Akira Kurosawa (part 3)

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the way I'm going to go. The film is by Corozal you just seen parts from the newest or the Shadow Warrior and the 1961 Yojimbo are but two of the many works that will be featured on this special tribute to a cure occurs. Hello I'm John Rose Ach I'll be hosting this 90 minute tribute including a special NHK Japanese television documentary a tribute to one of the world's greatest living film directors directors a curagh Corozal or perhaps no other Japanese filmmaker has done more to bridge East and West. And to celebrate the culture of Japan then has a chorus. His 27 films from the first in 1943. So I'm sure as you gatta through such now famous classics as Rashomon and the Seven Samurai and the eagerly awaited his first in 10 years our touchstones of Japanese film and highlights of the 70 year old director celebrated career.

Joining Mr Corozal will be two of America's most celebrated filmmakers Academy Award winner Francis Ford Coppola best known for The Godfather Apocalypse Now in the conversation and like Mr. Mr. Copas style and directing has been celebrated worldwide. In addition to directing Mr. Copas talents include screenwriting screenwriting and now producing. He was instrumental in the international release of get together with filmmaker George Lucas also a great admirer of Mr. Corozal and our other special guest on this program. Mr. Lucas is also one of America's leading young directors whose own works American Graffiti and the phenomenally successful Star Wars are two of the most famous films of the last 10 years. These works have placed him in the front rank of directors of those equally well known for his screenwriting and camera work in the Rolling Stones documentary Give Me Shelter. And also joining us is the assistant producer of the international version of Mr. Karzai was new film good Moesha film scholar Audie Bach. Ms Bach is the author of the definitive book Japanese film directors and the translator of the characters I was forthcoming

autobiography. She'll translate it. She'll translate the autobiography and also from Mr. Karzai with this evening. Welcome to all of you and very great pleasure to have you join me tonight and to discuss some of the films and the career of course of Cura Corozal. This is a meeting that is not too frequently had the very famous directors of America perhaps the most famous director of Japan. When was the last time that you all got together like this socially to talk about the film that was all kind of. Yes. How long going oh it's six months. Yeah about six months and that was the remote location for the battle scene of the new film. Right we were all together when they were shooting some of the very large scenes with the horses. Beautiful part of Japan called ok that's what we'll see a little bit later when we look at the NHK documentary In fact you appear. You both appear in that and we learn something in addition not only to your admiration of him by your appearance there in that far Northern Ireland Island rather but also the making of the film

itself. What in particular about the film work of a character who fascinates you most mystical. Well you know he's made so many films and so many great films I guess to be very brief. It would be his command a film language in the sense of action and excitement that sense of epic proportion and yet tremendous humanity and warmth that is never lost all of the scale can be very large. That's what many people have said they've discussed of course the humanitarianism especially that comes through these very depressing at times plots and actions that as the films develop into They're collecting sequences about you Mr. Lucas. Well I would say the things that Francis mentioned plus I have a stronger affection for the strong graphic style and the way the films are shot I think are really superb use of long lenses and in a way the way is choreographed some of the scenes. It's very

very unique. There's always been an interesting interchange it seems especially between Mr. Cruise over his films and the West. And likewise it goes in the other direction. Mr. Kerr of the American directors who are the ones that have influenced you are the ones that you admire the most in their work and kind of you can think of that. Thank you. We do hold them and we go. He just told me to go get the stock you guys got a good system book can be tossed on the Go room only it's going to reveal my dose. MOGAHED took some who still were killed good to the rescue. She wanted my number on a stick you need one that do you really

want so much to make your little system used so this is a good to the awareness of the American director I feel closest to is John Ford. The ones that I feel I've learned the most from the earliest the king Vader ribbon my million and William Wyler. But I don't feel that I've been directly influenced in the sense of imitating any American director. I think that because I have lived to so many American directors works that their presence isn't necessarily in my films quite naturally. That's one thing Mr. Kurz over has talked about the naturalism of his style. You have said sir that you are what you would like to do in your films is let your person come out your personality and your making of films in a sense of naturalism like that so that your films perhaps have no message. Its rather the making of the film by you that makes your style or the effect which becomes the

style of the film. Going to comment on that the idea of style in his work criticised the way though it's good talking to step Messenger your your economy and how it's going that I like that she's in the room you know never got out whatever's happening he's got script and I've got your voice I say Muscat Oman. So many think that it's going to comment on that I think that's. A good idea and so we're talking the other day. But don't miss a thing of how can you say should I do when the Michael Dunn because you still nickel drop clues that you were given that's going to take them with. That's good. Done that got me going though you know the look and we're going to give you up on the bases and. Then they do book and we take all Tony and I didn't put a lot more than that the group of them sitting there which he did because we will move on now because

