Hiroyuki Sanada in 47 Ronin
Interview material
As one
of Japan’s most talented and highest regarded actors of his generation, HIROYUKI SANADA has garnered the
attention of American and foreign audiences with more than 50 films and a
Japanese Oscar® to his name. A staple in Japanese films who
was most recently seen in the worldwide blockbuster The Wolverine, Hiroyuki Sanada has received six nominations for
Japanese Academy Awards, and has won twice.
For the cast and crew, the selection of Sanada as Oishi, the leader of
the samurai, meant this Western twist on the story of the 47 Ronin had earned
the seal of Japanese approval. Sanada
bore the responsibility of making sure this new take on the beloved tale stayed
true to its source, even as it introduced fresh and fantastical elements.
Photo courtesy of UIP |
What was the big draw about doing this
movie?
This is
almost the most famous story – Samurai story – in Japan. But we have a lot of
original stuff in the script so we changed a lot, taking it in a fantasy way.
It’s a very special movie for me. Not only a Samurai thing. Not only a
Hollywood fantasy. It has a very special mixture between Japanese traditional
culture and Western culture for the costume, set, story. Everything. I believe
it will be a very special film that no one has ever seen.
How old were you when you first heard
the story of Ronin and what does it mean to you?
When I was
eight or nine years old, I saw the TV version of 47 Ronin, played by Toshiro
Mifune. He played Oishi. That was my first experience. I watched every week
with my brother. “Who plays Oishi tonight? Who will play Kira tonight?” And we
fought every week. After that, I saw a lot of 47 Ronin on the TV, in the films,
and I’ve done Chushingura Gaiden Yotsuya Kaidan [Crest of Betrayal, 1994]
directed by Kinji Fukasaku. So this is my second time doing 47 Ronin.
What did you think about the addition,
when Oishi is traditionally the main character?
It’s a good
way to make an international film. It’s only Japanese film, only Japanese cast,
it’s very difficult to introduce the world to our culture. It’s a very special
situation. A lot of episodes have gone from the original, but a lot new ideas
have come in. So I believe because his character is there we can introduce our
culture to the world. So it’s very welcome for me.
You starred in The Last Samurai. How has this
experience been different?
We’ve shot in
Japan. I’ve done Last Samurai in Japan, in LA, in New Zealand.
But we created at the whole village in New Zealand. London. Budapest. I feel
like it’s the same. Even in Japan it is very hard to shoot, because there’s
been so many changes. Only around a temple can we shoot. The city is completely
different – too modern. So even if we made the film in Japan, we would have to
create sets, like this, from the beginning. So we can do that anywhere.
Keanu has absorbed himself into the
culture. What do you think of that?
He’s learned
a lot, respecting the culture. I was surprised when I first met him. He knew a
lot already and he learned a lot. And also he learned Japanese. It’s
incredible. On the set, switching between the Japanese and English, even for
us, is very hard. It’s complicated. But the first time Keanu spoke in Japanese
it was a very important scene between us, and more than the dialogue’s meaning,
I was moved. His energy for the film, completely perfect Japanese
pronunciation. It was moving, surprising, respecting. Another emotion coming to
mind. And from that moment, we were getting closer and the wall is gone. The
wall meaning walls of dialogue, language, or colour, or religions, a lot of
walls have gone. That is one of great part of Carl’s direction this time. I
think it’s very hard to direct foreign language actors, but he found a great
way. A special super visional way.
How have you found shooting in 3D?
Completely my
first time. I was so excited. When i’ve done camera test, after we’ve shot and
I’ve seen the monitor with the glasses (wearing a Kimono) and looking by myself
in 3D. Oh my god. Especially for a Samurai film. I’ve never seen that. It’s
kind of a culture shock. I was a child actor, so when I started filming when I
was five years old, it was a long time ago. It was a black and white film. And
then it changed to colour film, and I was surprised and culture shocked when I
was six or seven years old. And then HD, then 3D now. So what’s going? What’s
coming next? It’s so exciting.
Does shooting in 3D present a big
challenge for the actors?
Basically the
same. I thought it would take longer to shoot or be harder. But it’s completely
the same. The camera is just like a normal camera for us. I feel like there’s
no difference from an ordinary film. It was very smooth, more than you would
imagine. How can we use 3D? The full length. Give the film more excitement.
What kind of movement would work for 3D and be more exciting? Especially for
the fight scenes. You know the sword coming towards the lens means the audience
will feel like it will cut them.
Is there anything special about the
choreography being used?
I’ve done a
lot of Samurai film in Japan before, and sometimes done the choreography by
myself. There’s a great choreographer on set. Sometimes it’s Hong Kong style
all mixing. We tried to make a contrast between Keanu’s special skills – taught
from the monsters – and traditional Samurai style. We try to make
differences at the beginning.
Has anything been done to the
choreography to distinguish Keanu’s style?
The peaceful
period in Japan – the Edo period is so peaceful. Even the Samurai were learning
sword fighting in the schools, never fighting in real-life. But Keanu’s
character had to survive, had to kill someone to survive. At the beginning even
the samurai have never killed anybody before in real life. We can learn from
Keanu’s characters. No rules in real fights, so you have to use everything.
‘’47 RONIN’’ is
released and distributed by United International Pictures through Solar
Entertainment Corporation.
Showing JANUARY 2014.
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