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Director Yukihiko Tsutsumi responded to the interview
"It's an artist of five people, and when five people get together, it becomes a powerful entertainer."-A national idol group that director Yukihiko Tsutsumi, one of Japan's leading hit makers, says so. storm. Arashi's first live film "ARASHI Anniversary Tour 5x20 FILM" Record of Memories "" is being released exclusively for Dolby Cinema from Wednesday, November 3rd, and will be released nationwide on Friday, November 26th. To. [See the photo] Arashi 5 people standing on the stage ... Poster visual Over the year from November 2018 to December 2019, a total of 50 performances, a total of 2,375,000 people mobilized as one tour, the largest in Japan history 20th anniversary tour of Arashi. During the tour, on December 23, 2019, in addition to the 50 performances, a one-day special live was held to shoot the movie. The one who took the megaphone was Director Tsutsumi, who also worked on "Pika ☆ Nchi LIFE IS HARD but HAPPY" (2002) starring Arashi. It can be said that this work was made only by Director Tsutsumi, who has seen Arashi's activities for a long time. We interviewed Director Tsutsumi, who is about to be released in advance at Dolby Cinema, and the story behind how this work was made, the secret story of shooting with 125 cameras, and the storm that he felt because he had a long-standing relationship. I asked about the individuality and charm of each of the five people. He also talked about the "driving force" of Tsutsumi's own production, which continues to be active in various fields such as distribution, movies, and TV dramas. ――Please tell us how you started making this work. I think it was 2018 that you talked to. Since I was in my twenties, I've been recording live performances by various artists, and especially Johnny's has given me many opportunities. Due to the restrictions and rules of the venue at the live, it is difficult to shoot as expected and it is difficult to make the ultimate cool work, but this time the result of the discussion was "Let's do a live for shooting" It started with that. Because it was, "If so" (laughs). The first thing that came to my mind was "5x20 (five by twenty)", which is the number "100". I suggested, "Let's shoot with 100 cameras!" I thought it would be okay if it didn't work, but as a result, the number of units exceeded 125 (laughs). -Live for shooting. With this major premise, it can be completely different from the live recordings so far. That's right. On Johnny's stage, there is an implicit rule that (the shooting staff) does not go up to the stage, and of course it is a common sense rule to put a camera between the customer and the subject and not disturb it. However, I made a suggestion, "Isn't it possible to shoot in a way that has never been seen before?" .. ――You tried something you couldn't usually do. The cameraman who was shooting the movie starring Arashi, who usually shoots movies, also gathered a lot, so I think that the situation was such that shooting of other movies and dramas would stop on that day. Everyone participated in the war as a soldier, but it was spectacular. For example, there are moments when there are a lot of people, including extras, in the movie scene, but I've never seen a lot of people holding cameras on the shooting side, and I think it's only once in a lifetime. I was able to achieve my long-standing desire, so I really enjoyed doing it. ――By the way, you said that you used 125 cameras this time, but how many cameras do you usually use for live shooting at Tokyo Dome? Isn't it at most 4 or 50? With that much, you can make a pretty good video work. ――You could do what you wanted to do with a camera that was three times as large. Yes. The shooting itself was fun, but instead, the editing was time consuming and hellish (laughs). However, in 2020, due to the influence of the new coronavirus, I entered the stay home period and the shooting of other works stopped, so I took time to go through the editing room and check each cut. I was able to make it. Three to four directors, including the subordinates of their own company, decide the person in charge of the song and connect it. The result of doing it over and over again, and then comparing the images shown on the 125 cameras with what I made, doing things like "let's do this here" and recreating the puzzle endlessly. Is this work. ――Mr. Jun Matsumoto is in charge of directing the live itself. What was the meeting with Mr. Matsumoto when making this video work? I did it many times. While showing the live performance for over a year and a half, I was asked to tell me "what I want to appeal to most in this song" and while discussing, I also thought about the shooting method. I'm also the end of the stage production, but "Director Jun Matsumoto" is very detailed and "highly motivated" from that standpoint. I'm trying to get into the details as much as "Do you want to do this?" I also sing on stage, but I asked the choreographer to enter my position, and I gave instructions from the position where I could see the whole front of the second floor seats, and I was also looking at the overall balance. I did. The Tokyo Dome is not a flat surface but a three-dimensional one. It's also in my head and I'm calculating. Even so, when I stood on the stage as a performer this time, Sho Sakurai said, "He doesn't make a mistake," but that's how wonderful he is as an artist. In that sense, he's a great director. ――You can see the will and the high level. When Matsumoto was 14 years old, he was in the drama "Bokura no Yuki Michiru Toshi" (1997, Nippon Television Network System) before the storm, and in 2002, he was in the movie "Pika ☆ Nchi LIFE IS HARD but HAPPY". I met 5 Arashi people and watched their big success after that, so it's the same with all 5 people, but I also have a relative's uncle-like feeling that "they have become fine" (laughs). I can't be ashamed because my nephews have become good while there are conversations between