Interview with Satoshi Okamoto of the New York Philharmonic
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Photo: Chris Lee
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Japanese native Satoshi Okamoto is a double bass player for the New York Philharmonic, a position he has held there since 2003. Prior to that, he was a member of New York City Ballet Orchestra for one year and an assistant principal of the San Antonio Symphony for eight years. Last September, he performed at the New York Philharmonic’s Opening Gala Celebration for its169th season with Music Director Alan Gilbert and Wynton Marsalis’s Jazz at Lincoln Center Orchestra for the U.S. premiere of the latter’s Swing Symphony. I caught up with Okamoto following the performance to learn more about what it’s like to play with an esteemed ensemble.
What were your impressions of this year’s Opening Gala, and what was your favorite thing about it?
I thought it was very successful. The orchestra played very solidly. It was quite a high quality performance. Mr. Marsalis’s music was really nice, too. I always wish for more contemporary composers to use existing rhythm patterns to write music, like the Baroque era. In his piece, there were a lot of those: Charleston, Kanasas City swing, New Orleans parade marches, bebop, and so on. The orchestra was nicely woven into a jazz style music. If I can wish more, it would be nicer and more creative if there are more classical elements in the piece, because it’s a little like big band music played by an orchestra.
What’s it like working with musical director Alan Gilbert and Wynton Marsalis?
I know Alan from my school days in Juilliard. He was conducting the pre-college symphony where I was a ringer (helper). I always have a great time playing under his baton. For me, it comes very natural to synchronize with his music, I would say, more than any other conductor. I don’t really know Mr. Marsalis.
As a musician, what’s the difference between working with an orchestra in Japan compared with New York?
I have never been a regular member of Japanese orchestras, so maybe it’s not totally fair for me to make a comparison. But I think New York has more of an advantage to attract great musicians worldwide. Like the NBA or MLB, you often have to reach outside of your country to grab the best players. Even though Japanese orchestras are becoming international, it’s still harder for them to get the first class players from overseas compared to the New York Philharmonic, which is in a great position to attract the best players around the world. As a result, I’m surrounded by truly amazing musicians and you can’t have this kind of experience except only a few places in the world. I am enjoying it and really appreciate it.
Read the rest of the interview here.
Justin’s Japan: Interview with Yoshiki of X Japan
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Yoshiki of X Japan. (Nishioka)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
After 25 years of recording and 30 million discs sold, the biggest rock group in Japanese history is finally come coming to New York. X Japan, the pioneers of the elaborate “visual kei” movement, launched themselves with a glam-meets-metal look and sound that instantly set them apart from the pack. After selling out the 55,000-seat Tokyo Dome a record 18 times in its career, X Japan will take Roseland Ballroom Sunday. Band leader/drummer/pianist Yoshiki shared his thoughts with me on breaking America and recording a new album.
For your current North American tour, what are you looking forward to doing in New York and the other cities in the U.S. and Canada?
Do the best X Japan shows EVER. (Love)
Your forthcoming album is going to be almost entirely recorded in English. Since many popular musicians have experienced plummeting CD sales, what are the goals with the new record?
Quality and quantity secondary!
Who is your label in the States? How did you choose them?
We are in the middle of closing the deal. If we come to an agreement, we may be able to announce the label and distributor at the New York show.
Read the rest of the interview here. Click the button below to visit X Japan’s U.S. homepage.
Interview with ‘Assholes Finish First’ author Tucker Max
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Author Tucker Max. (Gallery Books)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
In 2006, Duke Law School grad Tucker Max published I Hope They Serve Beer in Hell, a real life roundup of his drunken, sexual misadventures that unexpectedly shot him to the top of the New York Times Best Seller list and cemented him as the leader of the “fratire” (male chick lit) literary genre.
Following last year’s release of the film version of IHTSBIH, Max is back with a new digest of debauchery, Assholes Finish First. The book’s launch this week kicked off a coast to coast 34-date signing tour, and I spoke with the controversially hilarious author about his interest in Japan and future plans.
