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Tetsuaki Matsue. After graduation, I worked as a trainee assistant director for V-Cinema straight-to-video non-theatrical films. What stimulated me was not the performances or the script, but the interactions with the cast — like finding out why the actresses lie to their parents in the countryside in order to come to Tokyo to perform.
Their motives for lying become clues to find out deeper, hidden truths about them. Nowadays in Japan, rather than making fiction films, many young people are making documentaries focusing on themselves, because they want to create relationships, and the camera is their preferred communication tool. Doutei Produce , At other times, when I want to show other things, such a two-person relationship, I ask the cameraman to shoot while I am interviewing a subject, in order to convey a certain atmosphere.
Even if the subject is giving same answer, whoever is holding the camera can achieve a very different result. Is your Korean Japanese identity an issue that you want to expand on? I hate directors who keep on making statements about themselves. What is the process of making an AV like for you as a filmmaker?
TM : AV is the catalyst for me to persuade my subjects to open up. My approach is the same as in a documentary like Anyong Kimchi. When shooting AVs, the director usually watches as the actress strips and has sex. Usually, the AV male star only comes along on the days of shooting the sex scenes, but the director spends the whole time with the AV actress, so she may feel closer to the director.
ML : You have mixed up the AV format with documentaries, and vice versa. Every Japanese Woman Makes Her Own Curry is a documentary about people you know, but the style self-consciously parodies the narrative conventions of AV. How did that come about and how did you find the subjects? Curry is such an ordinary dish in Japan, but every person has their own cooking style, just like there is variety in the most mundane aspects of life.