“Suzuki Satsuo’s skilfully manipulated hand-held camera with a long lens is meticulous, at times sentimental, at times bold, focusing on his subject in a way that seems as though it were composing a melody with images. On the Road showed us a new, powerful type of image.
In 1962 verscherpte de Japanse nationale spoorwegmaatschappij (JNR) de werkschema’s om een antwoord te bieden op de congestie op het spoor die veroorzaakt werd door een nieuwe sneltrein en het goederentransport in aanloop naar de Olympische Spelen van 1964.
Aaron Gerow: Among the members of the Ao no Kai, there were many directors who left Iwanami to go independent.
Aaron Gerow: This is a question relating to style. The dual quality, as you said, both keeping a distance and having a great interest in the main subject – someone like Takita Osamu in Pre-Partisans – is a part of your film style.
“On the other side of the bay from Minamata, on the islands off the coast of Amakusa and Kagoshima, I spent over a hundred some days going around showing Minamata films with my staff with a simple intention: I knew that although there were many Minamata victims there, through pressure from either
“I thought fishermen were people who were never afraid of the sea. People would laugh at me and say: ‘Even if we do not say it, our fear is growing day by day.’ They know the depth of the sea, the best times to go fishing.