What kinds of things do you enjoy about Japanese culture?
Well, obviously, I love Japanese food. My favorite TV show of all time, without exception, is Iron Chef. Not the stupid American version; Iron Chef Japanese, like, the real one; the one that was on in Japan…my DVR for years was set to record almost every single Iron Chef episode. I can talk to you about Battle Porcini, when [Chef Masaharu] Morimoto did the porcini crème brûlée…the original Iron Chef is, quite literally, along with The Wire, my favorite TV show of all time.
Have you ever been to any of Morimoto’s restaurants?
I actually know Morimoto pretty well. Like, in a total weird coincidence, his restaurant in Philadelphia, Morimoto’s…the GM of that place for a couple of years was my buddy Paul Ardaji. So Paul knew that I loved Iron Chef Japan; he brought me in one night [with] Morimoto and we had dinner. And Morimoto, for whatever weird reason, like, we kind of hit it off and became friends. And Morimoto actually did a charity event with me in New York.
And this is a true story…this [is] actually going into my third book; it’s not in the second book. But Morimoto and I—it was basically like we were supposed to be, like, celebrity bartenders, and so of course everyone wanted us to mix, like, cool shots and stuff…so we did it like Iron Chef. He would have them pick an ingredient so people would bring, like, nacho chips over from the kitchen, and then he would make a shot with nacho chips that was, like, amazing…we got fu*kin’ plowed. Anyway, long story short, one guy over there got belligerently drunk, and he got into kind of like into a scuffle with one of the bartenders who worked there, and ended up getting me and him kicked out of my own charity event…I could not have been, like, more happy that I got kicked out of something with Iron Chef Japan when I’m not Japanese; it was the best.
Read the rest of the interview here.
JET Alum Author Profile: Malena Watrous
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Malena Watrous (Ishikawa-ken, 1998-2000), author of the novel "If You Follow Me"
Freelance writer, essayist and blogger Liz Sheffield (Hokkaio-ken, Sapporo-shi, 1993-95) recently came across an article in Writer’s Digest about Malena Watrous, the author of If You Follow Me. The book’s description and the author’s biography made Liz think there was a JET connection. Indeed there was — here are Liz’s thoughts about the novel and her conversation with the author:
Malena Watrous (Ishikawa-ken, 1998-2000) joined the ranks JET alum authors with the recent release of her debut novel, If You Follow Me, published by Harper Collins in March 2010.
Although Watrous admits she didn’t want her novel to become a “Japan weirdest hits” type of book, she does an exceptional job of capturing details and drawing upon common expatriate experiences in Japan. Part of the joy in reading If You Follow Me was having a trip down memory lane. For example: ever receive a handwritten note from your Japanese supervisor admonishing something you did? Check. What about the nasal voice booming over the portable PA system each night as an old man tries to sell his jagaimo? Check. One too many kanpais at the bonnenkai? Check.
Along with these key details, Watrous also weaves together a story that is unique and which is about much more than a gaijin living in Japan. If You Follow Me is the tale of Marina, a young American who moves to Japan with her girlfriend in order to teach English and escape the painful reality of her father’s recent suicide. The cast of characters in the town of Shika includes a quirky co-teacher of English who sings a mean Elvis on karaoke, a silent neighbor boy who is just breaking out of hibernation and the British expat who is attempting to become the next great foreign talent after his stint teaching English in Shika. As is true for many who live abroad, Marina is changed by her experience in ways she never could have anticipated.
“I’d say that the experience made me have a deeper understanding of what it feels like to be different,” Watrous says of the impact the JET Program had on her own life. “It gave me a lasting sense of the value of creating relationships between people of different ages and backgrounds, and made me less afraid of ‘strangers’ of different kinds. It also gave me a greater sense of possibility.”
She notes that she witnessed similar realizations in her students as a result of her presence in their classroom.