still we don't know if I should do is just you know. You need not go you will to students who didn't. This is going to come like this. I feel that. Of course it's not that I have nothing to say when I begin the making of the film. It's not that there is no message at all it's that the process that I go through consists of being attracted by a certain subject and a certain thing. And as I work on it and go through the process of making the film itself something that I have to say naturally emerges from that. It's not something that's conscious at all and I feel that the best things that come out are the ones that are unconscious. That poses a lot of interesting ideas that I have especially about the works of our other two guests about messages and such but before we get more into that let's look at one of our first film clips now we're going to be presenting a number of them throughout this program five

to be exact. First we'll take a look at the 1950 classic Russian Moon. It's in this thing but the medium in the film is called upon to give one of the deceased husband's accounts of rape murder around which this classic rebel. Thank. You.

You're right you're. One for the money. You was the. One.

He was. On. Are you. With. Me. Boy. Did. He know that he would go. To school.

With a lot of people or go. Into a movie but you. Don't. Know. What's wrong. With you. A clip from the 150000 of the characters are our guest on this special tribute to the famed Japanese director Mr. Kerr as you said while watching that it was rather nostalgic viewing that after so many years 30 years. So I'm doing something that's going to offset that in this get along though you talk about how to win and that's causing this guy you know I mean I mean I guess in a sense in the stillness as you know you did in the chaos.

So the you know in the sense you know going on with us in this day and that's possible when I'm looking at something this far in my past it's almost as if I'm looking at a film made by someone else also looking at it this far away. I'm reminded of everything that happened during the filming. And that too is a very nostalgic aspect of it. Do you ever look at some of those older films and wish you could change something perhaps something that was something that maybe didn't go exactly like you wanted it to have you didn't have the money. With us I say you know what you know what I want out of them. Don't walk without a guy who thought he must be going to some sort of taking only abide in Me the Money will come and see me going up but they were going to tell you when you could tell me what are you doing the most I came out of the book

so you can your money will go on. She dug about looking at something as old as the rational mind. I don't feel that way but in recent films even counting wish that there were still things in that that I would like to change. You know looking at a film like that that's 30 years old it's still of course as great on the arts and feeling and looks as fresh as yesterday. How do you look at a film like that perhaps react to that. George you know you look at it and the thing that you see immediately they get you caught up in this in the the dramaturgy the way he is able to suck you into the story and you want to find out what's going to happen so that you know this is you know another of. The master has a talent is that he's a master drama dramatist and here is I'm sure that even the audience in television might not have known the story in those few minutes were caught up in what was going to happen and became involved with the characters and immediately understood

the situation. Now it's it's a very strong story and it's a very tense drama all the way through it. There seems to be telling stories Yeah drama which comes out of the Japanese traditional drama that's by the way just one one really one viewpoint of the story which is told from three different viewpoints here. The husband. Has been killed. His story beyond the grave is told through the medium. It's one aspect of viewing a situation which that idea viewpoint. With in the dread of them comes out there in that very clip that we know we saw the film in college right along time ago. One other thing I wanted to mention too is the elements the use of the elements the wind the snow especially in Q2 that uses it really goes beyond what's necessary for the story are you conscious of such and such an effect in a film like this well you can see not only in the Russian mob and many of them last of course Alice films the wind is blowing up quite favorable and from the causes a

tremendous dread and then you see the sun through the trees you see the shadow moving in with you in that clip right there. And this clip yes we're going to go no seven years beyond that from 1950 to 57. And another film which is just as atmospheric Of course in its original which is Macbeth. This is Throne of Blood the translation of the great English classic into one of the greatest films made. It's the 957 film here Macbeth is a Japanese medieval lord and shot down by his own men in the conclusion of this cinematic treatment of Shakespeare's Thanks play. You know. Would you. Thank you.

Oh. Well. Well one of the most dramatic scenes.

