Revisiting an Okamoto Classic with a Classic Screenwriter!

Hiroshi Kashiwabara. Photo by Brett Homenick.

Tonight (Monday, March 25), I paid another visit to screenwriter Hiroshi Kashiwabara at his cafe. The topic of the evening was originally scheduled to be Catch-22 (1970), which is what I was expecting when I entered the venue. However, when I arrived, I discovered that the plans had changed due to the recent passing of actor Minori Terada.

 

Instead, the topic was Kihachi Okamoto's The Human Bullet (1968), which stars Terada. There are things to admire in The Human Bullet, but I can't say it's a great film or even completely successful. The story does drag at times, and I think it could have easily been tightened. It's not a bad film by any means, just an imperfect one. 

I've seen Catch-22 twice. The first time was back in 1997 when I hadn't yet read the book, so the film basically went completely over my head and made no sense to me. The second time was around 2019 on DVD when the film was much more understandable. I think a better film could have been made from the source material, but there are great moments in it. (Hey, that sounds like exactly what I wrote about The Human Bullet!) 

After that, there was the usual conversation among the attendees, and the subject of tokusatsu was naturally on the agenda. It was fun chatting with the various folks about the movies and TV shows they watched as kids.

As I was saying goodbye to some people, Kashiwabara-san pulled out his phone and took a couple of photos of me, which he later sent to me. (You know what I say about VIPs who take pictures of you.) A big thanks to Kashiwabara-san for tonight. I hope our next meeting won't be too far in the future.

FAIL SAFE! Reconsidering an American Classic with a Japanese Connoisseur of Cinema!

Hiroshi Kashiwabara. Photo by Brett Homenick.

Tonight (Monday, March 18), I paid a visit to Hiroshi Kashiwabara's cafe to participate in an event focused on a classic movie. (If you know anything about Kashiwabara-san, you know about his extensive fondness for American oldies.) The topic of the evening was the Sidney Lumet thriller Fail Safe (1964).

Some of the memorabilia on display. Photo by Brett Homenick.

It's always been fascinating to me (in a less-than-positive way) that Dr. Strangelove (1964) is regarded as an all-time classic while Fail Safe has largely been forgotten. I first saw Dr. Strangelove circa December 1996 when I was going through my Kubrick-Is-God phase (through which most teenage boys eventually have to pass). That and The Shining (1980) were the two Kubrick films I had the most trouble getting into. (I'd throw in 1962's Lolita, too, but does a film that minor even rate?)

I just never found Strangelove particularly clever or funny. It has its moments (most of which I found out later were improvised), but I'd be hard-pressed to call it one of the best films of 1964, let alone of all time.

Even more memorabilia! Photo by Brett Homenick.

Around August 1997, I saw Fail Safe for the first time on late-night cable TV. It was everything that Strangelove wasn't. I've since read that audiences of the time avoided Fail Safe because they supposedly found the subject matter humorous in the wake of the Kubrick film, but I certainly wasn't laughing. (Heck, I wasn't laughing the first time around, watching the genius auteur's would-be comedy.) Fail Safe kept me on the edge of my seat, and ever since that evening I've considered it the superior film.

Anyway, a funny thing happened this evening. When I entered the venue, I noticed a few attendees giving me a quizzical look. One of them asked Kashiwabara-san if I was an actor. He explained who I was, after which I confirmed to the folks in attendance that I'm indeed not a performer.

When the discussion of the film ended, Kashiwabara-san asked me to stand up, and he proceeded to tell the gathered attendees about more about me. I wasn't expecting to be put in the spotlight, but it's always flattering. Afterward, a few attendees expressed interest in seeing my interviews, so I shared the URL for Vantage Point Interviews with them. They seemed impressed!

Tonight was a fun night of film discussion. Many thanks to Kashiwabara-san for making it possible!

A Great Time with the Screenwriter Who Helped Launch Godzilla's Millennium Series!

Hiroshi Kashiwabara. Photo by Brett Homenick.

After meeting Kazuomi Sasai on Friday, March 15, I immediately met up with screenwriter Hiroshi Kashiwabara. I was pleased to have the opportunity to sit down and chat with Kashiwabara-san, as it had been far too long since we last had such a chance.

I was bowled over when Kashiwabara-san brought out his "going away" present for me -- the Godzilla vs. Mechagodzilla II (1993) script that producer Shogo Tomiyama gave him in order to prepare for writing the screenplay for Godzilla vs. SpaceGodzilla (1994). It is certainly a privilege to own this bit of Toho history!

Hiroshi Kashiwabara with his copy of the Godzilla vs. Mechagodzilla II (1993) script. Photo by Brett Homenick.

