Post by SamIAm on May 25, 2005 7:40:55 GMT -5
Article: House of Flying Daggers - Takeshi Kaneshiro Interview
Author: Joe Utichi
Source: Film Focus
URL : www.filmfocus.co.uk/lookat.asp?FilmbaseID=153&FeatureID=11
Takeshi Kaneshiro is a dude. An institution in China since he was a teen idol, the half-Japanese half-Taiwanese thirty-one year-old exudes cool as he lights a cigarette and greets FilmFocus as we sit down. Something that becomes immediately clear is that, in talking to us about his role, Kaneshiro will be completely unwilling to mince his words or play to the Hollywood luvvies stereotypes.
The role, of course, is that of Jin in Yimou's Hero follow-up, House of Flying Daggers. It's the most recent in a long line of film roles for the actor, who's all but completely dropped the teen image that made him famous. Zhang Yimou the latest in a long list of directors any actor would die to work with.
How did you make the connection between pop-star and actor?
I started doing movie work coincidentally but then I found that, I think it's all about creation. Whether you're writing a song or acting in a film it's all about the process of creating something. And I think that process is very interesting. It's not just acting. I'm just as interested in directing or camera work or any other of the new technologies of how they make movies, of how they make dreams. It's very interesting.
How much training was involved for House of Flying Daggers?
I'm not at all qualified for action movies. For this one, I practiced just the basics of using a sword for about a month. But the only thing we could learn was the basics. We didn't know what kind of action would be involved in the role. The action director likes to arrange or think the scenes on set so every day we arrive and wait for him to choreograph the scene and then we learn and we shoot.
That sounds quite dangerous...
It is!
So was the story perhaps more attractive than the life-threatening action?
For this movie, when I first heard the story, I really thought of it as a love story. I didn't even consider the action. This is a love story that the director wants to tell.
Are there any similarities between Daggers and Hero?
The common ground they both share is about sacrifice. When you make a choice you have to sacrifice something else for what you're after. In Hero it's about self-sacrifice I think, whereas in House of Flying Daggers it's a little different.
Is House of Flying Daggers going to be the film that breaks you into Hollywood, or are you quite happy to stay where you are for the time being?
I think I'll try any kind of movie. Not only because it's big-budget or anything. Big-budget doesn't mean good. It's more important that the story is good or the director is someone you'd like to work with. In Hollywood I don't think there are many good roles for Asian people. I don't aim so much to head there, but yeah, if there's a good role it's worth a try.
But this must be a good time to work in Asian cinema anyway. Is there a sense the industry is on the rise?
I think, maybe, it's because China's mainland market opened and the west want to explore that market. This is the biggest reason we're seeing Asian movies become huge in western countries. People are ready to invest now.
How challenging was the location work on the film? If we get no other impression from the film it's that this is a precise production, there must have been a lot of waiting around on location...
Well, for us [actors], we can only wait. For the director it's a big challenge because it's a place he's unfamiliar with and there's waiting for light and weather. But we follow him, so it's not really a challenge for us.
Not even the snow was a bit challenging?
That was a lot of fun. I mean, it was hard and tiring, but the snow is brilliant. Story is all about drama. If I were to walk through a door that's not drama. But if the door is locked, all of a sudden there's a challenge and it becomes drama. So the snow, even though it was hard work, really serves the drama. The snow was unplanned, of course, but it was a great gift. We had a few body-warmers and we got on with it!
Which was the most difficult action sequence to shoot?
I didn't really have too many, but the hardest part for me was to fight with a person. When we're working with stunt people it's fine because they're used to being hurt, but when Ziyi [Zhang] or Andy Lau are required to be in a shot, all of a sudden it's terrifying because you're worried about missing a mark or something and hurting them.
But when you're doing your best not to damage them, working with Ziyi Zhang and Andy Lau must be quite an experience.
It's inspiring to work with them because they're both skilful and experienced actors. Ziyi has the discipline of a dancer so she does very well with the dancing and Andy Lau is very respected as an actor - I respect him at the highest level. He's won a lot of awards. For them, when they're acting, it's quite easy, so there is a bit of pressure but I find I learn a lot from them. It's very inspiring. They aim for perfection - even if the director likes their work they ask for a retake. I can't do that.
What's the reaction been from people who've seen the film?
You know, I don't like to ask. I think, maybe, people are very kind to you or polite, they'll never say it's bad. But you never know if they're honest or not! I'm just happy to come to places like London and show off the film, I'm proud that it's travelled.
