Word: nagisa
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Dates: during 2000-2009
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...epic and its recent three-disc release shows that sometimes more really is more. Dividing the 3hr.27min. film between two discs allows a much crisper and richer image and a greatly enlarged gallery of extras. Those include a two-hour video conversation from 1993 between Kurosawa and Japanese director Nagisa Oshima, documentaries on the making of the film and on Kurosawa's influences, and a booklet with genuinely useful essays by Kurosawa scholars and tributes from directors Arthur Penn and Sidney Lumet...
...movies, such a freedom of expression seemed imminent. In the late '60s and early '70s, as American directors like Arthur Penn (in Bonnie and Clyde) and Sam Peckinpah (in everything) pioneered the use of gaudy, picturesque images of violence, European directors like Bernardo Bertolucci (Last Tango in Paris) and Nagisa Oshima (In the Realm of the Senses) made the screen a place where the intimacies of adult couples could be dramatized...
...started his career as an assistant to Nagisa Oshima, the father of the Japanese New Wave, known for his controversial subject matter (the 1976 classic In the Realm of the Senses has never been shown uncensored in Japan) and his discipline on the set. Oshima's perfectionism rubbed off on Sai-the cast and crew of Blood and Bones took to calling him "mini-Shunpei" for his dictatorial tendencies. Sai also shares his mentor's taste for the seedier corners of society. "I'll leave the stories about honorable lives and upstanding families to other directors," he says...
...Kitano has also shifted the spotlight further away from the title character, giving his co-star, Asano, much of the film's focus. Japan's king of cool, Kitano, and its crown prince of cool, Asano, had already served in a samurai drama of a different sort, Nagisa Oshima's gay-themed Gohatto. Unhappy with Asano's fighting scenes in that film, Kitano put the indie icon through three months of extra sword training before filming began. "I put a lot of energy into Asano's scenes," says Kitano. "I gave him all the cool ways of withdrawing his sword...
...entered India's new Film and Television Institute in Pune, believing that writing for the screen couldn't be too different than writing for the stage. But the New Wave movement was revolutionizing cinema around the globe and inspiring protean directors, from Martin Scorsese in the U.S. to Nagisa Oshima in Japan. Adoor realized that movies could transcend mass entertainment to become art. "I discovered cinema," he says. "Before I thought it was spectacle, something interesting, nothing more than that. Then I discovered the language of cinema, the very experience of cinema as a high art form." After his graduation...