So my second trip to Japan, for the special premiere screening of "Best Wishes for Tomorrow" at the Tokyo International Film Festival, was quite a whirlwind.
Of course the first screening was a bit nerve-wracking; but then it's hard to watch myself and the film objectively, without remembering viscerally the actual filming experience.
The film has a wonderful period look, and a solid emotional point of view. People were very generous in their impressions, crying, obviously moved by the picture. It's rhythm is poetic and like Koizumi-san's other films it shares a dream-like quality.
It is as if director wants to say to the viewer, here is a slice of a remote time, a moment of very intense goings-on, relax - come on this journey - in the end you'll realize that things happen for a reason: life can be hard, but if the struggle, to be honorable, honest and spiritually expressive is undertaken - tomorrow is inevitable.
It's a very zen film in many ways. Though the military backdrop can appear so seemingly mundane and stiff, Koizumi-san has made it very human and thus tragic.
Our schedule was intense: the film, onstage greetings with brief speeches by us 5 key leads and the director, followed by a brief cocktail party and buffet - extremely brief, then we were whisked away to another side room where there were 200 or so journalist/still and motion photographer types, and us sitting in chairs on a makeshift stage to field questions.
I spoke a couple of times about how poetic the film is and how it demands the viewer to slow down and really be engaged, and that the General's message at the end of the movie is more poignant than ever - that despite the grimness and prospect of today's times, we now must, more than ever, fight for peace and spread the message of the film, that there is no good that comes from war. You can see a clip of our stage greeting if you click Film Festival site.
After that we were whisked off to our dressing room to await our turn for a TV interview for a cable show, Wow,Wow. Then back to the hotel for just a moment and then to gather together for dinner, with the director and some of the production company.
I spoke to the director a lot, told him how I thought the sound of the movie was perfect (we saw each other before the screening and he voiced concern of the quality in the 1600 seat or so theatre). There was no sound problem. Also the music was very good. The lead Actress, Ms. Fuji-san was beautiful, and though she never spoke on camera, only with some voice-over, she retained a powerful and moving presence.
We spoke about the possible future of the film (it's due to open nation-wide here March 1st). His first film played at the L.A. film festival, his only time in L.A., and I encouraged the idea of submitting it there as well as to N.Y.
Then I rejected a cab, and walked in the rain back to the hotel - maybe 2 miles through a crowded sea of umbrellas. I loved it. Really the best part of the day. I really miss the rain living in L.A.
Of course the first screening was a bit nerve-wracking; but then it's hard to watch myself and the film objectively, without remembering viscerally the actual filming experience.The film has a wonderful period look, and a solid emotional point of view. People were very generous in their impressions, crying, obviously moved by the picture. It's rhythm is poetic and like Koizumi-san's other films it shares a dream-like quality.
It is as if director wants to say to the viewer, here is a slice of a remote time, a moment of very intense goings-on, relax - come on this journey - in the end you'll realize that things happen for a reason: life can be hard, but if the struggle, to be honorable, honest and spiritually expressive is undertaken - tomorrow is inevitable.
It's a very zen film in many ways. Though the military backdrop can appear so seemingly mundane and stiff, Koizumi-san has made it very human and thus tragic.
Our schedule was intense: the film, onstage greetings with brief speeches by us 5 key leads and the director, followed by a brief cocktail party and buffet - extremely brief, then we were whisked away to another side room where there were 200 or so journalist/still and motion photographer types, and us sitting in chairs on a makeshift stage to field questions.
I spoke a couple of times about how poetic the film is and how it demands the viewer to slow down and really be engaged, and that the General's message at the end of the movie is more poignant than ever - that despite the grimness and prospect of today's times, we now must, more than ever, fight for peace and spread the message of the film, that there is no good that comes from war. You can see a clip of our stage greeting if you click Film Festival site.
After that we were whisked off to our dressing room to await our turn for a TV interview for a cable show, Wow,Wow. Then back to the hotel for just a moment and then to gather together for dinner, with the director and some of the production company.I spoke to the director a lot, told him how I thought the sound of the movie was perfect (we saw each other before the screening and he voiced concern of the quality in the 1600 seat or so theatre). There was no sound problem. Also the music was very good. The lead Actress, Ms. Fuji-san was beautiful, and though she never spoke on camera, only with some voice-over, she retained a powerful and moving presence.
We spoke about the possible future of the film (it's due to open nation-wide here March 1st). His first film played at the L.A. film festival, his only time in L.A., and I encouraged the idea of submitting it there as well as to N.Y.
Then I rejected a cab, and walked in the rain back to the hotel - maybe 2 miles through a crowded sea of umbrellas. I loved it. Really the best part of the day. I really miss the rain living in L.A.
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