We discussed several topics -- everything from Godzilla Minus One (2023) to the state of American politics. But the conversation mostly centered around movies.

Kashiwabara-san named his three favorite actors in order for me, which was the first time I'd heard his list. They are: 1. John Wayne, 2. Steve McQueen, and 3. Burt Reynolds. I never realized that Kashiwabara-san was a big Burt Reynolds fan, but there you go.

Hiroshi Kashiwabara signs the script. Photo by Brett Homenick.

He told me his favorite Reynolds movies were The Longest Yard (1974) and Hustle (1975). I wasn't aware of Hustle and thought he might have meant Boogie Nights (1997). He said he likes that one, too, but that Hustle was a separate film. I had to look it up!

Kashiwabara-san didn't know the English title Deliverance (1972), so, when I showed him the Japanese translation, he shared his admiration for that film, too. That one is probably my favorite Burt Reynolds film.

When we were wrapping up, Kashiwabara-san took a photo of me on his phone with the MG script, as well as a photo of the two of us together. Remember what I said about when VIPs want photos with you?

And, after all that, Kashiwabara-san also signed some SpaceGodzilla memorabilia for me. What a cool guy!

Photo by Hiroshi Kashiwabara.

As we were leaving, much like Asada-san before him, asked me if I knew who Troy Donahue was. Of course, I now know all about his song about Palm Springs!

Many thanks to Kashiwabara-san for his unparalleled generosity. I'm so proud to have that script!

A Celebration of the Life of Wataru Mimura

Director Masaaki Tezuka shares his memories of working with Wataru Mimura. Photo by Brett Homenick.

In the afternoon of Saturday, August 26, I attended a special memorial celebration in honor of screenwriter Wataru Mimura. Mimura-san passed away on August 26, 2021, after a years-long battle with multiple system atrophy. Due to the pandemic, no such events were held in the wake of his passing, but, given the recent end of the pandemic, the event was finally held.

Mimura-san wrote or co-wrote the screenplays or Godzilla vs. Mechagodzilla II (1993), Orochi the Eight-Headed Dragon (1994), Godzilla 2000 (1999), Godzilla vs. Megaguirus (2000), Godzilla against Mechagodzilla (2002), and Godzilla: Final Wars (2004). While he doesn't seem to get much credit for it, it's really impressive just how much of the Millennium series was written in Mimura-san's voice.

Hiroshi Kashiwabara. Photo by Brett Homenick.

The event, which was called "Gathering in Memory of Wataru Mimura" by the organizers, was held on the 12th floor of the Chofu City Cultural Hall Tazukuri. The location was quite apropos, given that Mimura-san helf many of his P-LABO FILMFES events there. In attendance were many of Mimura-san's colleagues from his days at Toho and beyond. Among the luminaries were producer Shogo Tomiyama, director Masaaki Tezuka, screenwriter Hiroshi Kashiwabara, kaiju suitmaker Shinichi Wakasa, assistant director Toshifumi Shimizu, production designer Toshio Miike, and director Takao Okawara.

With Yasutaka Ito (left) and Hiroshi Kashiwabara (center).

Due to my work schedule (how often do you hear me say that?) I arrived rather late -- maybe about an hour or so into the proceedings. Given that the celebration was scheduled to last only two hours, I ended up missing about half of it. But I certainly wanted to take part in any way I could.

With Toshifumi Shimizu. Photo by Brett Homenick.

Even though I submitted my reservation to join, I guess it never got delivered, as my name wasn't on the list. (Don't you hate when that happens?) No worries, though. All I had to do was write my name on the guest list, pay the entrance fee, and I was all set. Many thanks to Kashiwabara-san (who also served as a staff member for the event) and my friend Hitomi, who was very close to Mimura-san, for helping to square things away.

Shogo Tomiyama. Photo by Brett Homenick.

Many speakers talked about their memories of Mimura-san, and, as you could imagine, they sometimes got quite emotional. It was very moving to see how much Mimura-san affected people's lives in such a positive way. Shogo Tomiyama essentially acted as emcee and did a tremendous job keeping things moving along. The event ultimately finished right on time, and the last speaker, scriptwriter Yasutaka Ito, finished his remarks basically on the dot.

With Shogo Tomiyama. Photo by Brett Homenick.

Of all the luminaries on hand, I spent the most time speaking with Kashiwabara-san, who is one the nicest personalities I've met in Japan. A couple of weeks ago, he sent me a message about the event, but by then I'd already submitted by reservation (which, as we know by now, wasn't received). During our online chat, I told Kashiwabara-san that The Great Escape (1963), one of his all-time favorite movies, would be screening at the Shin-Bungeiza theater. The timing didn't work out, unfortunately, as Kashiwabara-san would be out of town during that time. 