Author: Joe Utichi
Source: Film Focus
URL : www.filmfocus.co.uk/lookat.asp?FilmbaseID=153&FeatureID=11
Takeshi Kaneshiro is a dude. An institution in China since he was a teen idol, the half-Japanese half-Taiwanese thirty-one year-old exudes cool as he lights a cigarette and greets FilmFocus as we sit down. Something that becomes immediately clear is that, in talking to us about his role, Kaneshiro will be completely unwilling to mince his words or play to the Hollywood luvvies stereotypes.
The role, of course, is that of Jin in Yimou's Hero follow-up, House of Flying Daggers. It's the most recent in a long line of film roles for the actor, who's all but completely dropped the teen image that made him famous. Zhang Yimou the latest in a long list of directors any actor would die to work with.
How did you make the connection between pop-star and actor?
I started doing movie work coincidentally but then I found that, I think it's all about creation. Whether you're writing a song or acting in a film it's all about the process of creating something. And I think that process is very interesting. It's not just acting. I'm just as interested in directing or camera work or any other of the new technologies of how they make movies, of how they make dreams. It's very interesting.
How much training was involved for House of Flying Daggers?
I'm not at all qualified for action movies. For this one, I practiced just the basics of using a sword for about a month. But the only thing we could learn was the basics. We didn't know what kind of action would be involved in the role. The action director likes to arrange or think the scenes on set so every day we arrive and wait for him to choreograph the scene and then we learn and we shoot.
That sounds quite dangerous...
It is!
So was the story perhaps more attractive than the life-threatening action?
For this movie, when I first heard the story, I really thought of it as a love story. I didn't even consider the action. This is a love story that the director wants to tell.
Are there any similarities between Daggers and Hero?
The common ground they both share is about sacrifice. When you make a choice you have to sacrifice something else for what you're after. In Hero it's about self-sacrifice I think, whereas in House of Flying Daggers it's a little different.
Is House of Flying Daggers going to be the film that breaks you into Hollywood, or are you quite happy to stay where you are for the time being?
I think I'll try any kind of movie. Not only because it's big-budget or anything. Big-budget doesn't mean good. It's more important that the story is good or the director is someone you'd like to work with. In Hollywood I don't think there are many good roles for Asian people. I don't aim so much to head there, but yeah, if there's a good role it's worth a try.
But this must be a good time to work in Asian cinema anyway. Is there a sense the industry is on the rise?
I think, maybe, it's because China's mainland market opened and the west want to explore that market. This is the biggest reason we're seeing Asian movies become huge in western countries. People are ready to invest now.
How challenging was the location work on the film? If we get no other impression from the film it's that this is a precise production, there must have been a lot of waiting around on location...
Well, for us [actors], we can only wait. For the director it's a big challenge because it's a place he's unfamiliar with and there's waiting for light and weather. But we follow him, so it's not really a challenge for us.
Not even the snow was a bit challenging?
That was a lot of fun. I mean, it was hard and tiring, but the snow is brilliant. Story is all about drama. If I were to walk through a door that's not drama. But if the door is locked, all of a sudden there's a challenge and it becomes drama. So the snow, even though it was hard work, really serves the drama. The snow was unplanned, of course, but it was a great gift. We had a few body-warmers and we got on with it!
Which was the most difficult action sequence to shoot?
I didn't really have too many, but the hardest part for me was to fight with a person. When we're working with stunt people it's fine because they're used to being hurt, but when Ziyi [Zhang] or Andy Lau are required to be in a shot, all of a sudden it's terrifying because you're worried about missing a mark or something and hurting them.
But when you're doing your best not to damage them, working with Ziyi Zhang and Andy Lau must be quite an experience.
It's inspiring to work with them because they're both skilful and experienced actors. Ziyi has the discipline of a dancer so she does very well with the dancing and Andy Lau is very respected as an actor - I respect him at the highest level. He's won a lot of awards. For them, when they're acting, it's quite easy, so there is a bit of pressure but I find I learn a lot from them. It's very inspiring. They aim for perfection - even if the director likes their work they ask for a retake. I can't do that.
What's the reaction been from people who've seen the film?
You know, I don't like to ask. I think, maybe, people are very kind to you or polite, they'll never say it's bad. But you never know if they're honest or not! I'm just happy to come to places like London and show off the film, I'm proud that it's travelled.
