Saturday, December 09, 2017

Imperial Hospitality: The Wright Imperial (Part 2)

With all that has been going on recently including Boys for Sale receiving multiple awards (STORY) and being featured in the Japan Times (HERE), as well as a feature about my all of my Japanese-language documentaries in Japan being published in the Metropolis magazine (HERE), one piece of news somehow escaped my attention:  Part 2 of the piece I was commissioned to direct about American architect Frank Lloyd Wright's connection to the Imperial Hotel Tokyo was published in October (!).

The episode opens with Meiji-mura Museum researcher and archivist Nakano Yuko explaining the features of the Wright Imperial lobby which has been painstakingly preserved and reconstructed in Aichi Prefecture.  

Ms. Koike and Mr. Ishihara, both of whom worked in the building designed by Wright and who have a combined 107 years of experience working at the Imperial (!), make another appearance in Part 2.  A link to the column for Part 2 with embedded video is HERE, while a direct link to the video is below:


A link to the column for Part 1 with embedded video is HERE, while a direct link to the video is below:

As part of this project, I also directed a 40-second commercial which was first released in the summer and which now has over a half-million views!

 
As always, I would like to give a special shout out to our amazing team, including our photography/ lighting department led by DOP Matsudaira Naoyuki with Seki Masafumi and our coordinator/ producer Tanaka Sakae.  And while I composed the main theme music used throughout the entire campaign, it was brought alive by the talented musicians who arranged and played it.  The Main track, Jazz version and Wright version were led by arranger and pianist extraordinaire Onuki Yuichiro, with Tani Motoaki on bass, Adachi Hiroshi on drums and Aki Yoshihisa on violin.  The Japanese and big band versions were arranged and played by the awesome Komitetsu.
 
Links to the previous episodes I directed for the Imperial can be found below:

Imperial Hospitality (Part 1): Stories from The Imperial Floor (Nov 2016)
http://ianthomasash.blogspot.jp/2016/11/active-duty.html

Imperial Hospitality (Part 2): Stories from The Imperial’s Bars and Lounge (Feb 2017)
http://ianthomasash.blogspot.jp/2017/02/imperial-hospitality-part-2-stories.html

Imperial Hospitality (Part 3): Story from The Imperial’s “Toko-an” Tea Ceremony Room (April 2017)
http://ianthomasash.blogspot.jp/2017/04/imperial-hospitality-story-from.html

Sunday, December 03, 2017

Gentle simmer

On Friday, Metropolis magazine published the online version of an article about my documentary career in Japan called "Filmmaking in the Grey Zone: An interview with Ian Thomas Ash" by journalist Andrew Deck (READ HERE).

I was surprised by some of the quotes, particularly the ones at the end where I discuss the nationality of my films and my sense of belonging here.  When I read what I had said during the interview, I thought "did I really open myself up that much to a journalist?!" I own that I said those things and it was certainly how I felt at the time.  But it also comes with some a certain sense of sadness that I can not deny that I at least sometimes feel that way.  I just hope that those quotes are understood by readers within the context of the story I was relating about being stopped by four police officers and searched rather aggressively.

Yesterday, I was honoured to be invited to speak about my work at a lecture entitled "Disaster, Trauma and Hope" at Aoyama Gakuin University (AGU). Arranged by AGU professors Marc Menish and Mariko Hori, it was wonderful to present my work alongside filmmaker Keiko Courdy, Butoh dancer Minami Azu, soprano Junko Menish and poet Kageyama Yuri.


After the lecture, I had a meeting at Las Chicas House, a blast from the past when I used to come down to Tokyo on the weekends when I was still living in Tochigi 17 years ago (!).  As I walked through the lobby, an array of magazines was on display- including the December issue of Metropolis which I had yet to see.
Sitting in a place which held so many memories from when I had first come to Japan and with Christmas music tinged with a nostalgia from what seems like another lifetime wafting through the air, I realized the feelings that had boiled up inside me of during the interview had not yet cooled; they are simply gentlly simmering away on the back burner.