Actor Minori Terada, Veteran of Toho and Tsuburaya Productions, Passes Away at Age 81

Minori Terada in February 2020. Photo by Brett Homenick.

Actor Minori Terada, a prolific performer whose acting career dates back to 1961 and continued into the current year, passed away on March 14 due to lung cancer, his agency, CES Entertainment, has announced. He was 81.

Minori Terada in August 2019. Photo by Brett Homenick.

Born on November 7, 1942, Terada would join the theater company Bungakuza in 1961 and began performing onstage. By the mid-1960s, he started acting in movies, embarking on a decades-long career that saw him collaborate with some of Japan's most talented directors.

Terada stars in Kihachi Okamoto's The Human Bullet (1968) as "Him," but he is also known for his supporting parts in such films as Okamoto's Red Lion (1969), Zatoichi and Yojimbo (1970), Battle of Okinawa (1971), Station (1981), Hayao Miyazaki's Castle in the Sky (1986), Akio Jissoji's Tokyo: The Last Megalopolis (1988), and Ultra Q: The Movie (1990). On TV, he guest-starred in Ultraman (1966-67) episode 14 as the truck driver's assistant.

I was privileged to meet Mr. Terada twice. I remember that he wanted to talk to me about Akira Kurosawa movies, as well as the works of other Japanese directors. He was quite friendly and seemed genuinely interested in knowing my opinions. My second meeting with Terada-san is also notable because it was one of the last ones before the COVID-19 lockdowns started in Japan.

With his passing, Minori Terada leaves behind a body of work that few actors could hope to match. Rest in peace, and thank you very much for the decades of entertainment.

The Last Day at the Art Exhibit in Daikanyama!

Mickey Curtis. Photo by Brett Homenick.

Earlier today, I paid one last visit to Mickey Curtis while his art exhibit was still open in Daikanyama. When I realized that I could get my DVD copy of Desperado Outpost (1959) signed by Mickey-san, I practically had no choice but to return!

It was a lot of fun to see him again, although I didn't have the time to hang out as I did the last two times. But this time Mickey-san told me one story in particular that had me roaring with laughter -- it was by far the funniest thing he told me about during all three days! When I was leaving, Mickey-san invited me to come visit him at his home sometime. I certainly have to do that, but it likely won't be for a while, as he lives extremely far from Tokyo. We'll see how it goes.

Many thanks to Mickey-san for his excellent hospitality!

Another Visit with an Artist and a Gentleman!

Mickey Curtis. Photo by Brett Homenick.

Today, I paid another visit to Daikanyama Garage to visit with musician-actor-artist Mickey Curtis, who is currently hosting an exhibit of his art (photos of which you can see at the bottom of this blog post).

Mickey-san wasn't there when I arrived, which turned out not to be an issue, as I had plenty of time. It turned out he was doing a radio interview, promoting the gallery. It's absolutely amazing how busy he continues to be!

Kotoha Hiroyama and Mickey Curtis. Photo by Brett Homenick.

I wanted to ask Mickey-san about his time in Studio City, CA, which started in either 1977 or '78 and lasted until 1980. During that time, he created the electronic sound effects for Star Trek: The Motion Picture (1979) and John Carpenter's The Fog (1980), using a synthesizer he had at the time. But, because he wasn't in the union, he wasn't credited in those films. When he visa expired, he returned to Japan. Of course, Mickey-san had prior experience living abroad, as he lived in Europe from about 1964 until 1970.

Mickey Curtis with his wife, Yoko. Photo by Brett Homenick.

He also told me about his association with Frank Sinatra and the Rat Pack when they would visit Japan. (Mickey-san was probably one of the few Japanese who spoke fluent English in the entertainment industry at the time in Japan.) When I asked him about Sinatra's None But the Brave (1965), that's when he mentioned living away from Japan at the time, so he wasn't aware of the movie. Moreover, he talked about getting a call from Yul Brynner out of the blue in which Brynner invited him to dinner. 

Kotoha Hiroyama, Yoko Curtis, and Mickey Curtis. Photo by Brett Homenick.

I could have continued the conversation for a lot longer, but I had to go back to work, so that was that. Right before I left, producer and actress Kotoha Hiroyama showed up again, so I was able to tell her how much I enjoyed her recent film Truth (2022). Before I left, I wanted to photograph Mickey-san with his wife, Yoko, which also caused a few other shutterbugs in attendance to snap some photos, too. 

One of the ladies working the front desk thanked me as I was leaving for suggesting the photo op, as she was apparently very happy to have such a photo. Yoko-san stopped me before I left to talk about their new countryside home, and Hiroyama-san also said her goodbyes to me as I was walking out. With such kind people in attendance, I didn't want to leave! 

Below are some samples of Mickey-san's art. Enjoy!

Viewing an Art Exhibition with an Extra Special Guest!

Signage for the Mickey Curtis Art Exhibition. Photo by Brett Homenick.

Earlier today, I went to Daikanyama Garage to take in the Mickey Curtis Art Exhibition, which runs until October 9. Mickey Curtis, of course, is much better known as an actor who has appeared in numerous films over the years, particularly ones directed by Kihachi Okamoto at Toho, but he has begun a brand-new career as an artist.

