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Жизнь и работа Ясудзиро Одзу

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influenced by this old Edo tradition.
EQUI NOX FLOWER
I remember the scene in Equinox Flower
where the family is eating together.
Ozu borrowed all the tableware
from a fancy restaurant,
INEKO ARIMA -ACTRESS
and the bowls and plates
and tea cups were simply gorgeous.
But then he spent half a day going
back and forth between table and camera
to get them arranged
just the way he wanted.
Meanwhile, all of us actors were getting
more nervous by the minute.
That's what it was like with him.
He had to have the real thing.
That's what it was like with him.
He had to have the real thing.
And he was just as fussy
about arranging us.
''Sit like this, with your hands here,
your eyes on this, your head this way.''
He'd spell out everything
and then tell us to speak,
correcting our every inflection,
over and over.
We weren't free to interpret
anything ourselves.
But when I look at his films now,
I understand what he was doing.
He was trying to reduce things to their
most basic essence, free of all excess.
That was his art.
That is why his films are now
internationally acclaimed.
Equinox Flower of 1958.
was Ozu's first color film.
We were on the train to Toriyama,
going to a chicken restaurant,
RYUICHI YOKOYAMA - CARTOONIST
and I told Ozu he ought
to make a color film.
I said, ''First everyone moved to sound -
even Chaplin finally came around -
and now everyone
is using color. It's time.
Stop holding out like Chaplin did
with sound. Make a color film.''
It was autumn, and the reeds
growing alongside the tracks
were a beautiful golden brown.
Off in the distance,
we saw a charming little house.
''Tell me,'' I said, ''what color
would you make that house?''
Without a moment's pause,
he said, ''Green!''
I'm in love with someone.
Really? And?
Mother doesn't like it.
Why not?
She's never happy
unless I do exactly what she wants.
But this time I can't.
Besides, we're already engaged.
And who is he?
An old friend.
But Mother wants me to marry
the son of some Osaka wholesaler.
''He's such a nice boy,'' she says.
''From an old house, with lots of money.
It's settled. No ifs, ands, or buts.
Just leave everything to me.
The fortune slip at Fushimi shrine said
you'd find a good match in the west.''
It's not funny.
''Omatsu, you prepare
a big offering in the morning,
and Yukiko, you take it
to the shrine and thank the gods.''
That's what she said.
And did you?
Why should I? It's stupid.
And then what happened?
She was furious.
''What can you be thinking?
Don't you realize what
a good match this is? Like no other!
Are you trying to turn
the gods against you?''
She was so angry,
I just got up and left.
With Ozu, everything
had to be authentic.
When he needed the usual
accoutrements for a bar scene,
he asked me to lend him
the stuff from my bar at home.
But I told him, ''My stuff s all fake.
Go find a bar in Ginza
that can lend you the real stuff.''
I remember that happened once.
It always had to be the real deal.
Once he was drinking and wanted me
to join him, so who does he send?
He sends Keiji Sada to get me.
The man's a big star,
but Ozu uses him like a prop.
So that time he sent Sada
as his messenger to invite me for a drink.
Other times, he would be my guest.
We drank together a lot.
In any case, he had a thing
about authenticity.
Everything had to be the real deal.
On February 25, 1959,
Ozu was awarded
the Art Academy Prize.
It was in 1959, at the
Directors Association dinner,
that I first met Mr. Ozu.
Mr. Fujimoto, the Toho executive,
said he wanted me to meet someone,
and he introduced me to Mr. Ozu.
The two of us stood
by this big concrete pillar
YOKO TSUKASA -ACTRESS
and talked about all sorts of things.
Considering how much older he was,
he
Жизнь и работа Ясудзиро Одзу Жизнь и работа Ясудзиро Одзу

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- текст Вий на английском
- текст Кубик-Рубик на английском

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