Ebene Magazine – WACK training camp documentary, behind the scenes that the director talks about « the scene where emotions are pulled, but sympathy is legal »

Ebene Magazine - WACK training camp documentary, behind the scenes that the director talks about "the scene where emotions are pulled, but sympathy is legal"

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2021/01/17 07:00

When asked, « What is the most powerful music agency right now? », Many people will name this agency. WACK has seven women’s groups such as BiSH, BiS, and Mameshiba no Tai. The movie « Raika Rorin Suton -IDOL AUDiTiON-« , which follows the training camp audition held by WACK once a year, was released on January 15th. « I definitely want to be an idol » In order to make that dream come true, a documentary about girls struggling, suffering, and exceeding the limits of their bodies and spirits during a spectacular week … To Hiroki Iwabuchi and Elizabeth Miyaji, who were directors. We asked him about the back side of the shooting and the awesomeness of WACK that he felt through the audition. [Photo] Girls who exceed the limits of their bodies and spirits … Scene cut of the movie « Raika Rorin Suton » * * * * * *-Please tell us how you got involved in WACK’s video work from director Elizabeth Miyaji. Miyaji: Before WACK was made, Company Matsuo and his colleagues shot a movie called « The BiS Cannon Ball 2014 » (hereinafter « BiS Cannon ») at the time of the former BiS dissolution live in 2014, and the making of it. I was invited to. The members of BiS were Mr. Matsuo of the company and other directors one by one, but I was in charge of Mr. Junnosuke Watanabe. ――What was your impression of Mr. Watanabe? Miyaji: At the rumor level, I heard that it was « super terrible, » but I didn’t feel that kind of danger at all. I think Mr. Watanabe wasn’t sleeping because it was the day before the dissolution of BiS, but I was filming him working all the time. After that, at the 2016 BiS training camp audition, I decided to shoot a documentary that deceives the « BiS Cano » team as a director. As a result, the project itself didn’t go well, but it was the first time since WACK that I directed the documentary « WHO KiLLED IDOL? -SiS Disappearance Poem- » of a group called SiS, which was born as a by-product. It is a job. –Did you know about the old BiS before you got involved in « BiS Cano »? Miyaji: I’ve been shooting PV for indie bands all the time, but I’ve heard rumors about the old BiS that there are crazy idols. It was a live performance that wasn’t bound by the frame of being an idol, and I was also at a live house like a bandman I knew, so I was always interested. –How did Hiroki Iwabuchi get involved in WACK’s video work? Iwabuchi: It was the first time I was called as a photographer at the 2016 BiS training camp audition, but before that I had an exchange with Mr. Watanabe and went out drinking. I also participated in the WACK audition training camp the following year as a photographer, and I am making a movie as a director from « WACK joint audition 2018 ». ――What was your impression of Mr. Watanabe at the scene? Iwabuchi: What I remember very much was that the children of the second BiS before the live were preparing in the dressing room, and I was waiting outside to talk. Then Watanabe-san, who was in the dressing room, said, « Iwabuchi-san, now! », And when I glanced at it, there was a child who was nervous and crying before the live performance. I don’t give instructions in clear words, but I was able to convey the intention to take a picture without hesitation. Miyaji: In 2018, I was turning the camera in the AKB48 World Election General Election, but the places I could shoot were limited, and at that time I thought that WACK was free. Iwabuchi: Mr. Watanabe himself knows that if there are restrictions on shooting documentaries, such as being reluctant to shoot or not being able to shoot only up to this point, you will not be able to shoot good things. Don’t brake it on the director’s side. I don’t say it directly, but it’s always shown in an attitude. ――What are you aware of when turning the camera at the audition camp? Iwabuchi: Why is the child crying at that time? It is important to verbalize it by turning the camera, and it does not come out even if you turn it normally. I have to take action from this side, for example, the moment when the dropout is announced, or the words that can only be said at that time, at