Showing posts with label Shimokitazawa. Show all posts
Showing posts with label Shimokitazawa. Show all posts

Sunday, October 20, 2019

Tosh's Journal - October 20 (Tribute to Jean-Pierre Melville)




TOSH’S JOURNAL

October 20

The films I make are easily misunderstood. “I move from realism to fantasy without the spectator ever noticing.” I drive a 1967 Rambler through the streets of Shi-mo-ki-ta-za-wa, looking for landscapes to use for my films. So far, I have made three movies, and the filmgoer has pretty much accepted all of them. On the other hand, I don’t care if they like them or not. I know shit. I want to have fun, you know. “I like to take risks. My films never follow the current trend.” Perhaps that is the reason why I lost my audience.

My current film project is to do a film based on Arthur Rimbaud’s “A Season in Hell,” starring the musician Ivo Pogorelić. It was a matter of entering Hell itself to get funding for the film, but due to the success of “Le Samourai,” I found backers from a small theater group in Shimokitazawa, who want to expand their theater into the cinema world. Besides having a great looking star, Ivo is also going to supply the soundtrack, which will be mostly music by Chopin. The producers (the theater people) want to change the title to “Unhappiness Was My God.” To me, it sounds a touch pretentious, mostly due that I like crime films, with their short to the point titles. Some say poetry is the cinema, but I find it to be more suitable for the pulp crime narrative. So in my script, I have changed Rimbaud’s poetic prose into hard-boiled dialogue. It should work, especially coming from Ivo’s mouth.

The beauty of this project is the fact that it will be my last film. One reason why I’m attached to “A Season in Hell” is because it was Rimbaud’s last book. Doing art is a bit like a slow death. I can stall the mortal moment when the end comes, by doing more work, but I think to have a small number of films under my name, will serve my purpose, artistically and financially in the long (short) run. “By being too sensitive, I have wasted my life.

” On the other hand, my “artistic” life is doing fine. The more I personally suffer, the higher my work becomes. It’s a double-edged sword, but I rather have good work than happiness anyway.

“In the morning, I had a look so lost, a face so dead, that perhaps those whom I met did not see me.” It is hard to drive my Rambler on the streets of Shimokitazawa, due to the smallness of the roads here, which are more like alleys that lead to nowhere and one comes back to a full circle. “A Season in Hell” (my version) is based on driving around here and trying to look for a parking spot. I can never find one, so I continue to drive around and around. Ivo is going to play the driver as he recites critical phrases from the Rimbaud book. He will dress like a French gangster, and I’m also thinking of adding some prose from a David Goodis novel as well. The juxtaposition of Rimbaud and Goodis’ text together can cause a certain amount of tension that will be good for the film.

I will mostly be shooting at night because I feel the material doesn’t work in the daylight. I’m also putting this in my contract that the film must be shown only at nighttime. Even if the theater is dark, I want people to leave the theater and find darkness outside instead of daylight. Everything must work in unison. My last film must be perfect. There is no second act in a European’s life. Once the film is finished, viewers can see my blood on the screen. Due that it takes everything I have to make a film like “Unhappiness Was My God.” The only high I have in life is to watch the finished work, due to the fact “I never drink … wine.”

Monday, October 20, 2014

October 20, 2014



October 20, 2014

The films I make are easily misunderstood.  “I move from realism to fantasy without the spectator ever noticing.” I drive a 1967 Rambler through the streets of Shimokitazawa, looking for landscapes to use for my films.  So far, I have made three movies, and all of them have been pretty much accepted by the film goer.  On the other hand, I don’t really care if they like them or not.  I know shit. I just want to have fun, you know. “I like to take risks. My films never follow the current trend.” Perhaps that is the reason why I lost my audience.



My current film project is to do a film based on Arthur Rimbaud’s “A Season in Hell,” starring the musician Ivo Pogorelić.  It was a matter of entering Hell itself to get funding for the film, but due to the success of “Le Samourai,” I found backers from a small theater group in Shimokitazawa, who want to expand their theater into the cinema world.  Besides having a great looking star, Ivo is also going to supply the soundtrack, which will be mostly music by Chopin.  The producers (the theater people) want to change the title to “Unhappiness Was My God.” To me, it sounds a touch pretentious, mostly due that I like crime films, with their short to the point titles.  Some say poetry is cinema, but I find it to be more suitable for the pulp crime narrative.  So in my script I have changed Rimbaud’s poetic prose into hard-boiled dialogue. It should work, especially coming from Ivo’s mouth.