“I loved seeing my students become less afraid of the big bad foreigner, which actually happened so quickly and naturally, especially with the elementary school kids, who were just magic to me. I loved those first grade boys with their fuzzy heads, who talked to me like I was another one of them.”
It’s no surprise that the book has received awards and recognition in the United States as well as generous support in Japan. Watrous’ heartfelt and often humorous novel allows readers from any country to experience a journey of sadness and grief that leads to an eventual greater sense of possibility.
So, what can readers expect next from this talented author?
“I’m working on a novel set at least partly in occupied Japan. I hadn’t thought that I’d write another book in Japan, at least not right away, but a character presented herself to me and I’m having a lot of fun with it. Plus–now I’ve got the perfect excuse to make another research trip.”
Go to Motherlogue to hear more about about Malena’s experience writing If You Follow Me.
Interview with JET alumna/’Food Sake Tokyo’ author Yukari Sakamoto
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By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Tokyo-born and American-raised JET alumna Yukari Sakamoto (Chiba-ken, 1989-1990) is a professional chef, sommelier, and writer who has spent much of her life in both the U.S. and Japan. Released earlier this year, her debut book Food Sake Tokyo is the ideal guide for indulging in the best of Tokyo dining and drinking, whether you’re a first-time visitor or a Japanophile foodie keen on discovering new favorites.
How were you approached to write this book as part of the Terroir Guides series?
I contribute to Food & Wine magazine and my travel editor there at the time, Salma Abdelnour, told me about the publisher The Little Bookroom. She praised their travel guides and thought my book would find a good home there. My agent, Lisa Ekus, sent my proposal to The Little Bookroom, and the publisher, Angela Hederman, embraced it immediately. The Little Bookroom has a series of foodie travel guides called the Terroir Guides, and my book was a perfect fit—like Cinderella’s glass slipper. I have heard how difficult it is to find a publisher who will accept a book proposal, and I am blessed to have found the perfect home.
In the introduction to your book, you write that the popularity of the Slow Food movement has created a renewed appreciation for kyodo ryori, or local foods. How long has this movement been going on, and what started it?
The Slow Food movement has been popular for a long time. What has been extremely popular in the last few years are “antenna shops.” These regional shops represent prefectures from around Japan that feature local produce, beverages, and foods. For example, the Okinawa Washita shop in Ginza has a basement filled with awamori (the local shochu), including rare brands hard to find outside of Okinawa. The first floor has tropical fruits and vegetables and local specialties like shimadofu, a dense tofu, and shikuwasa, a citrus juice. I cannot say for sure what started it, but there are several contributing factors. Food safety scares and mislabeling of imported product have encouraged more consumption of local products. Popular food and travel programs promote regional specialties. And, there are an increasing number of ambassadors, like the governor of Miyazaki [Prefecture], Hideo Higashikokubaru, who enthusiastically promote Miyazaki products like wagyu, mangoes, etc. I am always impressed at the number of customers at antenna shops. I often go out my way to shop at antenna shops to pick up rare shochu, hard to find miso, or pickles.
There are more than 100,000 restaurants in Tokyo. How did you pare it down to the ones listed in the book?
First of all, I focused on restaurants that represented a particular cuisine. And then I narrowed down the list based on geography, leaning toward easy to find restaurants, or those included in one of the areas covered by the book. I have lived in Tokyo for eight years and ate out a lot while there. Tokyo is a great dining city, especially for solo diners.
Read the complete interview here.
Interview with jazz legend Sonny Rollins
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Photo: John Abbott
By JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Grammy-winning tenor saxophonist Sonny Rollins began his eighth decade of life Tuesday, and will celebrate with a headlining concert at New York’s Beacon Theatre on Sept. 10. I spoke with the man the New York Times recently called “indisputable jazz royalty” about his relationship with Japan and his inimitable philosophy of life.
What are your thoughts about turning 80?
Well, actually, I don’t think too much about it because I’m a pretty busy fellow. It just so happens that I looked at the calendar, and here I am, 80!
After the New York concert, you have three Japanese gigs in October: Sapporo, Tokyo, and Osaka. Can you describe your history with Japan?
