The 11th "Blue Spring" "Kirishima, Stop Club activities" edited Mototaka Kusakabe [Part 1]
In this series, despite being an important position that affects the quality of the work, we focus on the “real” of video editors who are not usually introduced, and think about the production process, secret story, and editing.Listen to two times in front and rear.This time, he started his career in the editorial room of the Nikkatsu Studio, and has been working on many Japanese movies, including the 36th Japan Academy Award for Best Editing Awards, "Kirishima, Stop Club Activities".Takashi.
Photo = Akio Nakamura interview / composition = Hiroto Yamazaki
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Mototaka Kusakabe, Motaka Kusakabe, Born in 1970, from Shibuya -ku, Tokyo.After graduating from the Nikkatsu University of Arts, he entered the Nikkatsu Studio's editing room and was involved in various Japanese movies as an assistant.The debut was "Anchein" directed by Toshiaki Toyoda in 2001.He won the 36th Japan Academy Awards Best Editing Award for "Kirishima, Stop Club activities".Since 2012, he has been a freelance.
For editing that the audience who can see what they want to see
—— First of all, please tell us about Kusakabe's editing flow.
I will connect while imagining the fragmentary images taken before and after.At first, it is really a script or on the storyboard.Sometimes I feel that the script and the conte are obviously strange, but I still dare show the director once in that connection.After seeing it, I feel like I'm suggesting, "Isn't this better?"
——What are you aware of when you re -edit?
What is conscious is that you can understand it from the customer's eyes?Check the connected video, for example, if it is difficult to tell what is happening in the drawing picture, blow it up and approach it.I couldn't do that in the era of film, but now there are many directors who say, "Please, as you like", and it's okay if you don't deviate so much.Looking at the video, "I don't understand" is only stressful, and it's the basis to say, "I can't see what the audience wants to see."Also, this is a teaching from my senior, but if I read the script in advance, I try to forget it.No matter how much it is written in the script, it will only be transmitted to customers because it is reflected in the video.When you have the overall fixed thing to be fixed, we will leave the judgment.There are times when you say "I'm getting better", or of course, "Please return it."
—— Have you ever learned from seniors other than script?
It is a classic editor, but I was told, "Don't go to the scene."If you know the hardships of the site, you shouldn't go because you can't cut the video.But I was going to go on the contrary, so I went pounding (laughs).Even if I suggested, "Isn't this video needed?"I took it! "So, after going to the scene, "I know the hardships of everyone because I was on the scene, but I think it's better for the work to cut this video."I'm thinking about the movie, not just my mouth, but also suggesting a movie.
—— It's certainly persuasive.Do you always go to the site?
No, now I'm a little physically powerful ... (laughs).It's hard to go to the site while doing editing work.When I'm taking a set at the studio, I go to see it.There is no place on the scene, editing (laughs).If there is an unusual editorial person on the spot, the staff will be careful.Also, it may be better to edit if you don't know how you shoot.For example, if you look at the positional relationship of the actor or on the spot, you will want to connect the positional relationship in the video realistically, but you do not want such customers.
——It is important to calmly identify from the perspective that is closer to the audience.
I agree.Speaking of which, my senior told me that the impression of watching the video first is important.How did you feel when you saw the video that came up?It will be a guideline for editing.It may be sometimes necessary to make an alibi that went to the site, but it is basically to edit from the audience.
The original is a game that does not dare to read
—— I was also in charge of editing the work of Director Toshiaki Toyoda.What kind of exchange was the director?
Toyoda drives in without saying something clearly.With pressure like "Is this better?" (Laughs).But I felt like I was assigned to say, "Isn't Kusakabe doing something?"I thought I had to respond to it, and even if the director's instructions were vague, I think it would be my job to concrete it.Conversely, I say, "If you want to improve, take such a picture!"
——The work of Toyota's work was very impressive to edit intense music on slow -motion images seen in one scene such as “Blue Spring” and “Nine Souls”.
