Something Like An Autobiography
Something Like An Autobiography
Format: PDF / Kindle (mobi) / ePub
Translated by Audie E. Bock.
"A first rate book and a joy to read.... It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book.... Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."
"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."
--Washington Post Book World
the morning, visit the Hachiman shrine on my way back from the fencing lesson, return home to eat breakfast and then go off to Kuroda Primary School. After school, I had to go to the calligraphy teacher’s house, which luckily happened to be on the way from school to my house. And then I was to go to Mr. Tachikawa’s home. The latter trip was my own choice. Mr. Tachikawa had left Kuroda Primary School, but Uekusa and I continued to visit him at his home. We passed many a fulfilling day in the
confidence of the cast and crew as well. We had to do our utmost. I’m sure Yama-san was well aware of our position and was off somewhere having a drink with a grand smirk on his face. But these experiences, which were like unannounced examinations in school, provided the best possible opportunity for us to develop our directing ability. During the filming of Horses Yama-san did indeed come to the location set-ups. But usually after spending one night there he would say, “Take care of it,” and go
of nowhere. I myself can’t help being surprised by this strange destiny. This fate nudged me into my first experience as a fledgling movie director. I wrote the script for Sugata Sanshirō at one sitting. Then I took it to the naval air station on the coast of Chiba Prefecture, where Yama-san was shooting Hawai-Marei oki Kaisen (The War at Sea from Hawaii to Malaya). My purpose was, of course, to have him look at my script and give me his advice. When I arrived at the base, I saw a massive
Nippon Kogaku factory. We would watch them disappear and then return to our dormitory for breakfast. After our meal we gathered our equipment and proceeded to the factory for filming. The spirit with which we shot was exactly the same as if we had been making a pure documentary film. The girls in each section of the factory of course spoke the lines of the drama that were set down in the script, but rather than paying attention to the camera they were totally absorbed in carrying out the factory
the will even to get on the train, I ruminated over my bleak situation as I walked all the way home to Komae. I concluded that for some time I would have to “eat cold rice” and resigned myself to this fact. Deciding that it would serve no purpose to get excited about it, I set out to go fishing at the Tamagawa River. I cast my line into the river. It immediately caught on something and snapped in two. Having no replacement with me, I hurriedly put my equipment away. Thinking this was what it was