Well, I’ve been going to Japan for many years now, I think—since 1963, maybe. And regularly, I go there…the first time I went to Japan, I was taken by the culture, and I was very much looking forward every time I would get a chance to go back. I used to spend a lot of time in these areas—temples, and examining the Zen Buddhist culture, and the various musical instruments that are indigenous to Japan. My wife and I were very fond of going to the Noh theater, and we used to go there every time we got a chance to when we were in Japan. I really love the culture; I love the Buddhist culture, and that’s old Japan.
So, that’s what I always looked for; sought out; yearned for that; when I was away from Japan. It was always, “Yeah, I wish I could get back and smell the country,” you know? The bamboo forests, the sound of the shakuhachi [Japanese flute], and the very peaceful places. The last time I was there—I was there on vacation recently—and I was at Kamakura, it’s among the places that are really so beautifully serene and peaceful. So I really enjoyed that. Of course, I’ve been to Kyoto many, many times, and Nara, and many other parts of the country.
So, I love Japan. As I said, the first time I went there, I got a feeling of great—when I got off the plane, I just felt happy for some reason. And I felt as if I was rediscovering some place that I’d been to in a previous life or something. And I still maintain those feelings about Japan today.
Was there any hesitation about going there the first time regarding American sentiments after the war? Did you have any impressions that were turned around based on the reception you received?
As you know, music is universal…jazz music is a peaceful force, and it’s received all over the world, and people in Japan are very interested in jazz music. They’re really knowledgeable about the music; they’re very interested in the people that play it, and they love it.
Read the complete interview here.
JQ Magazine’s September/October “Sayonara Print Issue” Out Now!
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JQ magazine returns with another fall classic! Features include the JETAA USA National Conference wrap-up, a review of JET alum author Malena Watrous‘ new book If You Follow Me, and an exclusive interview with Japan’s Ambassador to the United States Ichiro Fujisaki. Click here to view.
BIG NEWS! This is also JQ‘s final issue in traditional print form. It will return after a brief hiatus as an all-online publication. With no space limitations or monthly deadlines, JET readers from all chapters are encouraged to submit stories, announcements, updates and commentary to help make us a stronger and more unified “national international” publication.
Additional contents below. Thanks to JQ Editor Justin Tedaldi (Kobe-shi CIR, 2001-02) for another sugoi issue. Contact Justin if you’d like to pitch or write a story for future editions.
CONTENTS
- Page 3……..From the Editor, Ambassador of Japan to the United States
- Page 4……..Nippon News Blotter / JETAANY’s Secretary Ties the Knot
- Page 5……..JETAANY Society Page – National Conference Wrap-up by Goshippu Garu
- Page 7……..Ambassador Ichiro Fujisaki: The JQ Interview by Justin Tedaldi
- Page 8……..JoAnn M. Hunter Goes from Broadway to Tokyo by Lyle Sylvander
- Page 9……..Through the Eastern Looking-Glass with Malena Watrous by Sharona Moskowitz
- Page 10……JETlog featuring Stuart Wallace
- Page 11…….Book Corner: Just Enough by David Kowalsky
- Page 11…….Life After the B.O.E. by David Namisato
Singer Hikaru Utada Announces ‘Artistic Activity’ Break
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By JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Singer-songwriter Hikaru Utada is going from exodus to hiatus.
According to a message on her homepage from Aug. 9, Hikki (as she as known to her army of fans worldwide) has wrote that following the release of this fall’s Utada Hikaru Single Collection Vol. 2 album, she will take time off from her musical career effective next year.
The message finds the musician in a reflective mood, recalling the music video from her single “Automatic,” released 12 years ago when the singer was just 15 years old. She commented that since then, “part of my growth has stopped…as a person.” Hikki now intends to focus on “human activity” over “artistic activity” in the next year for an indeterminate period.
Read the full story here.
JQ Magazine’s July/August “Hot Button Issue” Out Now!