Oh, nostalgic (laughs).Mr. Toyoda has ordered music first, and when he gets a script, he can also get a CD with a play."I haven't decided where to use it, but I also put music."So the slow motion was the music precedent, and at that time it seemed to be editing only that scene all day.
—— How was Daihachi Yoshida, who tagged with “Kirishima, Stop Club activities”?
Director Yoshida is a creator from a commercial, so I thought, "I don't want to take a strange way."For a CM that is competing with a 15 -second scale, for example, I take dozens of takes for product cuts and decide which is the best or edited, but not many people do it in the movie.hand.In a good way, I think it's persistent (laughs).I will fix the same place many times until I am satisfied.I tried to shift the editing point a little, and endlessly ... (laughs).I think the patience is amazing.
——What was the scene that was most powerful in editing Kirishima?
After all it is a climax rooftop scene.It took me many days to edit.The music is ringing in the back, so the scale is fixed and it cannot be easily fixed.So if you fix one place, you have to adjust the book ass somewhere else.However, when I ask the director what I want to do, the number of places where I have to match the books will increase.Anyway, that scene is hard and I don't remember it anymore (laughs).
—— Because of that, Kirishima ~ has become one of the works that can be called Kusakabe's masterpiece.
It was a business card as an editor because it was a work that created that enthusiastic fan."I watched" Kirishima ~ "seven times." I met two people (laughs).But during the editing, I never thought it would be such a work.
—— By the way, do you check the original for works that have the original like “Kirishima-”?
I do not intentionally read the original.If you read it, you will feel like you know the parts that are not enough.There are overwhelmingly many customers who have not read the original, and after all, they have to compete on the screen.
—— Have you ever failed to read the original in the past?
I don't have it, but I tried various things.Patterns to read before editing, patterns to read during editing, patterns that do not read until the end.As a result, it was better not to read it.If there is a sudden line on the script, the staff who read the original will start explaining, "This description is described in the original ...".No, no, the audience doesn't know (laughs).
Theory, theory, and drawers do not work in editing.
—— Mr. Kusakabe seems to be involved in the directing part, but I think that the editor plays the role of a craftsman, but also plays a creator.How well does Kusakabe work in the work?
I think there are both.If you look at it objectively, you just play with the images you have taken, so there is not much feeling of creating something as a creator.I think the reason why the work is shaped is that there are people who are different from directing, shooting, recording, and different positions.The opinions that can only be said from each standpoint are completed, and the work is completed.I think it's a editing job to summarize that opinion and put it into the video.
—— From the standpoint of editing, do you feel any change in the Japanese film industry today?
It's a difficult question ...In terms of images alone, I think the weight is gone.In the era of film, I decided to take a picture with "this!" In consideration of time and money restrictions, but now I have an atmosphere like "Let's think about it in editing!"Surely, each staff should have the intention of "I want to show here" and "I want to convey this", but it feels like it's buried in the mountains of the video.Of course, there are advantages because the material has increased, but the focus is a bit blurred where I really want to use it.
——An such a situation, what edited is ideal for Mr. Kusakabe?
After all, the editing that customers show what they want to see.I can't communicate the theory by editing the movie.Directors, performers, scriptwrites, and works are all different, so it's absolutely the same.That's why I have to think every time what the best editing is.Even if there is a scene similar to the past work, it is somewhat different.Theory, theory, or drawers don't work.
—— Did Kusakabe feel an ideal editing?
I don't think so much (laughs).There was a work that I thought the title back was amazing."Seven" or "Mimic".At that time, I wanted to edit the title back, so I was in charge of the TV once.But I got tired in three days (laughs).If you just edit a movie, you sometimes want to do something else, but if you're just doing it, you'll want to do a movie this time.Humans are greedy creatures (laughs).It may be ideal to be able to be in charge of a movie and other things in a good balance.
● This article is reprinted from the July 2018 issue
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