And so, with those considerations, I decided that I wanted to have the car to drive, so there’d be less burden for the actors.ĭEADLINE: Did that add any time to the shooting schedule, or was it like shooting a normal conversation scene in a cafe? But I felt that to have the actors performing in a car that’s stationary would mean that there would be one more burden for them to have to think about, because they would have to pretend that the car was moving. It would have been perfectly possible to green-screen the background and have the car situated against that, and it’s possible to do that in a quite natural way with today’s technology. HAMAGUCHI: I decided early on that I wanted the car to be actually driving. I also very much felt that the color red would pop more brightly within the landscape than yellow.ĭEADLINE: How did you shoot the car scenes? And as he was driving towards us, I remember thinking, “Oh, what a cool car.” And then I found out that this car was, in fact, a Saab 900-and it had a roof, so it was perfect. In fact, we had a coordinator who was looking at these cars for us, and one day he came riding up in this red car. I figured the right thing to do was to try to use the same car, but, at the same time, I knew that it would be difficult to use a convertible, because the conversations that happen in cars are very important to this movie- without a roof, it meant that there would be wind noise that we would have to worry about, and it was very important to me to record the sound in sync. HAMAGUCHI: In the original story, the car is a yellow Saab 900, which is also a convertible. ![]() I was working here and there, and working with my producer.ĭEADLINE: Kafuku’s red car really is a character in the movie. But it doesn’t mean that I was writing for two years constantly. ![]() But then the pandemic happened, and I also had to do some rewrites, and so I think, all in all, it was about two years for the full script to be done. I think the project really started when it was first suggested to me in 2018, and it was in March 2020 that we really started to shoot, so it was about a year and a half. HAMAGUCHI: It was more of a step-by-step process. Once he gave us the rights, I was able to work freely on the project. He didn’t really give any ideas or thoughts on the script either. HAMAGUCHI: Other than the fact that we adapted his story, he really didn’t participate in the making of the film in any way. I was also very drawn to the characters, so I suggested back to the producer that we try to adapt this story instead-and he accepted.ĭEADLINE: Was Murakami involved in any way? ![]() I often deal with conversations that happen in cars already in my work, and I’ve always been interested in the theme of performing and performance. But I did know of this other short story of his, Drive My Car. HAMAGUCHI: It was actually the suggestion of my producer, and I think that’s a result of there being an interview with Haruki Murakami where he said, “I can give adaptation rights to some of my short stories, but it’s really difficult for me to give those rights for my longer novels.” I think that’s part of the reason why my producer suggested that we try to adapt a short story! But the story that the producer suggested didn’t appeal to me-I just didn’t have the confidence to be able to make it into an interesting film.
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