The 6th Day of Shooting
Staff gather every morning at 6 in the Subaru building, ride to the location in a bus and work with out rest for the remainder of the day. I often wonder if they have time to sleep, but they still manage to change clothes everyday and deal with all the regulatory hurdles on set. I’ve tried to divulge their secrets from crew-chief Shio, including how he makes his selections, but all he’ll tell me is the obvious – “the ones who can handle it are the ones who survive.” All of them are freelance and work on a project-by-project basis, so if they don’t prove useful, they have no future. I don’t know if it’s because movies have established a place for themselves in society but… the grass is looking greener on the other side of the fence.
Looking back, I realize that we in the art world pay witness every year to 10,000 new creative zombies who emerge from art schools across Japan. Each of them has been imprinted with meaningless dreams by the crap education system and they are thus unable to connect with the world at large. It’s all about “me me me”.
They come in, go all through all sorts of things in their first three months, unable to perform any tasks smoothly, and then announce “I’ve had enough,” before making their blank faced resignations.
When oh when will the art world become a place capable of evolving, a treasure trove of excellence. I’d like to try building that sort of environment by hiring part-timers in their first years of college and educating them. This feeling has become stronger after seeing the deep level of skill present on the Jellyfish Eyes set and provided by Nishimura Eizo.
Stylist Kazuki Yunoki.
I met her when I was creating my artwork Inochi. Afterward, she served as a stylist on Mr’s short film Nobody Dies and a collection of photographic works I did. She created the impetus that got this project rolling.
Photo and video archivist Akihide MishimaHe came all the way from Osaka. In the past, he’s helped make promotional videos for GEISAI and other projects.