drink your tea before you speak, or you speak right while you're drinking, or you don't drink at all. You do it differently each and every time.'' So I asked him, ''You want me to do it the same every time?'' He said, ''That's right.'' ''But then why do I have to do it so many times?'' I asked. He answered, ''Because you're such a lousy actress.'' TOKYO TWI LIGHT Mother, whose child am I? Whose child? Why, you're my child, of course. That's a lie. Am I really Father's child? Whose child do you think you are, if not his? You would doubt me about a thing like that? Is it that hard for you to trust me? You are truly your father's daughter. I can say that to the whole world with pride. Of all things, you mustn't doubt me on that. You have to believe me. All right? All right? Will you believe me? You will believe me, won't you? Thank you. Akiko, one of my customers was saying something the other day. I've been worried whether you're all right. He said you might be pregnant. Is that true? I will never have a child. Never. Why not? And if did have one, I wouldn't abandon it like you did. I'd love it with all my heart. Akiko! I hate you! His scripts were difficult. NOBUO NAKAMURA -ACTOR His dialogue wasn't written in normal sentences, the way most writers write out sentences. The lines were written out exactly the way they sound in real life. The living words were captured on the page. I'd feel the life in the words just from reading the script, and I'd realize his high expectations and get a little scared. Suppose my line was something like, ''If I go to work, I have to face that awful boss of mine.'' Instead of writing the line normally and leaving the inflections to me, Ozu would use special spellings or notations that showed exactly how he wanted me to inflect or slur the words. I was green, and Ozu was the master, YOJI YAMADA - DI RECTOR the most powerful director at Shochiku. But like all young people, I was inclined to rebel against authority, plus I thought he was too conservative in his writing, his camera technique, everything. So I spent a lot of time disagreeing with him. We all swore we'd never make films like his. I guess pretty much all of his assistant directors felt that way. But the films you subsequently made as a director in your own right are often regarded as being Ozu-like or Shochiku-like, and you are seen as carrying on Ozu's tradition. You must have felt differently once you became a director. I suppose once I became a director, I began to see just how tall a mountain Ozu represented. Strive as I might, the summit remained out of sight. Then some people started saying things like that - that my films showed a strong Ozu influence. It took me completely by surprise. I'd never thought about it. It made me realize what a strange beast tradition is. What do you think the essence of the Shochiku tradition is? When I was still a young assistant director, my impression of all the old directors, including Ozu, was that they were very fashionable and sophisticated. As I say, Ozu was no exception. His clothes, the restaurants he went to, always had to be the best. I suppose he'd had this ''brand consciousness'' since he was young. He belonged to the refined, with-it crowd who knew all about the entertainment world of old Edo, from Kabuki to the puppet theater and the old raconteurs. Their knowledge of all these arts far exceeded my generation's, and I think they injected large portions of that knowledge into their films. I think Ozu's early films especially were very influenced by storytelling techniques of the old raconteurs. I think this applies to Shochiku films in general, too. The stories the old raconteurs performed had an objective tendency or realism, a way of looking at people from a certain perspective. I think Ozu's films were strongly ------------------------------ Читайте также: - текст Готов! на английском - текст Торжество на английском - текст Город мастеров на английском - текст Человек-невидимка на английском - текст Беловы на английском |