The most dramatic course of Throne of Blood the adaptation by a cure a chorus of Shakespeare's Macbeth. What made you change the ending there with the man killing the Beth instead of Macbeth the dueling with the enemy and dying. I knew already that that status 18:00 No death of crime I thought. I don't know who they are to Maloney and Gill so much coming and going away on the talk to him obviously. Six people in the military and one would think she should quit the job you will know saying I'm going to die so I couldn't do that so you can assume that up so that all six men know there's a moment to understand so you home with humans like

you homo. Well you know it's a movie they know how they got the guy who thought oh you've asked for sauce and. Sides Anyway I think I've given cock We wish the morning show don't move so we're going and I don't like myself of course show them a perception of the company. Something negative about me. So Jim says in the human just interesting will be just you know so little so you want couples to talk on the movie any time at all can you I got my daughter up on nobody. She just used to going to my pocket. Theatre has its wonderful points but so does the cinema and I don't think that theatre can be directly adapted as it is to the

cinema. Adjustments always have to be made. The reason I picked subjects from Shakespeare is because there are figures in Japanese history who are exactly like the characters in Shakespeare and the periods in which that Shakespeare in death dealt with coincide almost perfectly with the late 16th century in Japan. And as I begin writing the script even if I'm using Shakespeare as the basis for it the reality of the Japanese setting and the Japanese characters takes over. When you work on a script your characters develop to develop a realism of their own and they start telling you what to do. You don't have control of your characters as a screenwriter. It's very interesting and of course I don't know I just assume you both know that Mr. Karzai was next but he was an adaptation of King Lear and

I wonder what kind of changes we can anticipate there. What is he going to be doing with that Shakespeare story. Well their son is well. It sounds like you know I've been criticizing the singing of God go on Leo. Nope again if I go oh how can you sort of do you hijacking their last cent. I saw them all when you were lying you know you'll cry at the thought of that. Well then go and then go to court to go get called the good one meant no more you know. Do you miss your pain killers on the good and the 60 on the signal coming out soon enough. Not the kind of an online tool that the good. Thing about you know in the body of my son in them is me. You'll know what your muscular knew him. He salutes could scrape through Not by me.

It will be the you know it will be. One up on a bigger can do almost what you might want to grew up. With a woman whom you could call my son in the school not doing their glorious. So we may do something which is a nuclear bomb going to limit it to Google. So you all don't you Google Google groups to come which you know most so it doesn't mean I took a little bit of this you don't write them with up bits in them which you know some of them with. It's true that I do have a script based on King Lear which has completed but I can't be sure that that will necessarily be my next project in the course of writing this script. However

some of the things occurred that I was just talking about the Shakespeare original has some parts of it that cannot be taken over as they are too in Japanese setting. For example King Lear has three daughters. But it's impossible to conceive of women having as much power as those daughters in Japan. So for my script based on King Lear I change them to sons. It's interesting for the realities of the situation as well as the culture of the draw drawing in the West. As Mr. Curtis what has we just discussed as you heard some of the aspects of what he's had to do with western models what about eastern levels how consciously or both of you in your films can we draw any parallels between say the samurai and the mafiosi in The Godfather. You know I think that when you when you were as influenced by the

cross-sell films of both of us were that it was impossible to go on and treat certain subject matters without in the back of your head having that it's something as a model I I can't say. I can remember the godfather so I can't say that I consciously was drawing from it but I'm sure that I did. Some people have suggested that there are those parallels and. The powerful clans and some of the models in the course of Star Wars some of the characters in Star Wars could be related to it I wondered if there was any relation in your own mind conscious or otherwise. Well there was quite a bit of Japanese influence in trying to create a fantasy I drew from a lot of different sources through history and various cultures. With his films in particular there were certain influences like in Star Wars with.

And things like I wanted to make a film about robots but I was afraid to make a film about robots. And I came to you know the memory of Hidden Fortress which had two sort of comic relief peasants who ran around and the story was was told from their point of view and these were sort of taken along with the action. But it was it was a great relationship and I decided that I could solve my problem with my robots who were sort of comic relief characters by telling a story through their point of view and I don't know whether I'd been brave enough to try that on my own if they didn't know that it already worked. It's worked ever since Shakespeare though hasn't it. And I mean it's strange though even with the most modern techniques and the most up to date ideas and equipment we still depend on the drama the drone the user of a screenplay or a great mystery piece like Shakespeare.

But it would make sense that it would be those universal aspects will always remain at the center. When the matter HOW the medium changes as long as it's drama whether it's a few people on a stage or a video it still. It's still based on the same principle. Maybe one sees too many films that don't go anywhere or don't have any coherence to be surprised when something great comes along that is coherent that we see and we really get turned on to him such as a chorus of his films or Star Wars for them. We're going to get into some Jura next which is another great film of course I was in. It's funny but every every climactic scene seems to top the other and here's another one which we're going to take a look at this is from the 1962 film Sundra in which we'll see here to show me for me as the super swordsman the masterful samurai in the climactic duel for under the former leader of a corrupt clan. Right.

