Movies We Like

Movies We Like Trailer Bonus Episode null Season 6

Production Designer Yôhei Taneda on Ugetsu • Japanese Version / 美術監督・種田陽平が語る雨月物語 • 日本語版

Production Designer Yôhei Taneda on Ugetsu • Japanese Version / 美術監督・種田陽平が語る雨月物語 • 日本語版 Production Designer Yôhei Taneda on Ugetsu • Japanese Version / 美術監督・種田陽平が語る雨月物語 • 日本語版

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JAPANESE VERSION
溝口健二監督の『雨月物語』について、ゲストの美術監督・種田陽平氏と語ります 
「Movies We Like」今回のエピソードでは、美術監督の種田陽平氏にご参加いただき、彼 の魅力的な経歴と、彼のお気に入りの映画の 1 つである溝口健二監督の 1953 年の名作 『雨月物語』についてお話しいただきます。種田氏は、美術学生だったころから、キル・ ビル Vol. 1、ヘイトフル・エイト、モンスター・ハント シリーズ、金陵十三釵、思い出の マーニーなど、日本とアメリカの両方の映画で働いた経験まで、プロダクション・デザイ ンの世界への道のりを語ります。
エピソード全体を通して、種田氏はプロダクション・デザインの世界について独自の洞察 を提供し、実写とアニメーションの両方の映画で没入感のある世界を作り出す複雑さにつ いて語ります。監督のビジョンと自身の芸術的感性とのバランスを取る難しさ、そして一 貫性のある視覚体験を生み出すために他の部門と協力することの重要性について掘り下げ ます。 
会話が『雨月物語』に移ると、種田氏は映画の忘れがたい美学と、溝口監督の空間とデザ イン要素の使い方が幽霊のような雰囲気にどのように貢献しているかを探ります。彼は 『雨月物語』と当時の他の日本映画を比較し、水の象徴的な意味と映画のビジュアルスタ イルに対する能の影響を強調します。 
『雨月物語』は時代を超えた傑作であり、溝口監督の芸術的ビジョンと観客を異世界に運 ぶ映画の力の証です。種田氏のこの映画への情熱とその作りに対する深い理解は、聴取者 のみなさんがこの忘れがたい古典をもう一度見たくなる魅力的な議論を生み出します。私 たちは『雨月物語』の芸術性を掘り下げ、種田氏の素晴らしい美術監督としてのキャリア を探る素晴らしい時間を過ごしました。 
このエピソードの翻訳を担当してくれた冨永宏に心から感謝します！ 
関連リンク 
種田陽平（たねだ・ようへい）について 
過去 20 年間、種田陽平は世界中の映画製作者とコラボレーションし、クエンティン・タ ランティーノ監督との「キル・ビル Vol. I」、チャン・イーモウ監督との「金陵十三釵」、 押井守監督とのアニメ「イノセンス」など、数々の賞賛とクレジットを獲得してきまし た。南京大虐殺を描いた壮大な映画「金陵十三釵」では、種田は南京において映画の時代 背景をセットで再現しました。70 か国で公開されたこの映画は、当時、中国映画史上最 高額の予算で最も成功した作品の 1 つでした。種田のその他の海外作品には、キアヌ・ リーブス監督の『ファイティング・タイガー』、ラマン・ホイ監督の『モンスター・ハン ト』、タランティーノ監督の西部劇『ヘイトフル・エイト』、ジョン・ウー監督の『マン ハント』、ウォッシュ・ウェストモアランド監督のNetflix作品『アースクエイク バード』 などがある。 
種田の多くの注目すべき非英語作品には、岩井俊二監督の『スワロウテイル』、リー・チー ガイ監督の『不夜城』、三谷幸喜監督の『THE 有頂天ホテル』と『ザ・マジックア ワー』、李相日監督の『フラガール』と『悪人』などがある。種田の仕事は、三谷幸喜監 督の『ステキな金縛り』と、台湾金馬奨で最優秀作品賞を受賞したウェイ・ダーション監 督の台湾映画『セディック・バレ』の驚異的な成功に貢献した。 
種田はスタジオジブリともコラボレーションをしており、アカデミー賞最優秀アニメ映画 賞ノミネートなど多くの賞やノミネートで高く評価された『思い出のマーニー』などのア ニメ映画を制作。また、スタジオジブリと共同で「借りぐらしのアリエッティ×種田陽平 展」を監修。東京都現代美術館が主催したこのイベントは「映画美術」を独立したプレゼ ンテーションとして鑑賞する機会を一般の人々に提供し、巡回中に70万人以上を動員し た。 
『キル・ビル Vol.1』で米国美術監督協会・最優秀美術賞にノミネートされたほか、日本 では名誉ある紫綬褒章を受章、文化庁からは芸術選奨文部科学大臣賞を受賞。 
種田の芸術活動は、膨大な数の映画作品に代表されるだけでなく、アート インスタレー ション、舞台美術、特殊映像、CD や DVD のジャケット デザイン、そして自らが執筆し た数冊の本など多岐にわたります。 

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What is Movies We Like?