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JQ knows you’re going to see Scott Pilgrim vs. the World, the summer’s coolest comic book movie, so why not get to know the the guy who started it all, cartoonist Bryan Lee O’Malley? Their new “Hot Button” issue features an exclusive interview with Bryan, a recap of the new Samurai in New York museum exhibition, and the return of the JETAANY Society Page, plus more! Click here to view.
Additional contents below. Thanks to JQ Editor Justin Tedaldi (Kobe-shi CIR, 2001-02) for another sugoi issue. Contact Justin if you’d like to pitch or write a story for the next issue.
CONTENTS
- Page 3……..From the Editor, Japan Local Government Center Executive Director
- Page 4……..Nippon News Blotter / Welcome Suzuki-san
- Page 5……..JETAANY Society Page by Goshippu Garu
- Page 6……..JETlog featuring Byron Nagy
- Page 6……..Samurai in New York Exhibition by Mark Brandstetter
- Page 7……..Bryan Lee O’Malley: The JQ Interview by Justin Tedaldi
- Page 8……..Nihonjin in New York featuring Noriko Hino by Stacy Smith
- Page 9……..Book Corner: Nintendo Magic by David Kowalsky
- Page 10……Nichibei Toastmasters by Pam Kavalam
- Page 11……The Funny Page
- Page 11……The Heiz Rocks On by Hugh Prysten
Interview with David Bryan on ‘Memphis,’ Japan, Bon Jovi
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By JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
“How could people be so bad and make me feel so good?” This is a line from “Music of My Soul” from the hit Broadway show Memphis, which won the Tony Award last month for Best Musical. The music of Memphis, based on the first white DJ to put African American music on the radio in the 1950s, was written by David Bryan, founding member and keyboardist of New Jersey rock group Bon Jovi, and a new Tony winner himself (Best Original Score with co-lyricist and bookwriter Joe DiPietro, and Best Orchestrations with Daryl Waters). I spoke with David about Memphis, Japan and Bon Jovi prior to the group’s fourth and final show at New Meadowlands Stadium Friday.
What were the goals in writing Memphis? Did you and co-writer Joe DiPietro say, “All right, we’re going to conquer Broadway,” or did it just develop through its earlier productions starting in 2003?
I got the script from Joe in 2001, and that’s when we started. I read the script and called him up and said “I hear all this music,” and we got together and banged it all out. We did a great story—it was the birth of rock and roll; it was the birth of civil rights, if you will; ending racism; it was a love story—there was a lot things going on in it that really drew me.
Ultimately, everybody wanted to get to Broadway, but I think you can’t get there unless your piece has been worked on, so it’s a journey. It’s a very long journey, and it’s a complicated piece, the musical; you want to make sure you get it right. So we really worked on it and honed it and worked on it, and it’s a very different production now that it’s at the Shubert than the first time out, because I think, you know, we’re better at it, because we looked at it more.
What were your initial impressions on your first visit to Japan in the ’80s, and how do you feel about Japan today?
Japan is like our second home, you know? We’ll be down there in November, and it’s always our second home. I remember going there [in 1984], our first year playing Super Rock [Festival], and it was very isolated, if you will, and now, with the Internet, the world is way less isolated…everything’s becoming everything. It’s a very special place, very special fans, and the Japanese have embraced us, and it’s great, you know? We’re going to go back there and play and I’m going to bring Memphis there, too. Memphis is going to be a huge musical in Japan.
Compared to other Western rock bands, Bon Jovi is still hugely successful in Japan, selling out the biggest stadiums with each tour and enjoying healthy record sales. What do you think is the key to the group’s long lasting appeal over there?
As a band, we’ve strived to stay current. Our new record, The Circle, was Number One in 15 countries, you know, we just strive to be current, not just go, “Okay, the last record did good and that’s it.” You want to hear “Livin’ on a Prayer” and “Wanted Dead or Alive” on the radio, but yet you want to hear us playing the new song “We Weren’t Born to Follow.” So, the idea is that we keep pushing the envelope, keep pushing new songs and keep trying to better ourselves and keep expressing ourselves. Other than that, as a live band, we’ve always committed to walking on that stage and leaving your heart on the stage. We put out 150 percent every time we walk out on stage.
