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Takeshi Aono information. Birth date: June 1. Asahikawa, Hokkaido, Japan. Death date: April 9, 2.
The series also had two TV.
Hachioji, Tokyo, Japan. Birth place: Asahikawa, Hokkaido, Japan. Profession: Actor. Speedy Claxton. Angelo Tsakopoulos. Mark Gordon. Mohamed Al- Fayed.
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Henshin! Online. THE UNIQUE PERSPECTIVES OF AKIO JISSOJIAvant- Garde Director Discusses ULTRA SEVENTranslation and notes by Oki Miyano. Additional material by Bob Johnson, Keith Aiken & August Ragone.
The name Akio Jissoji may not be very well known outside of Japan, but the mere mention of it elicits memories in the minds of Japanese Cinephiles and Ultraman fans alike. Strange, unique camera composition, atmospheric lighting and some of the most thought- provoking stories in the mythos are part of Jissoji's contribution to the Ultra Series. With the recent DVD release of some of his best film works, Henshin! Online provides a look into the background of one of the most popular directors in the annals of the Ultra Series, with an interview that focuses on ULTRA SEVEN - - a series which showcased his unique concepts very aptly. Jissoji's films, with special guest appearance by Hiroko Sakurai, who played Agent Fuji on ULTRAMAN. We hope you enjoy this special look into the life of Akio Jissoji!
After finishing college, Jissoji began employment at KRT (now known as TBS: Tokyo Broadcasting System). Once he left TBS, he worked as a director at Tsuburaya Productions on ULTRAMAN (Urutoraman), ULTRA SEVEN (Urutora Sebun), OPERATION: MYSTERY! Jissoji went freelance in 1. Godai, with several friends. He has worked extensively as a writer and director of films, commercials, theater, and television dramas.
The concept of 'invasion' became more cruel.? Someone at TBS described it in a similar way.
I personally thought that it lost something important - - ULTRA SEVEN was heading in the wrong direction, because the show was focused on aliens, rather than on monsters. As a result, it seemed to be too aggressive and destructive - - as if the show condoned men destroying everything that opposed the will of human beings. That is like how the United States is today - - it is thoroughly going after all manner of terrorists. In a sense, ULTRAMAN is simple and anachronistic, but it allowed me to create fairytale- like settings.
ULTRA SEVEN threw away all those fairytale conventions. For instance, at that time, the Vietnam War was going on, and this altered the meaning of the word . I think that the concept of . My focus was to describe that an invader had already crept into our normal society.
I wanted to express an alien terror hiding in our everyday lives. I was very interested in Mr. It could be an ordinary thing, such as food or oxygen. Though I didn't really use the next- door neighbor concept, I like this episode because I got to use many of my own early ideas. I picked an industrial district for the setting since I lived in Kawasaki during my youth - - I really like Kawasaki's industrial image very much. Though that image is in now a part of the past, I love places where old steel drums or earthen pipes are scattered about - - like the one I used in the ULTRAMAN episode . By using those favored landscapes, I wanted to describe the terror that could exist in oridinary daily life.
You can see remnants of the original next- door neighbor idea in the scene where Dan Moroboshi and . Although the station is technically located in Kawasaki, it is not in the industrial area. The Kawasaki industrial area was also used in the 1. Toho film DOGORA: THE SPACE MONSTER (Uchu Kaiju Dogora) in which the monster attacks a power plant that has six chimneys. The same building was destroyed again in the 1. Toho movie TOKYO CONFLAGRATION (Tokyo- wan Enjo; released in the US as .
This footage has been reused again and again, most recently in last year's GODZILLA X MECHAGODZILLA. For more information on the power plant, visit their website.? However, I didn't tell this idea to anyone when the project started. When we shot the scene, I said to the crew to follow director's orders, even if the producers were against it. But, later I was scolded - - because TBS had plans to export its products overseas, they wanted to avoid overtly Japanese tastes. But, I always ignored TBS' intentions . I originally planned to make a glittering and bright, futuristic- looking set that could be seen through the shoji .
This futuristic set was to be the interior of Metron's spaceship. I wanted to make the set look as if the spaceship was hidden in the apartment - - but, we didn't have big enough of a budget. I had one meeting with him, but I didn't give him any detailed orders, I just asked him to design a suit that would be able to sit on the floor, and he asked why. When the rehearsals started, I began to feel funny and thought what a stupid scene were were shooting. I had the assistant director, Masataka Yamamoto, start rolling the camera, while I was watching the shooting from the corner of the soundstage - - laughing my head off.