Welcome to Movies We Like. Each episode, Andy Nelson and Pete Wright invite a film industry veteran to discuss one of their favorite films. What makes a movie inspirational to a cinematographer or a costume designer? Listen in to hear how these pros watch their favorite films. Part of The Next Reel family of film podcasts.

Andy Nelson:

Welcome to Movies We Like, part of the True Story FM Entertainment Podcast Network. I'm Andy Nelson. No Pete Wright today unfortunately, but he'll be back next time. On today's episode, we have invited production designer, Yohei Tineda, to talk about Kenji Mizoguchi's Ugetsu, a movie he likes. Welcome to the show, Yohei.

Yohei Taneda:

Hi. I'm happy to be here.

Andy Nelson:

Thank you. We're I'm I'm thrilled to have you here, thrilled to talk with you about you and your career and also this fantastic movie that you have brought today. Before we get into Ugetsu and talk about that fantastic film, let's talk a little bit about you and your career. So in the scope of, like, working as a production designer when you were young, like, what was it that, triggered you to go, oh, production design in film, that's what I wanna do?

Yohei Taneda:

Painting course.

Andy Nelson:

That's a that's a fun way to get

Yohei Taneda:

I can test, you know, imagine. So Oh,

Andy Nelson:

so you're doing a little more than artwork on that one that you also Yeah.

Yohei Taneda:

I mean, the you guys know. I get a lot of work.

Andy Nelson:

Sounds like. Sure. Yeah. Absolutely. No.

Andy Nelson:

I bet. So that that got you onto set, and you started getting an understanding of, like, how a production worked and all of that. But, obviously, the art department is a a world in and of itself. There's a lot of stuff going on in the art department. There's a lot of layers.

Andy Nelson:

There's production design, art deck art director, set decorator, all of the other individual elements in there. I know you didn't start out as a production designer, and I know you you're credited, as art director on a number of things. What was your path? Like, once you got onto a set and you met some people who were in the art department, Like, how did you start figuring out the specific part within the art department that you actually wanted to do? Well, that's and that's really interesting because,

Yohei Taneda:

trying to the most options selection design.

Andy Nelson:

What it is that's Let's

Yohei Taneda:

set the decoration.

Andy Nelson:

Designer and, like set decorator.

Yohei Taneda:

I So my code, do you if we need, I know. Roles. You do a

Andy Nelson:

credit department. Right?

Yohei Taneda:

And so you said to and she will know professional

Andy Nelson:

Well, I mean, when you're an art director or a production designer, anyone in the the artistic world that's helping kind of create the visual space that we see, on the screen. It's director of photography Yeah. Sure. No. I get that.

Andy Nelson:

Well, let's just let's use a specific example. One of the films, the the American films that you worked on was Kill Bill volume 1 with Quentin Tarantino. And just looking at a scene like the, I'm forgetting now the name of the of the, the bar where they go at the end, the final fight with, Oren Ishii. But that that bar, like, that's a a a pretty elaborate 2 story,

Yohei Taneda:

Yeah. Absolutely. Well and I

Andy Nelson:

think it shows when you when you see the film. And Tarantino, yeah, he's he is one of those filmmakers who definitely taps into a lot of his film library like the inside

Yohei Taneda:

So

Andy Nelson:

What, just as as a but

Yohei Taneda:

when you garden.

Andy Nelson:

Well, that would be very fitting then for this one. Yes. Yes. Interesting. Very interesting.

Andy Nelson:

Well, you know, that's interesting that you

Yohei Taneda:

like, as to it and everything. To it and everything. You don't know. You actually got after

Andy Nelson:

Ano. After a Ano. After a Ano. What is your process

Yohei Taneda:

to you. Every So you

Andy Nelson:

That that's yeah. The life of a production designer or or, you know, you're creating all this wonderful stuff just for them to destroy. I suppose that's part of it. Right. Right.

Andy Nelson:

Right.

Yohei Taneda:

Well,

Andy Nelson:

You mentioned in there the idea of working on some animated films. When Marnie was there, the fantastic, Studio Ghibli film you worked on, you also were, working on, the, Ghost in the Shell, innocence, I believe. And so what is the process as a production designer? Well, clearly, your the work that you create

Yohei Taneda:

is, exciting and

Andy Nelson:

fantastic and allowing for

Yohei Taneda:

Exciting. A world their

Andy Nelson:

stories to take place in.

Yohei Taneda:

It's It's

Andy Nelson:

It's a fascinating story because it's a ghost story, but it doesn't start where it feels like a ghost story at all. Right? It feels like we're watching a feel a film about war in the 16th century.

Yohei Taneda:

The

Andy Nelson:

farmers who, like, everybody

Yohei Taneda:

So no. Coming to them, basically. And what can make

Andy Nelson:

can make No more. During wartime by

Yohei Taneda:

selling his ceramic.

