広島国際映画祭 | HIFF » Workshop

(日本語) 【藤井道人監督】クリエイティブトーク「映画製作のためのチーム作り」

admin — Fri, 13 Nov 2020 08:00:22 +0000

Michihito Fujii has directed film after film since his first steps in the industry with an independent, Indies film. In addition to well-known feature-length films, such as “The Brightest Roof in the Universe,” “The Journalist,” “Day and Night,” “We Are,” he has also directed a number of short films. In this workshop, Fujii will talk about the opportunities that arouse from putting together a closely bonded film crew, “Team Fujii,” while he was at university. In particular, he will focus on the core process of filmmaking—planning, scriptwriting, filming and editing. If you’re interested in trying your hand at filmmaking and don’t know where to start, this workshop is the ideal place.

Striving Toward a New Approach to Visual Expression

admin — Fri, 13 Nov 2020 06:00:04 +0000

Keisuke Imamura, a rising star of cinematography, made a name for himself shooting works such as the 2019 Japan Academy Film Prize Picture of the Year, “The Journalist,” and Kenshi Yonezu’s hit music video, “Lemon,” which now boasts over 600 million views. We join him now as he makes his debut as a director with the film, “Yan,” shot on-site in Kaohsiung, Taiwan. In his workshop, Imamura draws on his meritable learning from the distinct approaches used for visual expression in films, commercials, and music videos to provide insights into the collaborative roles of directors and cinematographers. He also plans to share stories from behind the scenes of “Yan” about filming abroad.

Film Education in Japan: Learning from the Experiences of French Children

admin — Fri, 13 Nov 2020 05:53:24 +0000

Interest in film education has spread from its roots in Europe and the US to the rest of the world. Japan has seen an increase in workshops and action to bring the subject into schools. So, how do children benefit from the experience of filmmaking? At its core, filmmaking has the potential to enhance children’s creativity and help them gain a better understanding of themselves. The need for collaboration encourages them to respect one another’s opinions and share common values. It can also help them to develop communication skills and an appreciation of films made by others. In this workshop, I share my experiences of participating in a French film education program with Japanese junior high school students. I ask that you join me in thinking about the potential for film education in Japan.I want you all to see the films and work made by children from around the world. (Ref: Children Meet Cinema)

Hiroshima Piano

admin — Fri, 13 Nov 2020 04:55:11 +0000

In this collaborative workshop, director, Toshihiro Goto and piano tuner, Mitsunori Yagawa talk about the journey that led to the release of the feature-length film “Hiroshima Piano,” and production designer, Kyoko Heya shares her impressions of the film. All three members offer invaluable insights and stories from behind the scenes.

The First Steps on a New Journey

admin — Thu, 12 Nov 2020 09:01:26 +0000

Every year for the last eight years, I’ve given a presentation entitled ‘Conducting Research for the film “In this Corner of the World”’ here at the Hiroshima International Film Festival (HIFF, formerly known as the Damah Film Festival in Hiroshima). Having finally completed and released its sequel, “In this Corner (and Other Corners) of the World,” my journey came to an end; or so I thought. Kyoko Heya, HIFF President, has kindly invited me to talk about my next film. Just as “In this Corner of the World” started its journey here in Hiroshima, so too will my next film. In this workshop, I share information about the first tentative steps I’ve taken to collect research for the film. In contrast to “In this Corner of the World,” which looks back 70 years into Japan’s recent history, my next film looks back 1000. So, how are things progressing?

The Making of “Voices in the Wind” Viewing and Teach-in

admin — Thu, 12 Nov 2020 06:07:01 +0000

In this workshop, I share a video documenting the making of “Voices in the Wind.” I talk about the process I used to integrate improvised dialogue on location in collaboration with the actors for unscripted scenes. “Voices in the Wind: Filming Haru’s Journey” (43 min)

My Life and Production Design

admin — Thu, 12 Nov 2020 05:11:59 +0000

After graduating from high school in Hiroshima, I moved to Tokyo to attend university. I worked part time as an art assistant with Tsuburaya Productions, gaining firsthand experience of production design. The exciting world of filmmaking, where my designs could be transformed into sets appreciated by millions of viewers was so appealing. I couldn’t help thinking, “This is my destiny!”After graduating from university, I focused entirely on film production, working my way up from being an art assistant in Akira Kurosawa production team to an art director in my own right on Masayuki Suo’s feature film, “Sumo Do, Sumo Don’t” (1992), and then on to where I am today. In this workshop, I will, as my title alludes, talk for 90 minutes about my life in Hiroshima and then Tokyo and about my experiences of film production design.

Why I Became a Film Director

admin — Thu, 12 Nov 2020 03:16:15 +0000

Yuya Ishii has released numerous hit films, including “The Great Passage” (2013), “Our Family” (2013), and “The Tokyo Night Sky is Always the Densest Shade of Blue” (2017). His profound insight into the workings of the human mind has led to high accolade for this work both in Japan and abroad. Building on his achievements, his latest feature film, “All the Things We Never Said” (2020), symbolizes a willingness to step outside of comfort zones and pursue new directions in his filmmaking. In this workshop, Ishii talks ardently about what led him to pursue a career as a film director, sharing knowledge about his filmmaking process, themes, approach to scriptwriting, preferences for actors, work in the pipeline, and more.