Kenichi Takito talks about《Yatsuhakamura》(Yatsuhakamura) attack scene shooting

The new film directed by Takashi Shimizu - Yatsuhakamura - is currently being released in Japan.The film is adapted from the mystery novel of the same name by Masashi Yokomori. In the film, Kenichi Takifuji challenges the two roles of Tajimi Kaname and Hisaya.Regarding one of the important mountain road scenes, Takito talked about the training before shooting, the weight of the costumes and the execution method of the night scene in the interview.

There is a very impressive chase scene in the story where Tajimi Kaname hides.In the 1977 film version, Tsutomu Yamazaki played this dual role, and this performance is also remembered by many Japanese audiences.Takito was chosen to take over the new film. He said that he was approaching 50 years old and running long distances was no longer an easy task. It was only after the fitting that he discovered that the real difficulties had just begun.

The costumes included in the shoot include kimonos and multiple Kagura masks.The first time Takito hung these things on his body, he immediately felt the weight.In addition, the filming took place in the colder season, and the space for warmth under the clothes was limited. He was worried not only about how to get into the character, but also about whether his body could sustain the run.

In order to capture the sense of speed, he started training again before turning on the camera.The accident happened quickly. On the second day of practice, he strained his calf.The shooting time for the cherry blossom season has been scheduled, and then he can only turn his focus to recovery, hoping to catch up with the official shooting.These details in the interview all come from the actors' memories of the preparation process.

The official shooting location was a mountain road with a steep slope and easy slippage underfoot.Takito said that he could barely see ahead when performing, and his movements had to be completed in narrow and uneven terrain.During the filming, he bumped into his calf many times. Later, he discovered that the bulge had become very large, and he was worried that he had injured the bone.

The site also faces low temperatures at night.The staff prepared stoves and heating pads to try to keep the actors' body temperature and avoid injuries that would stop the progress.Takito said that it is impossible to repeat this kind of running dozens of times. His physical strength and age do not allow him to sprint all the time, so the first one or two times are often the fastest.

In order to leave limited opportunities for performances, the performance department will run the route on behalf of the actors before the official start of filming to confirm the movement and lens rhythm.When it came time to actually shoot, Takito focused on getting it done in one take.He hopes that the characters in the picture have a speed driven by obsession, and the audience can feel the oppression of the other party with almost nowhere to escape.

This version of the character also has a new treatment, the actor's face is covered by the Noh mask.Takito still insists on completing the actions himself and does not leave key running and live actions to stand-ins.After the mask covers the expression, the body's speed, posture and breathing have to take on more performance tasks, which is why he repeatedly mentioned physical preparation in the interview.

This time Takashi Shimizu brought the classic mystery of Henggou's official history to the screen again. The filming behind-the-scenes that Takifuji talked about only involved the completion of a mountain road scene.The character's complete story, dual identity and case context still have to be watched back to the main film, and the behind-the-scenes interview did not reveal additional reasoning answers for the film.

From the weight-bearing after the fitting, to the calf strain during training, to the limited number of sprints on the mountain road at night, the production process of this scene all revolved around a very practical issue.How actors perform high-intensity actions within a safe range.The method proposed by Takito and the on-site team is to prepare before starting the camera and save the most concentrated energy for the moment when the camera actually starts to rotate.