Delusion will never tell me when you do your thing like talking shop to go to another country. Like so many to mobile we get on the local you know no you do you really only going to get public discussion a little somewhat uneasy. So we've got a pretty good clue what you want to go you know what it's like you don't need to move goods like you my maid was one would want to know. A.

We don't know. Don't you know don't get me. Killed. What you know what I know. What he told me so you got to kill me. You know I did it kind of him a lot. I'm all good I got to eat and born he could also you know I could

oh why don't you want to say no I did. Fuck. Being. A is. Far far. I've seen that scene personally four times in the past week and it still has an incredible power to

it I get goose pimples every time I see that and I hate to spoil the mood but how did you do that. How does that happen. And while doing one can rest on them. I don't know how to do it we don't know but on the Skype about well by who seized it and put up when we get home some I know why you keep doing it you are high you gotta put on the ceiling so the early mo led group can only assume that we play him because he's done this so that you got though I don't know if you know this but that couldn't cut it. But the money on him call out high on your own wanting some new song on that McLaughlin assuming

no one came up to them agree with some of the spot we're going and some of you can do a lot of so you can be almost as we should be doing with you. You're so mother Michael my dad's gonna hide. I'll come to you you know I'm going to walk down a milestone of this meant so much to look up a moment and get a hold of something I have sort of become the head of community but you sure don't let him look at the machine on my knee. In their dual The form being used by the man who is killed is a particular kind of sword fighting in Japan and it's known for being the fastest draw of the sword and so we had to come up with something that was even faster than the fastest that was known at the time. In this

art martial art form and it was a phone a the actor himself who plays son zero who thought of how to do it do it faster you lose to him. Do we have the most action we can only do this with a mo. Only do we need to cut down on the Hummel to do my what you call good care of the world. When he thought of was the adversary is drawing his sword with his right hand and has to go through the action of bringing it around with the blade down to cut and me phoning thought up the idea of drawing his sword with the left hand grabbing the side that isn't sharp with the right and cutting this way so it really takes a knowledge of the Japanese swordplay there to appreciate the the the movement there at the end.

He's a real expert in Japanese you can learn by thinking again about why didn't you teach them how to do it. I mean this one instead of Lazarus. It's my understanding. You know. That always you know that the conversion I get Mr. Copeland said that you taught them how to do that in this sequence of sword play in general as in all the films. That time I deny being very hot in Canada on me food appears in many of your films but at the same time you said that. Do you like the fresh approach of not necessarily overworked professional actors but you need a professional it seems in the title role you use them over and over. A contradiction there. How do you choose your actors and what do you sum over and why do you want fresh actors in other roles because that's now your course and this can go cork I think you get out and that's good only from his own lot. London once I thought that

Yoko Ono walked out of that unless Saddam was instead of the field. But why didn't those local to him. They had to find out that if someone would join Scott you still need to look. You'll know God knows you don't blame that on me and not central to Egypt but I love playing him it's going to create this league selves and with all the go action on Jordyn you stay with us. Who was the one you're about as you're one of them along with them. So you know I hear you good men dog assuming so then I'm with you know and then there's you know the whole lot. Oh look I know some of the night so little because to Mama and I got on Sky you think I'm going to live on when nobody know me from the groom you saw Michael Bay.

She will lose you a little bit of the most going is going to figure out how to do that the home you will be missed didn't go the way they're going to muddle through this. I am not necessarily against you using professional actors. But the problem that I often encounter is that professional actors who have been working with other directors or in television for example have acquired bad habits and it takes a long time for me to rid them of their bad habits so they can perform well in the role that I have cast them in. And people like Mr. Mfume and Mr. NOT guy who have worked with me over time but have also appeared in other peoples films know that my attitude is that you have to start as a clean white sheet of paper for every one of my

films. And so they are they're ready they're completely open to what it is I want them to do. Instead of having their own way of doing things that they are trying to impose on my film. In the past 20 years or so even before that our cooperation interaction and appreciation of Japan has been increasing. The most recent example of course being the dramatization of children which half the western world I'm told watched and has had a great effect on everyone at the same time it's been increasingly difficult for Mr. Kerr ZOA to get produced in Japan what he's wanted to do and that's really were you to get involved here in the most recent film but there was also of the 1975 film that was made in the Soviet Union with I guess the entire Soviet army at his disposal. And we're not going to see the army now in this clip but we're going to go to that 1973 I film then we'll talk a little bit I think about the making of coke and Lucia and some of your

