Interview With Mayu Nakamura: The Scammers Always Pretend To Be Sons or Grandsons and Never Daughters or Grand-Daughters

Mayu earned an MFA from the Graduate Movie Program at New York College. In 2006, her first fiction function movie, “The Summer season of Stickleback” was premiered within the competitors part on the Busan Worldwide Movie Competition, and it was theatrically launched in Japan. In 2012, Mayu directed the documentary function movie, “Lonely Swallows–Residing because the Kids of Migrant Employees” which follows Japanese-Brazilian youngsters struggling to outlive in Japan and Brazil. The movie gained the Grand Prix in Documentary Options on the Brazilian Movie Competition. In 2015, Mayu directed one other documentary function movie, “Alone in Fukushima.” The movie follows a person who stays within the nuclear zone with animals in Fukushima. The movie was screened on the documentary part at Montreal World Movie Competition, and it was theatrically launched in Japan. Her writing credit score consists of “Tokyo Trial” which was nominated for the forty fifth Emmy Award in Greatest TV Film/Mini-Collection. Her newest work is fiction function thriller “Intimate Stranger.”

On the event of “Intimate Stranger” screening at Helsinki Cine Aasia, we communicate together with her concerning the idea of scamming the scammer, moms and sons, center aged ladies in Japanese cinema, the performing and casting, and lots of different matters.

Are you able to inform us concerning the inspiration behind the story of the film and this entire idea of scamming the scammer?

There was an actual story a couple of mom in Texas who was deceived by a French boy and accepted him as her lacking son. I believe the story was made into documentary and fiction movies. I used to be impressed by that story, and was intrigued by how desperation can drive a mom to just accept a stranger as her son.

I used to be additionally fascinated by what number of moms dote on their sons in Japan. They’re so shut and their relationships are nothing like mom and daughter. I used to be additionally within the many phone scams occurring in Japan. The scammers at all times faux to be sons or grandsons and by no means daughters or grand-daughters. So I believed that the peculiarity of this crime displays this intimate relationship between moms and sons in Japan.

Did you do any analysis relating to how these scams work beforehand?

I did some analysis and I discovered most of the boys and males concerned within the crimes largely come from damaged properties, not understanding mom’s love. So I used to be intrigued by the truth that there are two excessive spectrums of society; on one hand, moms dote on their sons and on the opposite, there are moms who utterly neglect their sons. So i believed that it is perhaps fascinating if a boy like Yuji who doesn’t know mom’s love, will get concerned on this crime to expertise mom’s love vicariously.

How would you describe the connection of Yuji and Megumi? Do they fill some form of hole of one another?

I imagined what if there was a doting mom who misplaced her son, and a boy who doesn’t know mom’s love met on this scammer and sufferer scenario.

Why did you determine to incorporate this component of violence within the story?

I attempted to not embody gratuitous violence or intercourse on this movie. Megumi solely turns violent when somebody tries to hurt her surrogate son. I additionally tried to make some extent about portraying eroticism with out portraying a intercourse scene.

How was your cooperation with DP Tomohiko Tsuji? May you give us some extra particulars concerning the idea of desaturation within the visuals of the film?

Tsuji and I each come from documentary background, and we make each documentary and fiction movies. I believe Tsuji is a uncommon DP who can seize the actors’ efficiency like a documentary. I advised him that I wish to go for movie noir look and requested him to use “bleach-bypass” like monochromatic look in color-grading.

Why did you determine to implement such a sluggish tempo within the film?

I didn’t intend to make it sluggish, however I needed to disclose issues progressively and construct up stress quietly. The movie is barely 96 minutes lengthy, however many audiences discover it actually intense.

There are two scenes that stand out significantly for me. The one with the haircut and the confrontation of Kenichi with Megumi. Are you able to give us some particulars about the best way you shot them?

I attempted to painting the haircut scene as an erotic scene and the way Megumi places Yuji underneath her command, and will get pleasure out of turning him right into a boy she likes. The confrontation scene between Megumi and Kenichi is the one {that a} wifey-looking girl turns deadly to a thug. I like Meiko Kaji and “Feminine Prisoner: Scorpion” so whereas I used to be taking pictures, I attempted to make Asuka Kurosawa trying like Meiko Kaji.

How was your cooperation with Asuka Kurosawa and Fuju Kamio? Normally, how was the casting strategy of the film, and the way did you find yourself with Shogen within the function of Kenichi?

Asuka is a superb, versatile actress. I’m in love together with her work in “Snake of June”, “Chilly Fish” and “Paradise.” However currently, she has performed largely roles of mild wives and moms in TV soaps. I needed to make use of her mercurial presence in full on this movie.

Fuju Kamio is an fascinating younger expertise. He’s been in lots of teenage romantic films and dramas, however he has darkish eyes and has performed quite darker roles in some movies. Since I’m portraying a drama set within the post-COVID world, it was essential to solid actors who can convey feelings by their eyes even when their faces are coated by masks.

I’ve been a great buddy with Shogen. I appreciated his sharp-look and the way he might be fairly nasty in some roles whereas he’s an actual gentleman in actual life.

What’s your opinion of the Japanese film business in the intervening time? Do you’re feeling that ladies filmmakers have equal alternatives?

There are extra ladies administrators now than earlier than in Japan, however it’s nonetheless troublesome to make movies with middle-aged ladies as heroines. It’s both younger ladies or younger males or middle-aged males are the protagonists, and middle-aged ladies are sort of uncared for in Japanese movies. I believe this is because of the truth that the traders are largely middle-aged males. After I introduced this mission to 1 male investor, he advised me he was a bit disgusted to see an erotic movie about older girl and youthful man. I’m so positive he wouldn’t have been disgusted if the story was about an erotic relationship between an older man and a youthful girl. Ladies over 35 years previous are imagined to get married and change into moms, and by some means they change into sexless presences. It’s actually unhappy. I wish to change that, a minimum of in my movies.

Are you engaged on something new in the intervening time?

I’m ending up a sequel to the documentary a couple of man who remained within the nuclear zone in Fukushima. I adopted the man for eight years. I even have one other fiction function movie consisting of 4 brief movies portraying varied ladies dwelling within the post-COVID Tokyo. Each movies are due for theatrical launch this yr.



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