professionals. I want to take a good picture! There was a special feeling like a private feeling, and it is certain that various thoughts were confused. --What are the personalities and charms of the five people from the perspective of Director Tsutsumi? At this live, I thought the power of Nino (Kazunari Ninomiya)'s shout was amazing. There was something devilish. It's usually a mild feeling, and I often play such characters in dramas and movies, but the appearance on the live stage is different. There is a peculiar sadness while singing. Ohno (Satoshi) is good at singing, of course, but he has a good dance. When you enter the realm of an artist, it suddenly seems to have changed suddenly, and it shows wonderful expressions including sharp dance. There is a great thing that even one person can deal with Tokyo Dome. Aiba (Masaki) oozes out as a person even if he plays a cool role. That's good. I was tall and the word "cool" fits perfectly, so I thought again when I took this photo. Sho-kun has great rap and great piano! I think it's expressive. Not only that, he is also a newscaster, and his versatility is attractive. And Matsumoto-kun. Over the last few years, I have witnessed his courage and "fineness" to create a huge entertainment stage. The "height" he grabbed has reached a point that I can't express. He is an artist of five people and five people, and when five people gather, he becomes a powerful entertainer. I think you can see that kind of thing in this film as well. ――When you actually shoot a live film, I think there are various parts that are different from the image you initially thought of. It's more than I expected. They are constantly moving around in the stage production. For such 5 people, 10 to 15 cameras are always taken by each person. It was kind of an ideal form of live recording. I said that it took a long time to edit, but there are so many video materials. When I was wondering "What is Nino doing at this moment?", There is a video of Nino properly. It was a very luxurious shoot. ――It means that you needed that number of cameras so that you wouldn't miss the movements and facial expressions of each of the five people. Yes. What is happening to the entire venue, what is the state on the stage, and what are the facial expressions of each? I wanted to show such information thoroughly in this work. For that reason, I thought about the placement and shift of the camera, but other than that, something like a special chemical reaction occurs. Communication with customers and the hands of members touching each other. I wanted to show as many such things as possible, so one cut is short and the number of cuts is really large (laughs). When asked "What about a movie?", I am doing cinematic processing such as the color and depth that symbolize Dolby Cinema, and above all, many staff are particular about the presence of sound. In a word, the finish is such that you can fully enjoy the "immersive feeling". Those who saw it in the theater are confident that it will stimulate the edge of memory with a tremendous sense of presence. ――I think the feature of this work is that it specializes only in the main part of the live concert. There is no MC, no encore, I think it is really minimal information. There is no backstage video, and the face suddenly floats from the darkness just before standing on the stage, the drone flies ..., but it starts from the beginning, but I did not decide from the beginning to make it only the main part. bottom. After exchanging opinions with them many times, I decided to talk about what was the strongest. In this work, they don't overexpress off, and they just stand on the stage to compete. Isn't that a good way to leave a strong impression? ――What is the most impressive scene? Everything is a showcase, but what I'm most impressed with is that the drone flies from the palm of the hand at the beginning, so I take a picture of five people and show the entire dome. That's what I wanted to do. It's a palm-sized drone, but I have to wait for about 4 minutes with it on my hand. I think I was nervous when the members themselves took the main camera for shooting, but they did it brilliantly. At the end, the drone returned again, and the entrance and exit were well done, so of course I just want to show the contents in the meantime, but it was a great success for me. ――I have the impression that Johnny's concerts and theatrical performances, including Arashi, make full use of cutting-edge technology and direction, but this work is the pinnacle of work that goes further. Yes. If Johnny Kitagawa could see it, I hope he would be happy. ――Even in this work, you challenged what you couldn't do in the live recording so far, and you are also energetically producing movies, distribution dramas, etc. What is the driving force in the production of director Tsutsumi? It's a feeling that "I always want to make more than what I made". In the work of live video, this work is the best in terms of the number of cameras, the technical method of making sounds, and the system that I make with many directors and who is in charge of it. And I achieved the simple desire to create the best cypress stage for an artist with whom Arashi has been associated for many years. This was also the motivation and starting point for the next step. ――I felt that it is a work that everyone who is interested in live performances and entertainment, as well as Arashi fans, can enjoy. As a director, who do you especially want to see? I especially want people who are wondering, "Where is the highest peak of show business now?" There are many hints for entertainment shows in Matsumoto-kun's production, and even in my field of video expression, I realized again that "so many cameras can be expressed at the same time." I think I can get it. The quality of the sound is so realistic and immersive that you will be surprised by yourself, so I would be happy if you could see it at the movie theater. ◆ Interview / text = Takanobu Tanaka
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