thoughts on that you were very instrumental both of you in getting that to the international distribution. But there's It was Sala from 1975 which we're going to take a look at now is a turn of the century Russian story about a solitary woodsmen in Siberia becomes a guide to a survey team a geodesic team the clipping here shows the woodsmen and his realisation of blindness. A. Because that was what shade do we promote. Let's put your my you but that you are. Hmm.

I'm going to go. A bit of the 975 film there was a lot of

the cuter could as our list occurs it seems that recently over the last 10 years it's been increasingly difficult for you at any rate and maybe for others to make the kind of films in Japan that they wanted to. Is that the reason that you took the opportunity of going to the Soviet Union and making this film criticizing one day when I'm drunk on the desk I don't know what I'm going without you know and I know I know what's in that Oquendo home with gusto. Well Sandisk I thought on the death of that. So this is a new home doing some home thing and she wants an enormous question this month in the book. It's like you knew you and then gunman you done done you know and I said you know it's a good sale next I'm assuming we're going to be a used the same amount of good in them.

You know on to the play and she'll give to give not to understand me. But when you are sort of money something deep down I don't look to the Carnegie You know I know that having also to look too good on my own moment is going to new noise on the set them upon like about playing with some of them I will comment though they got this thing call saying you did like a good way to move you to another and saying you might jump them. I mean you know under and it's about getting up there for a little box on the heel cup at a global cool young out of some new book it was just a little chill tonight. It was in there but when you was it about you know the bun of walking us up he would look to me so long ago some condo Ajah I know you a little bit about me not you know I deeply regret. Little did

he know. He did a mighty must feel them to be done I'm only on not so no. Well you know it's good you got those two g's on them along with that you agree they were going to come when the going Mother Mother other kid on the head of the mule middle to the wind up and continued the pit being don't come they will hurt their grandmother to come and help them you know to go double up to those who've been there when we when we know ourselves there's no Congo thought playing much up there were people from all around you to nothing all to good government. There was similar little girl wasn't up alone together and homely face of the star Josiah come I got all she my little girl goes Dem could go talk to the wholeness of the delusional world cannot join you when you go in on the buckle humming that John one disk only those them when

you hold up good enough. It's true that over the past 10 years and more in Japan. The people who manage the film production companies seem to have acquired a passive attitude rather than an aggressive one toward the making of films. They have a tendency to blame this on television which they see as having become all powerful in Japan. But I think there's something wrong with their attitude because they want to do what is safe but to make a good movie you always have to take some risk. It always has to be an adventure or it won't be good and to settle for making a film is along the pattern of television and try to release them in the movie theaters is not going to draw an audience. I think that people who can look at something at

home for nothing and eat and drink whatever they want at the same time and maybe talk to their friends are not going to be persuaded to get dressed go out get in their cars or get on the train go downtown go to a movie theater and pay money on top of that to see something that they could just as well see at home a movie has to be something very special. When I write my scripts there's something about my style that tends to step outside of this television size framework that the Japanese film has now fallen into and this is why I've had difficulty getting financing in Japan so that is the reason that I went to the Soviet Union when they offered me a chance to direct a film there. I wonder the obvious question of what if Hollywood doesn't suffer from that too. But loads of people like you to do what you want or seemingly to get out there and make the epic that you would do feel. Hollywood is guilty of that too as well as the Japanese film industry very definitely.

I mean we can do whatever we want now. But because I name you me because I got a name and we've been very successful but at the same time what's going to happen 20 years from now whether Francis will be able to you know sweep the floors of one of the studios is you know problematical also for me and I you know it's my fate. I make five bad movies. Suddenly nobody's going to want to be and you know I want to get involved with you know if there's a even a bigger concept which is. I struck a course sours said that those who came into control of the film companies were very passive and I think in the United States people like George and myself are interested and to some extent coming into control of the film company you know so that's a different position. So you can have it both ways almost you can control as well as therefore make the films that you want is only one way you control and therefore you can say you can have a VERY your day shifts and aggressive attitude toward

