INDEX
Cultural Variances in Approaching Non-Fiction: Japan Compared to America
Irie： Many non-fiction works still focus on people who are alive and living in society today. I think portraying them can be scary, but in Japan, it seems like those in the publishing and writing industries are more willing to tackle such topics, while the film industry seems to shy away. Not long ago, there was a film called ‘Vice’ (2018, directed by Adam McKay) that thoroughly criticized Dick Cheney, the Vice President under George W. Bush’s administration. In Hollywood and South Korea, they tend to quickly turn events into films when something happens.
-Why do you think it is difficult to make such films in Japan?
Irie：I think it is because people are afraid. I think they want to minimize the risks involved in the production committee system. I feel that this has gradually become “normal” for the staff and actors.
-For example, political parties and politicians in Japanese movies and dramas are often fictitious names, but in this film, the name of then Prime Minister Abe appears in a scene where the news announces the postponement of the “Tokyo Olympics and Paralympics.
Irie： Actually, using the posters and logos of the Tokyo Olympics was initially opposed. But in the publishing world, everyone does such things, so I thought films could do it too. In America, because of its litigation culture, being sued is considered normal, and it’s even budgeted for in filmmaking.
Takahashi: I think it’s enviable (about America). When you try to write the truth, there are cases where lawsuits are unavoidable, so that should be taken into consideration. That’s why non-fiction is often perceived as very expensive, and there’s a strong sentiment that there’s no point in doing it if it doesn’t sell well.
-What do you think fiction can do against reality?
Irie：Rather than “fictionalizing,” if possible, I think it’s better for the remaining people to continue talking about those who have passed away from this world. I believe that being forgotten is the saddest thing of all.
It’s okay to talk about them over drinks, but I think depicting someone’s life again in forms like movies or books is a good way to go about it. When I read non-fiction, I sometimes come across things I didn’t know in real-time, and it feels like I’m reliving that person’s life. I think Japanese films have particularly avoided such approaches, so I feel that I’ve made new discoveries by taking on this challenge, and I’d like to continue doing so.
-As a non-fiction writer, what are your thoughts on fiction works like this one, which are based on true stories?
Takahashi: I can only write about what I’ve seen myself, so when I watch fiction based on real events, I always find myself expecting more than what I already know. This time, the director created her world in a way that really resonated with me. I imagine it’s a result of respecting reality while adding their own vision, which I believe showcases the unique strength of fiction creators to the fullest. Therefore, I’m curious about what theme Director Irie will tackle next, and I deeply respect those who create something entirely new from scratch.
Irie： Thank you very much. From my point of view, I think it is great that you face reality and depict it like Mr. Takahashi does, and it was interesting to see the difference in perspectives in this dialogue.
‘A Girl Named Ann’
Release: June 7, 2024 (Friday)
Cast: Yumi Kawai, Jiro Sato, Goro Inagaki, Aoba Kawai, Yuriko Hirooka, Akari Hayami
Director/Screenplay: Yu Irie
Production: Kinoshita Group Dongyu Club
Production: Cogito Works
Distribution: Kino Films
© 2023 ‘A Girl Named Ann’ Production Committee
Official website: annokoto.jp
Official X: @annokoto_movie