the right time. Miyaji: The candidates are all about the training camp, so if you don’t move from the photographer’s side at the important timing, you won’t come out from there. Iwabuchi: It doesn’t come out even if you just turn it. ――This time, « Raika Rorin Suton » is co-directed by Hiroki Iwabuchi, Elizabeth Miyaji, and Baksheesh Yamashita. What happened? Iwabuchi: First of all, I heard from Mr. Watanabe about the training camp. The previous work « The Sadest Audition in the World » focused on the dropouts, and the previous work « IDOL -Ah Ruthless- » focused on the disbanding Phase 2 BiS. For « IDOL -Ah ruthless-« , we included 15 or 16 photographers and shot from corner to corner, and the amount of material exceeded 500 hours. Partly because I edited the amount of material to the limit, I thought that I couldn’t make new things with my own imagination. So I consulted with Mr. Miyaji and Mr. Yamashita, and I suggested that the three of us should co-direct, and they agreed. ――Why did you talk to Director Yamashita? Miyaji: Mr. Yamashita has been on the scene as a photographer since « BiS Cano ». I’m always objective and don’t embrace emotions, so I wanted a perspective that would allow me to make calm decisions. I get emotional with haste (laughs). ――How did you divide the roles in the field? Mr. Iwabuchi has a personal interview with the candidate during the training camp, and Mr. Yamashita notes the conversation at that time. With reference to that memo, I decided to ask this child about this kind of story, and Miyaji-kun and Yamashita-san focused on the candidates, and I focused on the active members of WACK. At first, I proceeded like that, and gradually the two candidates who became the center of « Raika Rorin Suton » became conspicuous, so Miyaji put emotions into the story of the two, and I (Sentochihiro) It was a composition that looked at the active members centered on Mr. Chicchi, and Mr. Yamashita looked at the whole by pulling further. Miyaji: For the first three days, there are many parts that you can’t understand until you take a picture. Also, as a big rule this time, I decided not to interview Mr. Watanabe directly. Iwabuchi: I was in close contact with Mr. Watanabe, both the previous work and the previous work, and listened to stories in various situations. Then, it would look like an audition camp centered on Mr. Watanabe. I thought that if I drew it differently, it would be a different approach. ――What is written in Yamashita’s memo? Mr. Iwabuchi says to a child who is doing well, « Do your best as it is », but the point becomes clear that a child who is not doing well is not confident or is not good at singing or dancing. I’m taking notes. –Did Yamashita take notes before? Iwabuchi was taken. Even in an interview like this, the writer can’t hear anything without doing some preliminary research. In the same way, Mr. Yamashita also collects information on-site and researches topics and themes that the child can easily talk to. In the world of AV, which is Mr. Yamashita’s main job, I interview actresses and listen to their sexual experiences and habits before shooting. Mr. Yamashita’s AV site has a script that does not show anyone « This will happen if you make this selection » like a flowchart. Miyaji: Do you have a flowchart (laughs)? Iwabuchi: Even if something unusual happens at the site, the flowchart in Mr. Yamashita’s head is within the expected range (laughs). Miyaji: That’s amazing. ――What type of director do you feel when you see each other at the shooting site? Iwabuchi Miyaji is good at catching the boiling point of emotions. In « Raika Rorin Suton », Mr. Chitti was the one who expressed his emotions, so I was able to grasp the timing well. Miyaji: The problem is that I’m also emotional (laughs). Even so, Iwabuchi-san and Yamashita-san have made it possible to control each year. Mr. Iwabuchi can see the whole composition and does not miss the timing of the interview. Considering the feelings of the other person, it is difficult to hear, so it is not something that can be done easily. Like Mr. Yamashita, they are always thinking about what is necessary for a movie. ――How did you proceed with this editing work? Iwabuchi: The division of labor was the first, and I edited and connected the first half and Miyaji-kun in the second half. At that time, there were plenty of interviews with the dropouts, so I built it around that and connected it to the story of the two