OK: This remake feels like a spliced-together montage of scenes from different TV series and films. It'll suddenly cut off in mid-scene, and jump to some other totally unrelated part.
MM: During the shoot, they'd only give me the parts of the script we were shooting that day, so I had no idea what it was like in its entirety. What's more, it kept on changing. It was as if the complete version existed only in the director's mind.
OK: Sasori is dumped in this place that's like a disposal site for dead bodies, and corpse collector Simon Yam picks her up thinking she's dead even though she's actually still alive, then he trains her... story developments like those made absolutely no sense when I was watching the film (laughs).
MM: They didn't to me either, so when I was on set I went and asked the director about the bits I didn't understand. But his answer was mostly “Logic's got nothing to do with it!” (laughs)
OK: “Don't think, feel!”, just like Bruce Lee! So what exactly was that place where the corpse collector finds Sasori?
MM: Um... I suppose the prison had a place where the police would dump all the corpses.
OK: Oh, how convenient! That's a pretty half-arsed premise! He's supposed to be there collecting bodies, then he's all “bloody hell, she's alive”, so he force-feeds you something like a roasted sweet potato and nurses you back to health. Feeding a roasted sweet potato to someone who's on the verge of dying – what kind of resuscitation technique is that?!
MM: It was just a sweet potato. Still, he did give me something to drink before he fed it to me.
OK: Oh right, potatoes contain no moisture so it'd get stuck in your throat... what the hell's that got to do with it?! (laughs)
MM: Simon's character was probably under the impression that someone who dies and is resurrected can become a powerful assassin, so he'd collect lots of corpses, constantly wondering if one would come back to life. While making a giant wooden martial arts dummy. Or something like that...
OK: Well... then doesn't the corpse collector's story sound a lot more interesting?! (laughs) Not “Departures” so much as “Dispatches”. Sometimes he dispatches bodies, sometimes he doesn't...
MM: Ha ha ha!
OK: I'd love to see a spin-off built around the corpse collector.
OK: Also, there's that bit where Ishibashi Ryo is drinking in a bar and suddenly whacks another customer with a stick, and just as I'm thinking “What the hell was that?”, he's gone back to drinking again with a cool look on his face. That was a surprisingly surreal scene!
MM: I thought the same thing when I watched the film, but its power alone is amazing, and the story and the action is off the scale. The same goes for the way each action scene is choreographed.
OK: In one fight scene, a female opponent suddenly hangs in the air, spins around and around then delivers a flying kick. Without any run-up! That was amazing. A complete violation of the laws of gravity!
MM: That's right! I also get lifted up by my enemies, get spun around several times, suddenly jump incredibly high, and do a flying kick. We shot action scenes like that with the idea that their impact was more important than their reality. As I was acting I gradually became so numb to that idea that I came to think, “That's just the way it is” (laughs).
OK: There's a lot of freedom inside the prison too, with the inmates getting into fights and no-one trying to break them up!
MM: And on top of that the costumes were pretty out-there too. Miniskirts as part of the inmates' uniform... (laughs).
OK: Including bizarre things like that, how should I say, it felt like being transfixed by some strange dream (laughs). The catfight scene with Natsume Nana was awesome too!
MM: It was cold when we filmed that scene, and the floor was slippery, plus we were covered in mud, so it was incredibly tough.
OK: Nana lets out this fearsome beast-like growl (laughs). Like “ROOOAR!!!” I wondered, is she really like that? It was quite a surprise.
MM: She said the ADR sessions were tough too. I guess action movies really are more about entertainment than logic!
OK: What was it like acting alongside Bruce Leung?
MM: It was a-mazing! His movement was incredibly quick even though he's in his sixties. Plus he was extremely intimidating and scary when he attacked, but if I broke stance even slightly he'd stop the action immediately. He pays proper attention to his opponent's movements, and if he senses danger he responds right away, so I felt completely safe acting with him.
OK: How was Simon Yam [pictured left]?
MM: He'd just come at you out of nowhere, it was so frightening! (laughs) He doesn't pull his punches at all, so when he hits you, he really hits you! When he kicks you, he really kicks you! That's what he was like. Plus he always wore these heavy boots that looked like they had steel plates in them. When he'd kick me, it'd be with such force that I'd think “If I take three more of these, my bones are breaking for sure...”
OK: For an actor, that's an... interesting approach (laughs).
MM: Sure enough, I took a hard kick in the ribs one time that rendered me motionless for a while. It was too much so I pleaded to the director with tears in my eyes, “Please make him stop doing that, it's scaring me” (laughs).
OK: There are a few people around who are that full-on...
MM: If they want to do full-contact hitting for real, they should probably do it in a ring!
Sunday, August 02, 2009
Japanese production company Artport and Hong Kong director Joe Ma's reboot of the classic "Female Prisoner Scorpion" series, Sasori, finally opens in Japan on August 8th. By all accounts, it's a rather odd reimagining rather than a remake that de-emphasises the original's central theme of an oppressed and defiled woman wreaking merciless revenge against male hegemony, in favour of more conventional yet confusingly-plotted wire-based action. Mizuno Miki gamely takes over the role synonymous with Kaji Meiko, and in this Eiga Hiho interview with vocalist for influential rock band Kinniku Shojotai and writer Otsuki Kenji, she's surprisingly upfront about the film's more idiosyncratic elements, as well as the contrasting action styles of her Hong Kong co-stars.
Posted on Sunday, August 02, 2009
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