SGIFF: Japanese Auteur Miike Takeshi on Violence and Yakuza Love Stories

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SGIFF: Japanese Auteur Miike Takeshi on Violence and Yakuza Love Stories
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Japanese auteur Miike Takeshi delivered an entertaining masterclass to a packed audience as part of the Singapore International Film Festival on Sunday, where he held forth on a range of subjects. …

Japanese auteur Miike Takeshi delivered an entertaining masterclass to a packed audience as part of the Singapore International Film Festival on Sunday, where he held forth on a range of subjects. Conducting the masterclass was Singaporean filmmaker Kirsten Tan .In a career spanning some 30 years, Miike has directed more than a 100 movies and TV shows.

. Set over one night in Tokyo, the film follows a young boxer and a sex worker who get involved in a drug smuggling operation. Miike said that the current trend at Japanese box office was in favour of Hollywood blockbusters and lighthearted love stories. “The movies I was making involving dropouts, outsiders and yakuza are sort of chased away from theatres in Japan, so I wanted to use these people in a film to show that even all these outsiders can be in love and make a good love story,” said Miike.Miike says that the expression of violence in his films stems from the love he has for his actors.

Describing his process of working with actors, Miike said, “What I don’t do is to get them together and have a discussion to make a film. I normally let them read the screenplay on their own and let them think about the kind of character they are playing. What I don’t want them to think is, ‘if I play this role, it will be a springboard for me for my future career’. I want them to concentrate on what they are doing now on the film that we are shooting.

Miike revealed that the epic standoff sequence in his 1999 film “Dead Or Alive”, culminating in an apocalyptic finale, remains his favourite. “The energy is such that it can affect the entire northern hemisphere,” Miike said. “Even in low-budget cinema we could create something enormous. The scene in its final form, did not exist in the screenplay, and Miike added it later. “The filmmaking process itself must be entertaining, that’s why I love this movie,” Miike said.

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