the films that you sponsor. You know he's perfectly right in what it is like in Japan and you're right in saying it's beginning to be that way here but we have found that whenever we sponsor something a little different or a little unusual that we when there's someone of talent involved inevitably it makes money too so that the audiences are hungry for good quality cinema but kind of emotional which had difficulty getting financed in Japan and you both understand were instrumental in the distribution as well as financing and they corrected both Kelleher charges but it was he originated the concept tell me something that will give me a look at it. Both France and I had met her when he was here in San Francisco and he was telling us about the movie that he was about to make. It sounded wonderful and we were all excited and he went back to Japan and then. I heard from ADI about six or eight weeks later that the film had been cancelled

and this bothered me quite a bit and he said and she said that he that the budget had gone over what the studio would could possibly afford. You know they had a limit to date. I felt that no Japanese film could become profitable above that limit. And so I called Francis and said Why don't we do something about this. Maybe I can talk Fox into buying the foreign rights to the film for the you know for whatever it costs. The difference between what the film was budgeted at and what the film was actually going to cost. And Francis was very enthusiastic and said he would lend his name and support between the two of us. We convinced the studio. This film by the way is the first in 10 years of the

characters and we understand that it's going to premiere tomorrow. And I noticed it's it was premiered at the New York Film Festival. But it will be coming out very soon and we're going to take a look at it right now a bit of it. One of the battle scenes which is comes in the center is one of the connecting scenes of the. It really deals I suppose with the new and the old Because one of the armies of the old way comes up against a slightly larger newer army because they are armed in the traditional weapons are those of the sword and the armed or rather the mounted cavalry cavalry man. And they go against the armed ones with a new firearm So let's take a look now at the nine hundred eighty thousand. The results are. Well that was one of the earlier battles from the new film of Akira Kurosawa kata Musha in

1080 film which we just discussed with the Copeland Mr. Lucas and found of their participation in the distribution and really the making because they've lent their support to finish it. What was going on and what were the what was the narration there on. And that was the Takeda army which is the the protagonist side coming home after a victory. The soldiers that you see in the foreground there don't understand why they're retreating when they have just one. And they wonder where their leader is and they have they point to him on the horizon approaching on his horse. But actually that's the younger brother dressed as the leader is that the Shadow Warrior they're the younger brother sometimes plays the role of the shadow. But the film is about yet another. Yes the bandit who is groomed to take the role of the leader who dies. Yes. I wanted to ask about messages in the

films although Mr. Kerr has said there is no message of film as a reflection of himself and this is fascinating because I think you Mr. Copeland have messages in your films and it's fascinating that you should pick up and very greatly appreciate a gentleman who says he has no message essentially. But it seems to me there is in many of these stories a moral it's either a question of honor or it may be a question here of the extent of militarism. Is there such a message in a film such as God and worship him with an alibi don't stand up and I think you know I do yanking a set of the Cylon Lingen no one will sleep that long I think I got out of here. It was causing me to Mrs. due to the shock of this is due to the amount of the things I thought and I thought and I won a lot of kind of going to they're going to want to see me

was listen to this it's this or that but I'm blocked on the run and today New York and Washington I don't live in a cyclist to call you but I think in a as old book only gold ball so emo superdelegate that they got their moment and I got some time and I won a lot of coming by and that's good for my going to you know somewhat cool like a conduit bottled up so the message you're also going to see through on the remote come with your microphone. So he's digging does mobile go. What jumped through them. You know money is you thinking that someone was in so much money away that the moment love there must have been them. So it's a little cold drizzle to you know call them understand them because they're comfortable double. I'm not going to get the market going result but where they're going with a little when I'm not going to.

I don't much care for the word message. I think that it means something that is an abstract expression in the words but the reasoning that I make films is because I can't express what it is I have to say in words. I need the entire medium. That film offers which is not simply words. If I if I could say it in words I would just paint a sign and leave it at that I wouldn't make films. What comes through in the film I hope is what I have to say that I cannot say in words that says it. We've talked a lot about Mr. Kerr ZOA and his technique his style. Now we're going have the pleasure of seeing the director in action because we're going to present the documentary that was made during the filming of Kokomo show the show the warrior was made by the Japanese television NHK. They produced this account of the making of the characters I was latest film. It shows how Mr. Crows overworks what he demands of the actors and the filming of one of the a

climactic battle sequences of the three echelons of the Takeda army shot on location as we discussed at the island of hockey OH OH OH OH OH OH OH JOY JOY. We were you in the middle of the. The. Latest film director and one of the movie.