Read the full interview here.
Interview with Richie Kotzen on Mr. Big, touring Japan
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For over twenty years, Richie Kotzen has waxed nearly as many albums under his own name, as well as high-profile discs as a former member of platinum-selling rock bands Poison and Mr. Big, the latter of which enjoyed massive popularity in Japan. Kotzen recorded two albums with them—1999’s Get Over It and 2001’s Actual Size—before the group called it quits with a Japanese farewell tour the following year. (In 2008 they reformed their original lineup, and is rumored to hit the road in the U.S. next year.)
Kotzen’s most recent release is 2009’s Peace Sign. JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) spoke with him for Examiner.com while he was en route to the next stop of his current tour, which comes to New York’s Highline Ballroom on May 25. Visit his NY Japanese Culture page here to read the interview and subscribe for free alerts on newly published stories, including parts II and III of this interview.
JQ Magazine’s May/June 2010 “JET Author Issue” Out Now!
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It’s a veritable JET literary review in the new issue of JQ, featuring an interview with bestselling Learning to Bow author Bruce Feiler and three-time Stephen Leacock Medal winner Will Ferguson! Click here to view.
Additional contents below. Thanks to JQ editor Justin Tedaldi (Kobe-shi CIR, 2001-02) for another solid issue. Contact Justin if you’d like to pitch or write a story for the next issue.
CONTENTS
- Page 3….From the Editor, New Country Reps
- Page 4….Nippon News Blotter / Wynne Memorial
- Page 5….JETAANY Election Recap
- Page 5….Gorgeous Entertainment by Anthony Waldman
- Page 6….Int’l Center of New York by Pamela Kavalam
- Page 6….Yoko Shioya of Japan Society by Lyle Sylvander
- Page 7….JETlog Feauturing Gail Cetnar Meadows
- Page 8….Bruce Feiler: The JQ Interview by Justin Tedaldi
- Page 9….JETAANY Society Page Photos
- Page 10…Nihonjin in NY: Nobuya Nagahama by Stacy Smith
- Page 11….Echostream Rocks the Anime Circuit by Earth Bennett
- Page 13.…Robataya Restaurant Review by Nancy Ikehara
- Page 13….The Niigata Sake Book by Yukari Sakamoto
- Page 14.…Will Ferguson: Canadian Cousin by Joshua Graubart
- Page 15….The Funny Page
Yes, New York has Japanese belly dancers, too
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By JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Nahoko Sugiyama discovered her niche at an early age. As a little girl growing up in Tokyo, she imitated the moves of the Japanese idols she saw on TV. As a teenager, a penchant for clubbing set the foundation to become a dancer, and in her twenties she took up Oriental (belly) dance, Quickly becoming a popular draw through professional appearances, she decided to make a career out of this exotic form of expression.
Moving to New York in 2006 for more in-depth training, Sugiyama joined the Mosaic Dance Theater Company a year later. “One of my teachers in here is a choreographer for this company, therefore I joined it,” she explains. “We have a wide range of Middle Eastern dance numbers, not only Oriental dance, which makes us unique. We focus on theater shows, [and] have big theater shows both in New Jersey and New York every year.”
This Friday, she will perform at Manhattan’s Arena Event Space with six other dancers as part of the Alternative Belly Dance Show.