The beauty of this project is the fact that it will be my last film.  One reason why I’m attached to “A Season in Hell” is because it was Rimbaud’s last book.  Doing art is a bit like a slow death.  I can stall the mortal moment when the end comes, by doing more work, but I think having a small amount of films under my name, will serve my purpose, artistically and financially in the long (short) run.  “By being too sensitive I have wasted my life.” On the other hand, my “artistic” life is doing fine.  The more I personally suffer, the greater my work becomes.  It’s a double-edged sword, but I rather have good work than happiness anyway.



“In the morning I had a look so lost, a face so dead, that perhaps those whom I met did not see me.” It is hard to drive my Rambler on the streets of Shimokitazawa, due to the smallness of the roads here, which are more like alleys that lead to nowhere and one comes back to a full circle.   “A Season in Hell” (my version) is based on driving around here, and trying to look for a parking spot.  I can never find one, so I just continue to drive around and around. Ivo is going to play the driver as he recites key phrases from the Rimbaud book.  He will dress like a French gangster, and I’m also thinking of adding some prose from a David Goodis novel as well.  The juxtaposition of Rimbaud and Goodis’ text together can cause a certain amount of tension that will be good for the film.



I will mostly be shooting in the night, because I feel the material doesn’t work in the daylight.  I’m also putting this in my contract, that the film must be shown only at nighttime.  Even if the theater is dark, I want people to leave the theater and find darkness outside instead of daylight.  It’s important that everything works in unison.  My last film must be perfect.   There is no second act in a European’s life.  Once the film is finished, viewers can actually see my blood on the screen.  Due that it takes everything I have to make a film like “Unhappiness Was My God.” The only high I have in life is to watch the finished work, due to the fact “I never drink … wine. ”

Saturday, March 8, 2014

March 9, 2014 (Tokyo)



March 9, 2014


At the Spiral in Aoyama Tokyo, they’re did a re-enactment of Bobby Fischer’s famous chess game with Russia’s Boris Spassky entitled “Match of the Century.” The theater piece was done in real time and the match was originally in Reykjavik Iceland.  Fischer was notorious for making demands before he even made a step to Reykjavik.  For instance, he demanded more money, as well as obsessing over the lighting and the cushion in the seat. In fact, he almost forfeited the match, but showed up within hours before the agreed time for the first match.



I know nothing about chess, but I was intrigued by the spectacle surrounding the “Match of the Century.” Tickets were very expensive and there were ten separate performances.  Each performance was for each game, and every performance was conducted in real time.   The original game took place at the height of the Cold War between Russia and the United States. Spassky was supported by the Soviet Empire with all its resources, but Fischer worked totally independently from anyone else.  He was secluded and totally focused on the games once it started.

It is interesting that the re-enactment games are held in Tokyo.  Fischer was a prisoner of sorts when the U.S. provoked his passport, and therefore Fischer went to Japan without the proper documents.  I’m not sure if he was in jail or just ‘stranded’ in Japan, but it has been reports that he married a Japanese woman, before he got citizenship in Iceland.  So in a sense everything here is a circle.  His most renowned game took place in Iceland, and many years later he becomes a citizen of that country.  And here’s another circle of sorts, where the re-enactment is carried out in Tokyo.

For me, chess has to be the most least interesting thing to see, and I couldn’t believe that I actually went to all the performances, all ten games.  The presentation was not that far off from a traditional Noh theater, where time is extended on the stage, or messed about.

To be honest, I found the theater piece boring, but still, I was even intrigued that they even had fake TV cameras on the stage, and they even actually got the chess board as well as the chairs from the actual games.  The only thing that is ‘fake’ is the actors.   But they did hire a Russian actor to play Spassky, and they even went out of their way to find an actor, who at least from a distance, looks exactly like Bobby Fischer.


After ten days straight watching the “Match of the Century, ” I had to lose myself in some other form of activity.  I went to Union Disk to purchase a John Cale CD “Helen of Troy,” which I used to own when I lived in Los Angeles, but somehow got lost over time.  It’s my favorite Cale album, and he remains one of my favorite songwriters as well.  I always admired how he uses external sources for his work.  In a way, he’s very much of a short story writer, who uses non-rock n’ roll narratives to express a horrific world.   I rushed to my favorite bar in Tokyo called Kinema, which is located in Shimokitazawa.  The bar is devoted to Shuji Terayama, and once you enter this wonderful world, you are confronted with books and images by and of Terayama.  Funny enough, and maybe due to the “Match of the Century” I feel like i 'm in a daily theater piece of my choice.  My whole life is a type of re-enactment, but in this case, I don’t know how it ends.