main characters. When I showed it to Mr. Watanabe, I got the opinion that it would be easier to see the story of the two people as a movie, so I almost erased the part I made and put it in the latter half of the line made by Mr. Miyaji. At the same time, I connected again. ――How do you feel the distance from the candidates? Iwabuchi: Last year, there was a female photographer, but I was so embarrassed by the candidates that I couldn’t turn the camera. « Why does Mr. Watanabe do such a terrible thing? » It’s a scene that draws emotions that much, but as a photographer, it’s legal to feel sympathy. Miyaji: If that happens, you can’t really turn the camera. I used to be moved, but gradually I calmed down and got used to the tears of the girl. Iwabuchi Miyaji-kun is close to the target. The interview with the candidate was super doup. Miyaji: Your emotions naturally appear on the camera (laughs). Iwabuchi Miyaji is faithful to the desire of the video to capture the child’s facial expression, but he has heard what he should listen to. The female photographer I talked about earlier had a friendship with the candidate. Miyaji: It’s not good to be friends. Iwabuchi: I think it’s strange to see a candidate who is having a hard time in front of you and make the illusion of yourself. Even though I’m not running or dancing, I can’t feel the child’s feelings. It’s our job to calmly express in the video, so don’t get me wrong. Miyaji: I’ve seen Mr. Iwabuchi and Mr. Yamashita up close, so I gradually took that stance, but it’s hard to do. –Are there any things in common with those who passed the audition? Iwabuchi: There are some words that don’t come out unless you’re desperate. When I go to get an interview, even if I shed tears, my feelings are expressed as they are. There is no lie in that feeling. The child whose shell was broken in that way will remain. Miyaji: I got the impression that a child full of himself was falling. The rest of us feel that when we perform in groups, we focus more on how we perform in the group than on how we show ourselves. In that sense, I think you’re doing exactly what Mr. Watanabe is looking for. Iwabuchi: Some children try to do it dexterously, and that is overlooked. Miyaji: It’s important that you really do it from the bottom of your heart. Iwabuchi: Some children behave like leaders, but I’ve been watching the group for a long time, including Watanabe-san and WACK-san’s staff, so I can’t let the professionals look at me. ――The last question is, why do you think WACK continues to show its presence in the rapidly changing idol scene? Miyaji: I don’t think it’s the current situation. Even when the state of emergency was declared in 2020, Mr. Watanabe was always thinking about what he could do at this time and how he could live in this situation. You shouldn’t stop anyway. As far as I know, there weren’t many people in the music industry like that. I think Mr. Watanabe was definitely depressed, but I haven’t given up at all. Iwabuchi: When I first worked with Mr. Watanabe, WACK was small and I was crazy about it, but compared to those days, the heat of each group and live performance is still the same, and I always face myself and look ahead. The root of continuing hasn’t changed. [Read together] BiSH St. Chihiro Chitti talks about the audition « I was disliked, but I decided to say everything I wanted to say and go home. » ▽ « Raika Rorin Suton -IDOL AUDiTiON- » January 15 ( From Friday), it will be released nationwide at Theater Shinjuku and others. Director: Hiroki Iwabuchi, Baksheesh Yamashita, Elizabeth Miyaji Producer: Junnosuke Watanabe Photo: Hiroki Iwabuchi, Baksheesh Yamashita, Elizabeth Miyaji, Yuki Shiratori Cast: BiSH BiS EMPiRE CARRY LOOSE CARRY LOOSE Audition candidate distribution: Matsutake Movie Sales Department ODS Business Office / Development Planning Department Video Planning and Development Office 2020/82 minutes / Vista size / 2.0ch stereo / (C) WACK.INC ▽ « Raika Rorin Suton-IDOL » AUDiTiON- ”official website http://rolin-ston-movie.com/

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Related title :
WACK training camp documentary, behind the scenes that the director talks about » The scene where emotions are pulled, but sympathy is legal « 
BiSH St. Chihiro Chitti’s sympathy « My words may change the child’s life. »
Movie « Raika Rorin Suton -IDOL AUDiTiON- »

Ref: https://news.mynavi.jp




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