Tom Baker interviews 2 movie directors, pans one manga
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Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. He usually writes for DYWeekend, the paper’s arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
He recently interviewed Shane Acker, director of the animated film “9” and Richard Kelly, who most recently directed “The Box,” a thriller starring Cameron Diaz. He also reviewed the manga “Hot Gimmick.” Here are some excerpts:
Shane Acker
[The characters in the movie are all animated dolls with numbers instead of names.] A different personality aspect is dominant in each one. Rigid orthodoxy is represented by leader 1 (voiced by Christopher Plummer), creativity by inventor 2 (Martin Landau), bravery by warrior 7 (Jennifer Connelly) and so on. Elijah Wood does the voice of 9, the truth-seeker of the group, and John C. Reilly voices his timid friend, 5…
The most amusing character is 8 (Fred Tatasciore), who embodies sheer physicality. In one scene, he achieves a moment of strange bliss by stroking his head with a large magnet, an activity that Acker called “degaussing himself.”
“In film school, especially in the days of video, if you had a videotape and you wanted to just wipe it clean, there’s a degaussing machine, which is basically like a supermagnet, and you would wave the videotape over the degausser and it would just take off all the footage that’s on there,” Acker explained. “So that’s the kind of idea, he’s sort of wiping his memory banks. You realize why he’s so dumb.”
Richard Kelly
Imagine that a mysterious stranger has just handed you a wooden box with a red button on top. He explains, rather convincingly, that if you push the button two things will happen: Someone whom you don’t know will die, and you will receive a payment of 1 million dollars…
In writer-director Richard Kelly’s movie The Box, based on a short story by Richard Matheson, the stranger’s name is Arlington Steward (Frank Langella), and he is conducting a high-stakes social experiment by visiting the homes of middle-class American couples and offering them the choice of pushing the button or not.
“Tonally this movie crosses a lot of genres,” Kelly, who previously wrote and directed Donnie Darko (2001) and Southland Tales (2006), told The Daily Yomiuri in a recent phone interview. “It’s a science fiction film, it’s a domestic melodrama, it’s a suspense film, there’s elements of horror in it, and there’s also some black comedy inherent…The conceit of pushing this button on this contraption and someone you don’t know dying is very mischievous. Anyone who would build this contraption and make this offer is smirking when they do it. And Matheson was smirking, I’m sure, when he wrote this short story.”
…[The story is set in the 1970s because] the mysterious stranger is a character type whose day has passed, according to Kelly. “When I set out to write this screenplay, I initially was trying to figure out how to make it work present-day, but when you introduce modern technology and the Internet, social networking sites, Google maps, satellite maps, reality TV, just our media-saturated world that we live in…there is no such thing as a real stranger anymore. Everyone can be found on the Internet. You can find anyone’s house, you can go onto a satellite map with a 360-degree view.”
“Hot Gimmick”
[In this manga, a high school girl’s seriously unhealthy relationships with her would-be boyfriends is presented as perfectly normal.]
For example, the day after one of her suitors is unable to reach her by phone (for reasons that are no one’s fault), he slaps her across the face so hard that bystanders rush to offer first aid. But Hatsumi chases after him to make the following speech, which he receives in stony silence: “I’m sorry. For being so clueless. For…never being able to get your calls…I’m so sorry. I’m really sorry. For not understanding how you feel about me. I’m sorry.”
Later, when one of the boys proposes to her, she thinks, “Maybe if we got married, he’d finally be nice to me.”
She seems unaware of some basic principles of healthy human interaction, such as this simple standard: If a friend arranges for you to be gang-raped, that person is not really your friend.
Interview with ‘Beetle Queen Conquers Tokyo’ Director Jessica Oreck
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The film Beetle Queen Conquers Tokyo explores the history and mystery of the development of Japan’s love affair with bugs, underscoring ancient philosophies that will shift Westerners’ perspectives. JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) talked with producer/writer/director Jessica Oreck on the eve of the film’s New York premiere for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Would you describe this film as a documentary, or something else?
I try not to label films too methodically. Some of my favorite “narrative” films are not “documentary” but certainly seem more honest than films based on facts. So I guess I’ll just keep it simple and call it a movie.
Have you always had an interest in insects and Japan? What made you want to go there to capture these images personally?
I have loved insects since I was a little girl, so when I stumbled onto the Japanese enthusiasm for the same ostracized order, it felt like it was meant to be. I studied filmmaking, biology and ecology in university; I knew I wanted to make films about ethnobiology, so this was the perfect film with which to start.
