Takeshi Kitano's "Kikujiro" is certainly one of his most fun films, and so the official "Making Of" - also taking a fun title in "Jam Session (The Official Bootleg of Kikujiro)" - is a fun little look at the production from behind the scenes, but is little more than director Makoto Shinozaki letting the camera roll while the film is being made, with no real narrative added or story behind the film.
There are short semi-interviews with Kitano as he talks between takes to those around him, playing for the camera. He offers that he was trying for something more conventional, but also has more shocking moments to establish his character. These are moments in which Kitano seems to be reflecting on his career to date, but offers little as to the story behind the film and its meaning to him.
Indeed, as he mentions, his films develop as they go on. He feels for his crew as he keeps changing his script and scenes at short notice, with the end product nothing like his original ideas. He edits the film as he goes on and changes the story as he sees fit.
But despite the boss not making life that easy for them, the cast and crew seem to be happy enough on set. There is a lot of joking and messing around, as you'd expect from working under Kitano. The director comes across as likeable and works well with the young lead Yusuke Sekiguchi. And this is where the documentary gets its name: This is like a band jamming together, messing around until something they like comes out, with everyone seemingly happy on set.
Whether they are playing for the camera or not, we can't tell, given as little as we are. Even the recorded, multi-language conversation between him and fellow director Hsiao-Hsien Hou offers little in terms of much depth as to their filmmaking. You are left wanting more of Kitano speaking about his filmmaking, but maybe it's best not to try and explain it; just shut up and dance.
Politic1983.home.blog.
There are short semi-interviews with Kitano as he talks between takes to those around him, playing for the camera. He offers that he was trying for something more conventional, but also has more shocking moments to establish his character. These are moments in which Kitano seems to be reflecting on his career to date, but offers little as to the story behind the film and its meaning to him.
Indeed, as he mentions, his films develop as they go on. He feels for his crew as he keeps changing his script and scenes at short notice, with the end product nothing like his original ideas. He edits the film as he goes on and changes the story as he sees fit.
But despite the boss not making life that easy for them, the cast and crew seem to be happy enough on set. There is a lot of joking and messing around, as you'd expect from working under Kitano. The director comes across as likeable and works well with the young lead Yusuke Sekiguchi. And this is where the documentary gets its name: This is like a band jamming together, messing around until something they like comes out, with everyone seemingly happy on set.
Whether they are playing for the camera or not, we can't tell, given as little as we are. Even the recorded, multi-language conversation between him and fellow director Hsiao-Hsien Hou offers little in terms of much depth as to their filmmaking. You are left wanting more of Kitano speaking about his filmmaking, but maybe it's best not to try and explain it; just shut up and dance.
Politic1983.home.blog.
