeshi Kitano announced the filming plan for "BROTHER" to reporters.

This film will have a huge impact on the creation of Japanese films in the 21st century. As a masterpiece of a new generation of films, we are all looking forward to it.