The Japanese concept of mono no aware (which describes the awareness in the transience of things) is invoked early on in the film. Was this the original thesis before filming, or did this thread to traditional concepts develop later in the process?
I did extensive research before traveling to Japan, and I laid out a 17-page essay that included pieces of Japanese history and philosophy I hoped to incorporate into the film. Mono no aware was just one of the many ideas that were intricately tied together within the architecture of the film as I initially envisioned it. I knew it would be part of the film’s foundation, but as the editing process progressed and I continued to refine the essay and skim off outer details, the concept of mono no aware became more and more pronounced. In this way, editing the footage and writing and editing the narration was a very organic process.
Were there any older Japanese-made films tackling this subject that you watched for reference?
As far as I know there are no other films that address this subject in particular. There are some fantastic Japanese films that have a lot of bugs in them—one of my favorites being Woman in the Dunes. But I think the Japanese film that I watched most often while making Beetle Queen was Kon Ichikawa’s Tokyo Olympiad. That movie is infinitely perfect to me.
Several scenes in the film depict Japanese children’s love of insects. Were the ones you filmed typical of that kind of interest, or were they more passionate than most about this? How would you define Japanese kids’ relationship with the insect world compared to American kids’?
A Japanese child’s relation to insects isn’t that different from an American’s child connection—if you catch them young enough. Most young children don’t have an innate fear of bugs (from my experience watching thousands of them pass through the butterfly vivarium at the American Museum of Natural History). It isn’t until they see dad flinch or mom scream that they learn disgust or fear. What’s different with a Japanese child is that they are encouraged to explore the insect world. They keep them as pets, their dads take them on insect collecting trips, and they travel halfway across the country to watch the fireflies emerge at dusk. I am generalizing, of course, but the phenomenon is, by and large, quite widespread.
In comparison, I believe that a Westerner’s view of the natural world is, in part, dictated by the cultural heritage of what I call the Judeo-Christian syndrome, through which we see the world as a linear chain of progress that culminates in the human form and bestows the power of control to the animals with the least sense of balance. However, I think an individual’s understanding of the natural world is still mostly directly absorbed through the behavior of the people they admire, and that that is why this connection to insects continues to thrive in Japanese culture.
The author and anatomist Dr. Takeshi Yoro is the only person interviewed on-camera for this film. How did you discover him, and were there any other experts or authorities whom you considered speaking with?
Dr. Yoro is a famous guy in Japan, so everywhere we went people asked if we had plans to interview him. Eventually we just decided to call him and, miraculously, he said he would be happy to be interviewed. It was never my intent to have talking heads, but so many of the things that Dr. Yoro said felt like pure poetry—he ended up being the key to some of my favorite parts in the movie.
Generally, what kind of support did you receive from the Japanese people you worked with and filmed? What was their reaction to an American filmmaker exploring what seems to be a uniquely Japanese interest?
Everyone was happy to have us, though they were often confused about why we were making this film. We got a lot of, “What? They don’t sell beetles in America?”
What should more Americans be aware of with respect to the insect world?
Well, I hate to limit the film’s impact to the insect world. To me, the film is about much more than bugs. I have had the opportunity to observe a myriad of reactions. Plenty of people have been surprised by the loss of their fear, or by newfound knowledge, or a novel appreciation for beauty in unanticipated facets of their life. But my favorite story is of a World War II veteran who approached me after a screening of Beetle Queen. He said something to the effect of, “For fifty years I have thought of the Japanese as my enemy. And in the past hour and a half, you have changed that.”
Are there any plans to screen the film in Japan?
Not yet! But we are always looking for opportunities!
Beetle Queen Conquers Tokyo runs from May 12-18 at New York’s Film Forum, with Jessica appearing at screenings on May 12, 14 and 16. Visit www.beetlequeen.com for more info, and sign up for the mailing list at info@beetlequeen.com.
