Off to Tokyo

So I'm off to Tokyo for a month. I have a role in a film titled "Ashita e no Yuigon (Best Wishes for Tomorrow)." The director is Takashi Koizumi.

The film, which starts shooting on June 2, concerns the postwar trial, in Yokohama, of Lt. Gen. Tasuku Okada, former commander of the 13th Area Army in the Tokai region (the area centered on the prefectures of Aichi and Mie). Nineteen of the general's subordinates were also on trial with him.

I play Col. Louis Rapp, president of the military commission. It should be a very interersting experience.

To tell you about the film, I will summarize and quote from an article I read on line by Roger Pulvers, a co-writer on the film with director, Koizumi. "The court proceedings stemmed from the last months of World War II, when giant American B-29s carried out relentless and indiscriminate bombings of the region, using high-explosives, napalm and other incendiary ordnance. Tens of thousands of civilians, including women and children, were burnt to death.

Thirty-eight American aircrew who parachuted out of their planes were captured, summarily tried and executed as war criminals in June and July 1945. The war ended with the Emperor's capitulation on Aug. 15, 1945.

The subsequent Yokohama War Crimes Trials garnered much less publicity than those held in Tokyo. For one thing, the latter dealt with alleged Class-A war criminals, such as wartime Prime Minister Hideki Tojo. The trials in Yokohama were for alleged B- and C-Class war criminals.

Also, by the time the Yokohama trials were under way, the people of Japan, like the Allied Occupation forces governing them, were turning their attention to reconstruction and away from retribution.

Nonetheless, the claims against Okada and his cohorts were grave. They were that the American airmen had not been given fair trials, and they could hardly be held responsible for merely following orders.

Therein lies the crux of the film. What is a war crime and who is responsible for one when it occurs?" *(http://search.japantimes.co.jp/cgi-bin/fl20070520rp.html)

That's all I know for now, but if you're going to be in Tokyo during June or have any suggestions for my rare days off - drop me an e-mail.

See you in July,

Ocean Without A Shore

If you are going to be in Venice, Italy anytime between June 10 & November 24, 2007 be sure to check me out in Bill Viola's new work, 'Ocean Without A Shore'

'Ocean Without A Shore' is to be presented at the 52nd International Art Exhibition La Biennale di Venezia. It is a three screen High Definition video and sound installation inspired by its setting - the 15th century intimate Venetian church of San Gallo.

'Ocean Without A Shore' presents a cyclical progression of images that describes a series of encounters at the intersection between life and death. Located near the Piazza San Marco the church of San Gallo was formerly a private chapel, and Viola directly incorporates its internal architecture into his piece, using the three existing stone altars as video screens. Of the work Bill Viola states, "'Ocean Without A Shore' is about the presence of the dead in our lives. The three stone altars in San Gallo become transparent surfaces for the manifestation of images of the dead attempting to re-enter our world."

"The video sequence describes the human form as it gradually coalesces from within a dark field and slowly comes into view, moving from obscurity into the light. As the figure approaches, it becomes more solid and tangible until it breaks through an invisible threshold and passes into the physical world. The crossing of the threshold is an intense moment of infinite feeling and acute physical awareness. Poised at that juncture, for a brief instant all beings can touch their true nature, equal parts material and essence. However, once incarnate, these beings must eventually turn away from mortal existence and return to the emptiness from where they came."

Over 24 performers and a technical team of 20 participated in the creation of 'Ocean Without A Shore'. Kira Perov, Viola's wife and long time collaborator, Harry Dawson, director of photography, and Brian Pete, editor, made essential creative contributions to the production. You can check it out:

http://www.haunchofvenison.com/en/index.php#page=london.exhibitions.future.bill_viola_venice

It was very exciting to get to work with Bill Viola and while I may not get to see the piece, would love to hear your impressions.