Shogo Tomiyama addresses the attendees. Photo by Brett Homenick.

I only got to say a quick word to director Okawara as he was leaving (we both just said "thank you" to each other for coming), but I went up to Shimizu-san to praise him for his work on The Mysterians' (1957) 4K restoration. I told him it looked fantastic, which he was happy to hear. I also talked for a bit with Tomiyama-san and congratulated him on a job well done.

With Hiroshi Kashiwabara.

I hadn't seen Hitomi for several years, so it was great to see her again. Around 2015, we used to go out for karaoke, but life got in the way, and we more or less lost touch. Out of all the attendees there, I hung out with her the most, and it was wonderful to see her again. 

And that's a wrap. It was a great way to celebrate the life and career of Mimura-san, who had been one of the kindest people to me essentially ever since I stepped off the plane in Japan. The news of his untimely passing was devastating, but I'm grateful for the time I had in his company. I think this celebration gives all of us a sense of closure.

An Evening with a Toho Screenwriter!

Hiroshi Kashiwabara. Photo by Brett Homenick.

On Saturday, March 26, after checking out the Yasuyuki Inoue exhibit, I went to a special event headlined by screenwriter Hiroshi Kashiwabara. The event centered around the hit TV series Abunai Deka, but I'm naturally much more familiar with his Toho work.

Kashiwabara-san is always a friendly gent, and I rarely miss a chance to hang out with him. As usual, we talked about a variety of movie topics, including recent films we had seen. Kashiwabara-san is a true movie buff.

 And that's a wrap. It was a busy Saturday for sure, but I had a lot of fun. But that's not all I did last weekend. Stay tuned for more!

Closing Out November with a Godzilla Screenwriter!

Hiroshi Kashiwabara. Photo by Brett Homenick.

On Sunday evening, November 28, I got to spend another evening with Godzilla series scribe Hiroshi Kashiwabara. It was a bit shorter than some of our other get-togethers, but it was still quite enjoyable.

 And that's all for November. See you in December!

'Abunai Deka' Makes Another Triumphant Return!

Hiroshi Kashiwabara. Photo by Brett Homenick.

On Sunday, SEptember 26, I attended yet another special event featuring a reunion of luminaries from the hit crime drama Abumai Deka (1986-87). This reunion featured scriptwriter Hiroshi Kashiwabara, director Toru Murakawa, and actress Kanae Hasebe.

Kashiwabara-san, as most readers of this blog will no doubt remember, wrote the screenplays for Godzilla vs. Space Godzilla (1994), Godzilla 2000 (1999), and Godzilla vs. Megaguirus (2000). Of course, the recent passing of Wataru Mimura was a topic of conversation.

Toru Murakawa. Photo by Brett Homenick.

Director Toru Murakawa is a director best known for his many collaborations with actor Yusaku Matsuda. Murakawa-san directed the films The Resurrection of the Golden Wolf (1979) and The Beast to Die (1980), both of which star Matsuda. On the small screen, he directed episodes of Daitsuiseki (1978) and Tantei Monogatari (1979-80). However, I know Murakawa-san best as the chief assistant director of the Japanese scenes of Tora! Tora! Tora! (1970).

Murakawa-san is a true living legend of Japanese cinema, who came a long way to attend this event. It's also wonderful to spend time in his company.

Kanae Hasebe. Photo by Brett Homenick.

Also on hand was actress Kanae Hasebe, the daughter of film and television director Yasuharu Hasebe (Horror Theater Unbalance, Spectreman, Assault! Jack the Ripper). She played Hitomi Yamaji on Abunai Deka, as well as on its follow-up series Motto Abunai Deka (1988-89). In terms of tokusatsu, she appears in episodes 18 and 19 of Kamen Rider 555 (2003-04) as Sachiko Kurata, as well as episode 5 of Kamen Rider Kiva (2008-09) as a housewife.

It's not very common that a guest at one of these events asks to take a picture with you, but that's exactly what Hasebe-san did after we took the above photo. Suffice it to say, I was quite flattered when she asked another attendee to take our picture on her phone. Afterward, we spoke about the directing work of her father.

I know nothing about Abunai Deka, but these events sure are a lot of fun! Maybe I should start watching the show.

A Cool Event on a Hot July Day!

Hiroshi Kashiwabara. Photo by Brett Homenick.

Last night, I attended an event that was virtually identical to one from several weeks ago. The headliners were screenwriter Hiroshi Kashiwabara and actress Kanae Hasebe. 

I was particularly excited to hang out with Kashiwabara-san again, as he is just an all-around great guy. Besides, I think the month of July is a great time to hang out with him, as I'm sure the fine folks of Itasca, IL, would certainly agree. Kashiwabara-san wrote (or co-wrote) three Godzilla films from the Heisei and Millennium series, but it's just as much fun to talk to him about a number of other topics.

