Kart Entertainment Film and Stage Director Yuji Kakizaki

Passing on timeless messages to future generations through film

Kurt Entertainment Film and Stage Director　Yuji Kakizaki　(Yuji Kakizaki)

■ Profile

Born in Yamagata Prefecture in 1968, he has served as executive producer on numerous stage productions, films, and TV programs. His latest film, "Kouin: Time Out," won Best Picture and Best Director awards in six categories at international film festivals in four countries. He is also executive producer, scriptwriter, and director of the stage play "The Return of the Firefly: Eternal Words," which depicts the relationship between a kamikaze pilot and Torihama Tome during the war and is now in its eighth year.

Kakizaki Yuji has been involved in many films and stage productions, including the stage play "The Return of the Firefly: Eternal Words," which is based on the kamikaze pilots, and the film "Kouin: Time Out," which was based on his real-life experiences as a bodyguard and won six awards at international film festivals in four countries. What message does he want to leave for future generations through his work?

■ From zero experience to production

Actually, I originally wanted to be a movie actor. That dream was sparked by watching Bruce Lee in junior high school. However, I wasn't very successful as an actor, so I gave up on that dream and, at the age of 20, started Japan's first bodyguard company. I worked with superstars, including Hollywood stars, former American presidents, and athletes. I even went to dangerous locations, risking my life to work on set. It was an exciting time, but one day, when I thought about what I wanted to do, I realized, "I want to convey something to the world through my work." Then, around age 37, I tried my hand at producing a stage play for the first time. However, it wasn't as interesting as I'd expected. The producer's job is distinct from the world of directors and actors, and I felt completely out of the loop. I wanted to create works where I could more closely negotiate with actors, so I started writing my own scripts and directing.

■ Live on through the works to future generations

My motivation for making films is the reactions of those who have seen them. The thing that makes me happiest is hearing people say, "Seeing my film changed my life." Conversely, money is a challenge. Producing a film typically costs tens of millions to hundreds of millions of yen. This huge amount of funding is usually secured by a production committee, gathering investors. However, this often results in investors interfering, limiting the scope of the film. That's why I make films on my own, raising the funds myself. I'm probably the only person in Japan doing this. I believe we should appeal to our future and future generations in ways that convey the messages we want to convey. Looking calmly around Japan, given the global situation and natural disasters, we face an uncertain future. It's precisely because of these times that I've come to believe it's our role to convey a message for the future, even to our children's generations. I also believe that creating works that inspire future generations is like living forever. That's why I think it's worth spending so much money and effort to make a film.

■ I want to convey the reality of wartime.

My ideas for my works come from the emotions that are present in everyday life, such as conversations with people or reading books. I'm often moved every day, and I want to turn those heart-pounding emotions into films that you never forget once you've heard them. The play "The Return of the Firefly: Eternal Words," which opens on June 29th, was created 16 years ago. I had always known about the existence of the kamikaze pilots, but it was after reading a book that I learned about the fact that young people as young as 17 participated, that there were 1036 members in Kyushu alone, and the overwhelming emotions they felt through photos of them smiling and holding puppies before their deaths and letters they left behind for their families and loved ones. I realized that many modern-day Japanese people live their lives unaware of this fact, and I wanted to convey it to young people of my generation, so I created this work. Producing a play requires a huge amount of money, and even if the theater is sold out, the production is guaranteed to result in a deficit of approximately 30 million yen, so I need to be prepared. Still, I feel I have to do it.
Despite the many voices from all over Japan saying things like, "We want it to be held in Osaka too," and "We want it to be held every year," budgetary issues make it difficult to make it happen, which is a real pain. But even so, I was comforted when one of the people who came to see it, who was there at the time, said, "It was exactly the same place as when I was there." I feel like I perform plays to hear such voices. The highlight is the high level of reproduction. The play is created while also taking into account entries in diaries from that time, so it recreates even the small details that are not commonly known, such as "they were actually all very kind-hearted people."
In order to achieve a high level of reproduction, we kept in mind during practice the rule that "one person's mistake is the responsibility of the group." I think we were able to achieve this level of reproduction because all the members were determined to "somehow convey this excitement."
There are still many films I want to make, such as a film about the evacuation shelters in the aftermath of the Great East Japan Earthquake. I would like to continue to present works that connect the facts, with the motto of "don't change the important fundamentals."

　

■Message to university students

The future is still limitless for all of you, and I believe you all have many dreams. We live in a time of great challenges, with security issues and frequent disasters, but if we look back at history, there must have been generations that faced hardships. I believe that history is connected precisely because there have been people who have overcome such difficulties. You may face difficulties in the future, but I hope you will hold on to your dreams and continue to have the determination to overcome them.

Interviewed by Student Newspaper Online on June 10, 2024 by Hinata Amie, a third-year student at Sophia University

Stage: The Return of the Firefly ~Eternal Words~

Period: 2024 year 6 month 29 day (Saturday) to 2024 year 7 month 7 day (Sunday)
*There will be no performance on Tuesday, July 2nd

Location: Haiyuza Theater　https://www.haiyuzagekijou.co.jp/

Cast: Tsukasa Ito and Yuka Takeshima　
Koe Nakarai, Yoshitaka Ohtsuru, Tamao Sato, et al.

Screenplay, direction and executive production: Yuji Kakizaki
Planning and production: Kurt Entertainment

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Kisarazu Comprehensive High School 3rd year student Hara Sota / Showa Women's University 3rd year student Ryuzawa Ai / Kyoto University of the Arts 1st year student Inomoto Reina / Keio University 3rd year student Yamamoto Sayori / Sophia University 3rd year student Amie Hinata