Andy Nelson:

And kind of gets the the his eyes just kind of get big, and he that's what he like, he goes off the city to sell

Yohei Taneda:

all the services. Goes to you. You also

Andy Nelson:

how a war affects both sides of that. Yeah. It's it's a fascinating story. And and just speaking to the the side of the women as we watch this story, we do spend quite a bit of time with the wives as we see what's going on with them. Right?

Andy Nelson:

We've got, Genjuro, who is the ceramicist. He he ends up with the, the enchantress, But his wife and child are trying to survive, and he kind of leaves them in a really awful predicament where they have to figure out how to make their way back home, and they end up getting, accosted by bandits. And it's it's just terrible. And then, of course, by the time we get to the end, we realize the tragedy that actually befell her. And it's it's it's Totally.

Andy Nelson:

At the

Yohei Taneda:

same time Who who He says she's in He

Andy Nelson:

has ambitions He doesn't listen

Yohei Taneda:

to Do you know?

Andy Nelson:

How

Yohei Taneda:

hard

Andy Nelson:

The Oh, okay. Interesting. Interesting. Well and and I think that's really interesting because they both clearly use, elements of,

Yohei Taneda:

different parts of kind of Japanese story.

Andy Nelson:

How

Yohei Taneda:

a But this one feels obviously ano it which is

Andy Nelson:

for something different. The The the story that that he's telling.

Yohei Taneda:

They are not as a film. So we need to know

Andy Nelson:

designed for,

Yohei Taneda:

you know, audiences or Hey. I would scroll up to you. Your emotional

Andy Nelson:

Describe it.

Yohei Taneda:

You know, audiences are Hey,

Andy Nelson:

gals. Describe it. Something that essentially comes in Japanese.

Yohei Taneda:

You know?

Andy Nelson:

Capturing a piece of something. And I think that's an interesting element that we have

Yohei Taneda:

some of

Andy Nelson:

his the story Yeah. Mass chrysanthemum. Is her look ties into that no

Yohei Taneda:

So you also gotta deny your properness. Of space

Andy Nelson:

that

Yohei Taneda:

feels so you incredibly Really? So you need the one It's

Andy Nelson:

Yeah. That's a really, interesting way to look at that too. And and seeing all of that, everything that happens after they cross the lake as an element of, you know, dancing with the afterlife and and really kind of like The Where they

Yohei Taneda:

where they you know, you can see

Andy Nelson:

to their farm where they can, you know and, again, a farm where you grow things, where life sprouts from the earth. And I think that's

Yohei Taneda:

another

Yohei Taneda:

So

Andy Nelson:

Yeah. That the way that that is crafted is, I mean, it's beautifully done and Oh.

Yohei Taneda:

I actually had to did I miss to happen. Fantastic. His wife that had been crafted production

Andy Nelson:

production design team building the inside of

Yohei Taneda:

Yeah.

Andy Nelson:

Please. Well, let's let's do that right now. What, what can you tell us about the, the cinematographer

Yohei Taneda:

You know?

Andy Nelson:

Director?

Yohei Taneda:

Japanese ink painting.

Andy Nelson:

Wow. That's fascinating. That's a lot of work. A lot of extra work.

Yohei Taneda:

And, also, Rashomon is very special film because the DOP is Kazumiya Gawa. So looks a little different, 7 samurai and Rashomon. Na Shomon looks it's like a Mitsubishi style because of DOP, I think.

Andy Nelson:

Well and that and that speaks a lot too. Like, there's obviously the the director's style, but each other person involved who has that creative touch, the cinematographer, the production designer, costume designer, they're also bringing their own artistic touch to the film as well, which is it's very important. Well, I I know our time is, that that kind of calls back

Yohei Taneda:

you also. Love to return?

Yohei Taneda:

Do you do you

Andy Nelson:

Fascinating. I mean, that's absolutely fascinating. And I didn't even think about that. But, yeah, with it's another ghost story. Right?

Andy Nelson:

It's

Yohei Taneda:

it's Yeah. Yeah. Absolutely. I'll be

Andy Nelson:

watching Yogetsu soon again for

Yohei Taneda:

was there. Okay.

Andy Nelson:

Well, Yohei, thank you so much for joining me here today. I really appreciate it. Do you have any any questions?

Yohei Taneda:

Currently working on

Andy Nelson:

Absolutely. We'll put those on the list for sure. Well, again, Yohei, thank you so much. We certainly appreciate you joining us here today. And, for everyone else out there, we hope you like the show and certainly hope you like the movie like we do here on Movies We Like.

Yohei Taneda:

Thank you, Andy. Thank you, Tomi san. Thank you, everybody. Thank you.

Andy Nelson:

Movies We Like is a part of the True Story FM Entertainment Podcast Network and the Next Reel family of film podcasts. The music is chomp clap by Out of Flux. Find the show at true story dot f m and follow us on Facebook, Twitter, Instagram, threads, and letterboxed at the next reel. Learn about becoming a member at the next reel.com/membership. And if your podcast app allows ratings and reviews, we always appreciate it if you drop 1 in there for us.

Andy Nelson:

See you next time.