Abe studio

War comes from our hearts. Japanese nationals should stop lying on the victims' emotional grievances and self-pity. It is good to have a documentary that directly criticizes the Abe regime, but fundamentally speaking, we must look farther and think about the shallowness that exists in the depths of our consciousness. What is going on and where it comes from. And what efforts Japanese society and Japanese people must make to mature. There are many factors that lead to shallowness. Only when everyone who stands in different positions can think independently with his own brain and then put it into action can we turn the shallow into the deep. War comes from our hearts. In order to arouse the introspection of Japanese nationals, I hope to focus on the "harmfulness" of Japanese nationals in history and stop lying on the victims' emotions and feeling sorry for themselves. Because the fact of injury is being forgotten by everyone. Someone must stand up and do it. Hirokazu Koreeda is a famous Japanese film director, screenwriter and producer. His works are profound and delicate, with social concern. 1995 the first film "magic light" quickly attracted attention and won many awards such as the cutting-edge director and the best photography award at the Venice Film Festival. In 2004, at the age of 65,438+04, Yuya Yagara became the best actor in Cannes Film Festival with the film No One Know, which was adapted from a real event. In 20 18, the film "The Thieves' Family" won the Golden Palm Award at the 7 1 Cannes International Film Festival. "Hirokazu Koreeda: Starting from Here" contains Hirokazu Koreeda's essays, Hirokazu Koreeda's interviews and colleagues' descriptions and comments on Hirokazu Koreeda, presenting Hirokazu Koreeda's creative thoughts and movie world from many angles. Television is always selling and moving. Hirokazu Koreeda thinks that the biggest problem of TV programs is that they can't cause thinking. I have been engaged in TV production for more than ten years, and the biggest problem I feel is that image information is actually difficult for viewers to think. "TV programs, in particular, mostly stay in expressing a vague and emotional thing. He also cited examples in his essays: the 22nd issue of "24-hour TV: Love to Save the Earth" broadcast by Japanese TV station is a typical example. The content provided by the program is almost invariably linked to the theme of "motion". An artist who is over 50 years old ran 100 km, but his aimless behavior can easily be attributed to "parent-child love". To make matters worse, the program even sells physical activities such as swimming and mountaineering for the disabled as cheap and moving stories of "hard work" and "friendship", and such plots abound. He said that the sensational story that made people cry at most caused the audience to chat after dinner, such as "how can you not work hard when such poor children are working hard?" What's more, such programs are not even "particularly bad", because this is a major feature of the TV image itself. It makes the viewer stop thinking and devote himself to extremely superficial emotional activities such as emotion. Those programs that can only arouse the superficial reaction of the audience, regardless of the theme or type, are full of TV picture tubes in every household. Documentary is an impossible task. Hirokazu Koreeda's career as a director began with a TV documentary. 199 1 year filmed the documentary "Another Education: A Record of the Spring Class in Ina Primary School". Ina Primary School in Nagano Prefecture, Japan, has incorporated dairy farming into the daily education of primary school students. It's an interview that reported the whole process of this activity. Cleaning the cowshed, milking, delivering cows, and witnessing the death of calves ... The lens vividly records the growth posture of children after everything. In an interview, Zhi Zhi was very frank and did not shy away from his smallness. He said: Documentary shooting at that time was like a helpless choice for him who hated working in Tokyo and fled to a primary school in Nagano to escape from reality. Children seem to know this. Many years later, a student in Nagano said to him: All kinds of people came to our class for an interview, but it seems that Teacher Chi didn't come to work. Mr. Baise, the head teacher at that time, said to him, "You like our spring class and thank you for choosing to interview here. This is also very beneficial to children. However, this place doesn't belong to you, it belongs to me. You must find your place. " Zhi Zhi said that these words were like a blow to him at that time. At that time, he was very negative about the documentary work, thinking that he could not find the so-called "shelter". However, he has been doing this job for 15 years, and now he gradually realizes that even if he doesn't create a place of his own, his asylum will be scattered around everyone he deals with, which is not bad. However, in his twenties, he kept thinking, "What can I do to find this place? "? Zhi Zhi has been thinking about life and society. He said, "The work is not to express our inner thoughts, but to reflect and record our surprises when we meet rich or subtle humanity in the outside world. Shooting itself is a discovery and an encounter. If a conclusion is reached before shooting, it cannot be called a documentary. "Despite their best efforts, Hirokazu Koreeda still feels that many of his documentaries have failed. He said: It is not so much that the violence in the camera directly hurts the other person, but that he becomes too close to the other person to get out of the relationship in the end. Especially when filming a documentary, it is inevitable that this will happen after getting along with the interviewee for several years. However, the work must be a work first, so you should put in something that the other party looks critical or doesn't meet the other party's expectations. So from his point of view, he would think, "hmm? Aren't we good friends "Hirokazu Koreeda mentioned that he respected two documentary writers, Ogawa Shinsuke and Noriaki Tsuchimoto. Ogawa Shinsuke will get along well with the interviewee, live in the other person's house for a long time, or drink with the other person until dawn, intentionally crossing the boundary between the interviewer and the interviewee. He also photographed the material that only that kind of relationship can get. Noriaki Tsuchimoto won't live in each other's home, but he can continue to report Minamata disease for 30 years; He won't confuse himself with the incident and the families of the victims, but his skills of getting close to each other are excellent; He always keeps a clear sense of "outsider" and never slackens. This is a difficult