I laughed and laughed until my sides ached. Shooting of the non- effects scenes had started earlier, so I told him to watch those scenes to understand how to marry them with the special effects shots. I also said to him that he didn't have to choreograph an intense fight scene. I think that is why he got the idea of using stop motion shots for the battle sequence. Note: The 1. 2th episode of ULTRA SEVEN was shown in the US as .
I spoke with wrtier Mamoru Sasaki, and others, about ULTRAMAN's Jamila . Though such an idea was against the basic concept of ULTRA SEVEN, I think Mr. Kinjo saw it would make the program richer to use such a different story other than the ordinary straight- forward invasion theme. While I was in Kyoto, my rotation with the other directors kept changing. I ended up directing an episode close to the end of the series. Even so, sometimes I would visit Tsuburaya Productions when I was briefly back in Tokyo.
I didn't go there to see the filming, but just to visit Hajime Tsuburaya and the other guys in Bungei- Shitsu . It wasn't easy to produce a special effects television show every week, and near the end of the series the budget became really tight. This was both a positive and a negative, from a creative point of view. I often talked with Mr. Toshihiro Iijima about our financial difficulties. Before I shot those two episodes. Shozo Uehara and I plotted another one entitled .
Though the script was printed, and I wanted to create the best Ultraman- style fighting scenes, many of the monster suits had already been modified - - some of the heads had been removed and used on different suits. Besides, the special effects team did not want to have to shoot so many monsters at one time. Uehara, and we decided to create episodes with fewer special effects scenes.
We didn't have enough time, so we shared the project. Uehara wrote one episode and I wrote the other. This time, I wanted to describe it more thoroughly, with a place that seems to be on earth but actually isn't. The terror is that the landscape is very familiar to you, but you are, in fact, on another planet. Most of the non- effects scenes were shot on location. We just used ordinary places for those of the other planet. Around that time, 2.
A SPACE ODYSSEY was also released. Though I saw it with Mr.
Iijima, I was inspired more by ALPHAVILLE. The only effect I planned for the episode, was a forced perspective hallway- like room used by the Robot Commander. Some people thought that scene was shot in the actual hallway of the TBS building - - but it was a totally different place.
The sound it made quite effectively helped create an eerie and bizarre feeling in that episode. I thought I could use this effect to create an uncomfortable atmosphere - - this is why I used candy. I would use a cell phone sound if I made the episode now. Though it is an uncomfortable noise, it creates a different kind of rhythm and that rhythm creates sound effects. The candy noise was not the only example of my instinctive feeling or perception that I used to create the feeling of the episode. I used a dolly instead of a zoom lens.
I don't like zooming, rather, I prefer a viewpoint that is moving along a track. There is no specific reason for it, I just instinctively like it more. So, though we needed to use Ultra Seven for . There is a sequence where Ultraman Tiga is human- sized and fighting on a stage, even though it is supposed to be a special effects scene. That's what the atmosphere I wanted to create for .
Even at that time, I had this idea that it could be shot as either a special effects or non- special effects scene. Though it was a story set in the future, I again used an industrial district like Kawasaki . We decorated a warehouse and a staff room at Toho Built . I included more shots of industrial districts in this episode than in . Though he seemed unfriendly, he actually had a great sense of humor, and I often played mah- jongg with him.
Once, when we were playing a game, I decided to use his name. Fukuda was a very romantic type of guy, and I used that for Fukushin's character. For instance, Fukuda loved to look at the stars in the sky.
I wanted an image of a sky full of flying saucers, so I asked Ikeya to make a hundred flying saucers. There seemed to be a lot of conflict between him and the special effects team.
My original vision of the last scene, is hundreds of flying saucers, the red- colored Seven, and the psychedelic- colored Peroringa, all moving against a monotone background. My image was a scene full of color that mixes together to create a vortex - - this vortex becomes white and concludes in a huge explosion. Though it came out totally different, in an episode of ULTRAMAN DYNA, . But, if I could get enough money together, I would love to do that episode all over again! The experience is very special to me, because I met Ikeya, Oki, and other important people through ULTRA SEVEN - - and together with them, I founded our production company, Godai. Though I know ULTRA SEVEN was continued recently as a video series, my image is there is always an extraordinary world next to our ordinary world - - and one day, a tiny part of the border between the two of them breaks.
At this fissure, the two worlds become intertwined, and from there the story evolves.