A man without decision of character can never be said to belong to himself. He belongs to whatever can make captive of him.
And, of course, supernatural elements just make a story more interesting.
As you can probably tell, I like films and directors that bring a totally unique style to filming action.
Being on stage and singing those songs along with Mike Love and Bruce, as well as the other sidemen was amazing.
Fukasaku really captures the sense of anarchy and chaos of a gang war or shootout, and then he freezes on a dramatic image.
I didn't really discover yakuza films until about five or six years ago.
I had lived in Fukuoka during the mid 1990s, and I was a volunteer with the Fukuoka Asian Film Festival.
I might have shot on 35mm if I had had more money, but we used Panasonic's Varicam camera, and I think the film looks great in high definition.
I sang and played guitar with the Beach Boys from January to March in the year 2002.
I wanted to avoid communication and cultural problems, so I made the conscious decision to be the only non-Japanese person on the crew.
I was really struck with the way Kato uses low angles and has characters diving in and out of the frame during action scenes.
Since my Japanese isn't very good, I had to have an interpreter to communicate with most of the crew.
The awesomeness of God is that even in the works of the Beach Boys, Beatles, etc., the beauty of the music is a mere reflection of what God does everyday. He creates music of all kinds and moods.
There aren't many American directors here trying to direct a Japanese yakuza film. When you combine that with the fact that I don't speak much Japanese and this was an independent film I was financing myself - people were curious about what I was doing.
To me, Shakespeare uses the supernatural elements to reveal his character's inner desires and fears.
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