exercise, the disadvantage is that there is no fanatical creative impulse. Hirokazu Koreeda regards these two men as his reference benchmark, and whenever he encounters problems, he will think about what he would do if he were them. However, the documentary is still subject to the object of creation, which is not suitable for his in-depth and straightforward human thinking. Because he can't dig deep into human nature with the living, the pain and defects of others need to be respected and avoided at least. Therefore, when people talk about the world, it is more suitable to talk about people and things in novels, fictional characters, and their undisturbed privacy and life. Moreover, sometimes, the truth in novels is better than non-fiction articles. Once, I went to the earthquake-stricken area and witnessed the destruction of "uprooting". I felt that I could not make a documentary about what I saw. I was completely defeated and had no choice but to go home. This may indicate that I am no longer a documentary writer, but I have changed from the level of actual feelings and become a fictional author. " So, in the end, he went to fictional creation. In order to think more deeply and express more truly. Using documentary thinking to establish the film industry, however, documentary methodology has become a place that he often needs to return to in his creative process. In many of his films, you can see the techniques and shadows of documentaries. He himself said that even shooting a fictional work, how to establish a relationship, what to get from the relationship, and so on, should go back to the perspective of documentary and rethink. For him, documentary is such a place to belong. Yes, Zhi Zhi said: I originally came from the television industry and didn't grow up in a studio, so I never felt like a filmmaker. Today, they still consider themselves as people in the TV circle. In other words, a TV person who makes movies always has the feeling of standing outside the threshold watching movies. Everyone is looking inside, not outside. Yes, Zhi Zhi expressed the hope that he would not forget to keep a social perspective. Now the performance of home cameras has become very good, no matter what can be shot independently by one person, more and more people are interested in image production. But many young people don't want to observe others through the lens, and they can't establish a relationship with the person opposite the lens, so they can only aim at the familiar relationship, such as family, lovers or themselves. Everyone is looking inside, not outside. Either you are in an autistic state, or you suddenly vent your attention in a violent way and wander between the poles. He believes that if you can't use the lens like face-to-face chat, you can't grow up making documentaries. He belongs to the kind of autistic person himself, but after picking up the camera, he began to establish relationships with people, from which he gained various discoveries and learned how to grow. What is valuable about Hirokazu Koreeda is that he is deeply vigilant and won't lie to cater to the public. He said: I've always wanted to go to Auschwitz. Because I know how the traces of war are left. Feel very interested. But at the same time, I also found that the memory of "injury" will hardly remain. In everyone's mind, the memory of war is preserved in the form of "suffering". Otherwise, it is the form of American "pretending to be a hero". What kind of movie can be called a good movie? "People often ask me this. I always answer "a movie whose story really begins when I leave the cinema" or "a movie that asks questions to the audience instead of providing answers". The above is my personal opinion. But the questioner will continue to get to the bottom of it: "What kind of movies are you talking about? "This question makes me feel embarrassed. At this moment, someone gave me the answer: "Let's go see a movie in Hirokazu Koreeda! The person who said this was Jin, the chief film selector of Busan International Film Festival, who died suddenly at the 70th Cannes International Film Festival. In Hou Mai's film "Green Light", the dialogue between the characters is trivial and common, and no important topics are discussed at all. It is about a girl who is frustrated frequently in interpersonal relationship, and always complains about something when she is in love. Finally, at the end of the film, she met a young man who made furniture. The other party suddenly talked to her about the legend of green light on the sea, and then the film came to an abrupt end. There are no hidden lines and foreshadowing, and there is no ending, but the whole movie is particularly touching. But Zhi said that "Green Light" made me feel that it was not such a trivial matter. How can it be made into a movie? "But" "It's amazing that these trivial things actually constitute a movie." What kind of ability it is to wait for the wheat to lift weights easily! Now whenever someone asks me in an interview what the theme of the film is and what the message is, I get a little unhappy. Without these things, can't movies be established? Isn't all the connotation of the film compressed in a general paragraph, and can only be expressed so far? As long as you understand this passage, you think you understand the whole movie. This state is not a happy relationship for the creator or the viewer. Only in addition to the so-called theme, there is also the richness of the film. From the feeling of watching other people's movies, we can know his thoughts and pursuits. French director michel gondry said that, generally speaking, no matter whether specific questions are raised or not, movies always present a scene or situation at the beginning, and then describe step by step how the characters on the stage face or deal with such a situation with their own personalities. There are neither heroes nor villains in the process. Only ordinary people who are almost the same as each other. Whether making a documentary or shooting a purely fictional film, Zhi Zhi is constantly practicing his thinking. KiKi KiRin, a famous Japanese actor, said: "Justice, evil, beauty and ugliness ... people become people at the same time, especially our actors. But Mr. Zhi always looks at the complexity of people. " ""Just stare at him and look deep into his line of sight, and you will find that there is an endless horizon in the distance. Moreover, the fundus exudes unusual warmth, and from the depths of the pupil, precious humanity that we have never met in our lives emerges. French actress Juliette Binoche said, "It's the director who holds the camera, not making a movie. But for survival and life. " Hirokazu Koreeda said, "Life has always been just life, rolling alone on the road, waiting for you to pick it up."