2020.02.12

My way and and wander vol.2Yukiko Mishima (Film Maker)and wander journal #07

ドキュメンタリーから映画の世界へ。

ジャンルが変わっても守りつづけていることは?

小さい頃から映画を撮りたいと、ずっと思っていたんです。でもNHKという素晴らしい物作りの環境に身を置くなかで、なかなか思い切りがつかなかった。そんな状態の時、大先輩の女性に言われたんです。「どれだけ惚れて死んでいけるかじゃないの?」って。それが深く響きました。「こんなに好きな映画なのにその愛を育まないでなにが人生なの?」って。最新作の『Red』という映画でもそのまま使っているセリフなのですが、良い言葉だなあと思います。『Red』のストーリーとも重なるんですよ。『Red』の主人公には世間から見れば理想的な夫がいるんですが、求めている事のズレが生まれて来て、心から愛しているものは何なんのかを見つめ直してしまうそんな気持ち。

ドキュメンタリーにしても劇映画にしても、変わらないのはきちんと人間を撮るということ。もともと人間ドキュメンタリーを撮っていたので、人間がこういうシチュエーションでどういう顔をするかとか、どういう言葉を呟くのかとか、人間への探求なんです。震災のような大きな事件はもちろん、例えば喪失や別れ、ひずみなど、人生にはいろいろな悲しみがありますが、そういうところから人間はどうやって再生していくのか、というテーマも、変わらないことのひとつです。いま撮っている劇映画の場合も、人間への探求は欠かせません。役者さんもひとりの人間なので、その日によってメンタルも体調も変わってきます。そういう変化をしっかりと見る。癖なんかも見ますね。笑うとここにシワが寄るんだなとか、この角度だとこういうふうに見えるんだなとか、細かい人間観察はドキュメンタリー時代からずっと変わらずつづけていることです。『Red』に出ていただいた妻夫木聡さんに「それって愛ですよね?」と言われました。愛、がないと撮れません。そういう人間研究をしっかりしてから撮影するのが私の撮り方です。被写体のことを深く知る。それが変わらないこと。

Shifting from Documentaries to Films

What are the things that you haven’t changed?

Since I was little, I’ve always wanted to make a film. However, working in a wonderful, creator-friendly environment at Japan Broadcasting Corporation (NHK), had made me indecisive. Then one day, my senior colleague said to me, “Isn’t life all about how much you can love what you love?” Her words really struck a chord in my heart. “What’s life if you can’t foster your love for movies?” I actually used her exact words as a quote in my latest movie “Red” and I think it’s a very inspiring quote. In fact, it also fits with the plot. The heroine is married to a typical ideal husband, but there’s a gap between what they seek in their relationship. Then she tries to be honest with herself and starts to really think about what she truly loves. I had the same kind of feeling as her.

Whether it’s a documentary program or a fiction film, I always try to shoot people as they are. Since I was working on human documentaries, it was important for me to understand how people would facially express or what they would say in various scenarios. Basically, what I’m doing is to delve into human behavior. Whether it’s a major incident like an earthquake or a personal matter like a loss/farewell or a broken relationship, life is full of sorrow. Putting a highlight on how people get over these difficulties is something that I have been working on my whole career. Even for the film that I am current working on, it’s essential for me to observe each person carefully. Actors and actresses are also a human being, so their mental and physical conditions change from day to day. It’s my job to observe and notice these changes. Habits and unique characteristics of the person are also something that I’m conscious of. I would be thinking like, “Oh, he has wrinkles there when he smiles!” or “Oh, that’s how she looks from this angle!” Close observation of people is something that I have been doing since the time when I was making documentaries. Satoshi Tsumabuki who takes a role in “Red”, said to me, “That’s exactly what ‘love’ is, isn’t it?” If there’s no love, I won’t be able to shoot. Doing a prior study about the people I shoot, is what I always do. I need to understand deeply about the subject I’m shooting. That is the way I film and it’s something that I haven’t changed.

and wanderを愛用している理由は?