Kanae Hasebe. Photo by Brett Homenick.

Also on hand was the lovely Kanae Hasebe, the daughter of film and television director Yasuharu Hasebe (Horror Theater Unbalance, Spectreman, Assault! Jack the Ripper). In terms of tokusatsu, she appears in episodes 18 and 19 of Kamen Rider 555 (2003-04) as Sachiko Kurata, as well as episode 5 of Kamen Rider Kiva (2008-09) as a housewife.

I met Hasebe-san a few weeks ago and had a great time in her company. When I found out that Kashiwabara-san and Hasebe-san would be returning for another appearance, it was an opporunity I couldn't pass up. Many thanks for the great evening!

Attending an 'Abunai Deka' Reunion Event!

Hiroshi Kashiwabara. Photo by Brett Homenick.

On Saturday, May 22, I attended a special event (for the first time in a while) featuring a reunion of luminaries from the hit crime drama Abumai Deka (1986-87). This reunion featured scriptwriter Hiroshi Kashiwabara and actress Kanae Hasebe.

With Hiroshi Kashiwabara.

Kashiwabara-san, as most readers of this blog will no doubt remember, wrote the screenplays for Godzilla vs. Space Godzilla (1994), Godzilla 2000 (1999), and Godzilla vs. Megaguirus (2000). Please check out this interview for more details about his screenwriting career. I've met him several times over the years, and he's a great guy to hang out with. I love his sense of humor!

Kanae Hasebe. Photo by Brett Homenick.

It was my first time to meet Kanae Hasebe, the daughter of film and television director Yasuharu Hasebe (Horror Theater Unbalance, Spectreman, Assault! Jack the Ripper). She played Hitomi Yamaji on Abunai Deka, as well as on its follow-up series Motto Abunai Deka (1988-89). In terms of tokusatsu, she appears in episodes 18 and 19 of Kamen Rider 555 (2003-04) as Sachiko Kurata, as well as episode 5 of Kamen Rider Kiva (2008-09) as a housewife.

With Kanae Hasebe.

Hasebe-san was interested in my background and asked me a lot of questions. She was intrigued by my interest in Godzilla and tokusatsu, and we discussed Shin Godzilla, as well as the current state of the Japanese film industry. It was lovely to meet her.

An Evening with Two Screenwriters!

 Shoichi Maruyama. Photo by Brett Homenick.

On Saturday, November 9, I immediately left work to attend another special event. This time, the guests on hand were a couple of screenwriters: Shoichi Maruyama and Hiroshi Kashiwabara.

Among Maruyama-san's scriptwriting credits are The Beast to Die (1980), The Last Hero (a.k.a. Dirty Hero, 1982), Kinji Fukasaku's The Triple Cross (1992), Rex: A Dinosaur's Story (1993), and Quill (2004). I was pleasantly surprised that Maruyama-san recognized me from our first meeting, which was about a year and a half ago.

Hiroshi Kashiwabara. Photo by Brett Homenick.

Also in attendance was Godzilla series scribe Hiroshi Kashiwabara, whose screenwriting credits include Godzilla vs. Space Godzilla (1994), Godzilla 2000 (1999), and Godzilla vs. Megaguirus (2000). 

I spent the majority of the evening with Kashiwabara-san, and it was great talking American movies with him. And that's a wrap!

A National Holiday in Japan, Toho-Style!

Naomi Hase. Photo by Brett Homenick.

Given that today, Monday, July 15, is a national holiday in Japan, there was a special event with screenwriter Hiroshi Kashiwabara and actress Noami Hase that I attended. Naturally, I had to work today, but when I was finished, I made sure to stop by.

Naomi Hase is an actress and singer who started her career in 1974. In Japan, she still has a lot of fans from her role on the TV series Howl at the Sun! (1972-86). For me, however, her most interesting credits are Oshare daisakusen (1976), director Kengo Furusawa's last film, and Clash! Young Guy (1976), directed by Tom Kotani. Interestingly, however, when I asked her about director Kengo Furusawa, she didn't seem to remember him at all!

Hiroshi Kashiwabara. Photo by Brett Homenick. 

Kashiwabara-san was the other guest at the event. He, of course, wrote the screenplays for Godzilla vs. Space Godzilla (1994), Godzilla 2000 (1999), and Godzilla vs. Megaguirus (2000). For more information about Kashiwabara-san's career, check out this interview with him.

As usual, it was great to see Kashiwabara-san again, though this time we didn't talk about American movies -- well, not very much, anyway! It was another fun time.