撮影現場って苛酷なんですよ。私はディレクターズチェアにどっしり座って撮るタイプではなく、ずっと駆け回ってるんです。寒い時期のロケも多いです。ロケハンの時なんかは道無き道を歩いたりもします。しかも雪の中を。だから現場ではもともとアウトドアウェアを着ることが多かったのですが、6年ほど前に伊勢丹でand wanderを見つけたんです。最初は色味が印象的でした。どこかヨーロッパっぽくて、複雑に混ざりあったような色。いまではいくつも持っています。ダウンジャケットは色違いで2つ、フリースも色違いで2つ。小物だと、このネックウォーマーは2代目です。それとアームカバーは撮影現場でとても重宝します。というのも台本を持っているから、手袋を着けられないんですよ。でも寒い。そういう時にこれが丁度いい。ウェアはもちろんですが、こういう小物のデザインもかなり細かく考えられて作られていますよね。身の回りのさまざまなものについていえることですが、きちんと考えられてデザインされているものが好きなんです。and wanderはまさにそうで、デザイナーさんの顔が見える。ブランドとしての世界観がきちんとありますよね。監督が作る映画の世界観と通じるものがあります。だからどんな組み合わせで着てもand wander的だし、色味も合います。苛酷な撮影現場(笑)でも、自分の好きな服を着ていられるというのは、とてもうれしいことですね。

How did “and wander” become your favorite brand?

Filming is quite grueling, and it often takes place in a harsh condition. I am not the type who would sit tight in the director’s chair ― I’m all over the place. Filming in the winter season is common, and I would sometimes have to walk on a trackless land during location hunting. In the SNOW. So, it was natural for me to wear outdoor clothing at filming locations. Then about 6 years ago, I found and wander at Isetan (a department store). For me, at first, the colors of their items were striking. They looked somewhat European with the complex color patterns and tones. I have a lot of their items now. I have two down jackets in different colors and two fleece tops, also in 2 different colors. Other than that, I have a neck warmer, which is my second one, and a leg warmer. Their arm cover is another item that’s extremely useful during filming. Putting on gloves wouldn’t be an option for me because I would be holding a script in my hand. Of course, it’s cold. That’s exactly when this item comes in useful. The design of their accessories and goods are so well thought out, not to mention their clothes. This applies to anything that’s around me, but I’m fond of things that are well-designed and with ingenuity. and wander was just the right brand because I can understand the clear intention of the designers from their items. They obviously have a concrete philosophy of the brand. It’s quite similar to the worldview of a film created by the director. That is why every combination of their clothes can maintain the “and wander style”, and it would always be in a matching color. Filming can be tough, but it’s always a pleasure to have my favorite clothes on the entire time.

Yukiko Mishima 三島 有紀子
Film Maker

1969年 大阪府生まれ。NHKに入局後は「NHKスペシャル」や「トップランナー」などのドキュメンタリー番組を手がける。その後、独立して助監督を経たあと、『刺青 匂ひ月のごとく』で劇映画監督デビュー。『幼な子われらに生まれ』(17)で、第41回モントリオール世界映画祭審査員特別大賞、第42回報知映画賞監督賞、など多数受賞。他代表作として『しあわせのパン』(12)、『ぶどうのなみだ』(14)『繕い裁つ人』(15)、『少女』(16)など。

Born in Osaka in 1969. She worked for Japan Broadcasting Corporation (NHK) and led some of the most famous Japanese documentary programs including “NHK Special” and “Top Runner”, before going independent. After serving as an assistant director, she made her debut as a movie director with a fiction film “The Tatooer”. Her work “DEAR ETRANGER” (2017) is a multi-award-winning film, including the Special Grand Prix of the Jury Award at the 2017 Montreal World Film Festival and the Best Director at the 42nd Hochi Film Award. Other signature works include: “HAPPY HAPPY BREAD” (2012), “The Drop of The Grapevine” (2014), “A Stich of Life” (2015), and “THE NIGHT'S TIGHTROPE” (2016). Her latest film “Red”, starring Satoshi Tsumabuki and Kaho, will be released in theaters on February 21st.

text Takashi Sakurai
photography Koichi Tanoue
translation Masumi Tokugawa