Congratulatory bouquets of flowers for Mickey Curtis. Photo by Brett Homenick.

I was quite impressed by the art that was on display. Mickey-san's art has attracted a lot of buyers, too, and it's easy to see why. There were numerous animal paintings on display, which Mickey-san said he enjoys painting, especially extreme closeups of their faces. He was especially proud of his large portrait of a mandrill. 

Mickey Curtis. Photo by Brett Homenick.

I hadn't seen Mickey-san in person since 2014, so I was delighted to see him again. He moved to Thailand shortly after we last met due to the warmer weather, but he has very recently relocated to Japan. However, he now lives out in the countryside far from Tokyo, so getting a chance to visit him will remain a rare opportunity.

It made my day that, even with my mask on, Mickey-san recognized me. We had a pleasant chat about a range of topics -- American politics, his artwork, his new home, his living in Studio City, California, from about 1978 until 1980, and the fact that he had already been offered three acting gigs since coming back to Tokyo. He also introduced me to some new faces.

Kotoha Hiroyama. Photo by Brett Homenick.

One of the folks he introduced me to was actress and producer Kotoha Hiroyama, who is something of a disciple of Mickey-san. She was there promoting her new movie Truth: The End of the Adulterous Funeral (2022) in which she plays Mayumi Kujo, a receptionist who thought she was the the steady girlfriend of a man who suddenly died. She only finds out after the funeral that two other women were seeing him and likewise believed they were in a committed relationship with him.  

Hiroyama-san very kindly gave me a copy of Truth along with a glossy booklet about the film, both of which she graciously signed for me. Mickey-san highly recommended the movie to me, so I look forward to checking it out!

That's a wrap! I was over the moon to see Mickey-san again after so many years, and I hope I won't have to wait as long to see him again!

An Evening with a Legendary Cinematographer!

With Daisaku Kimura.

Tonight, I attended an event with legendary Japanese cinematographer Daisaku Kimura, whose credits include several classic Akira Kurosawa movies, as well as tokusatsu greats as Submersion of Japan (1973), Blue Christmas (1978), and Virus (1980). One thing's for sure: Kimura-san certainly doesn't hold back in expressing himself!

It was certainly an enlightening experience. Kimura-san is truly one of the greats of Japanese cinema.

The Human Bullet Returns!

Minori Terada. Photo by Brett Homenick. 

Today, I attended a 35mm screening of the erotic drama Love Hotel (1985), a fairly well regarded film directed by the late Shinji Somai. I went into the film not knowing what to expect, but I have to admit that it left me cold. I just wasn't that impressed by what I saw, despite a few satisfying scenes. But I guess they can't all be winners.

Love Hotel stars Minori Terada, so it ought to come as no surprise that he was the evening's guest of honor. Terada-san stars in Kihachi Okamoto's The Human Bullet (1968), but he is also known for his supporting parts in such films as Okamoto's Red Lion (1969), Station (1981), Hayao Miyazaki's Castle in the Sky (1986), Akio Jissoji's Tokyo: The Last Megalopolis (1988), and Ultra Q: The Movie (1990). On TV, he guest-starred in Ultraman (1966-67) episode 14 as the assistant truck driver.

I met Terada-san last August for the first time, and given his resume in the world of cinema, I welcomed the chance to meet him again. During the evening, he gave out fliers for a concert devoted to the films of Akio Jissoji that will take place later this month. I'm not sure yet if I will attend, but I'll certainly give it some thought.

A great time was had by all, and I must thank Terada-san for being such a cool guest.

An Evening at the Theater!

Yumi Mizusawa. Photo by Brett Homenick.

On Friday evening, immediately after work, I got on the train and headed to see actress Yumi Mizusawa in a stage performance near Ikebukuro. The play was quite interesting, and it ended in a much more violent way than I expected. Anyway, after the show, I had a great time chatting with Mizusawa-san.

As a refresher, Mizusawa-san starred in the TV series What Is Youth? (1965-66) alongside Toho star Yosuke Natsuki. While her credits are mostly non-genre, she appeared in episode 91 of Kamen Rider (1971-73) and episode 16 of Iron King (1972-73). Her most notable film appearance is in Kihachi Okamoto's Epoch of Murder Madness (1967).

DAY OF RESURRECTION! An Evening with Cinematographer Daisaku Kimura!

Daisaku Kimura. Photo by Brett Homenick.

On Sunday, November 3, I took in a screening of the all-star, end-of-the-world epic Virus (a.k.a. Day of Resurrection, 1980) in glorious 35mm. Suffice it to say, I'd never seen it in 35mm before (and really, I don't know many others who have), and it was a joy to watch. I noticed a lot of small details, such as a hand-drawn picture of Ultraman hanging in a young boy's bedroom. I thoroughly enjoyed the picture, even if some of the situations (such as a massive earthquake hitting Washington, D.C.) seemed more than a bit contrived to move the plot along.

The guest of honor was a true legend of the Japanese film industry: cinematographer Daisaku Kimura. His credits include: Submersion of Japan (1973), Blue Christmas (1978), the aforementioned Virus, and Station (1981), among many others. In 1958, Kimura-san joined Toho Studios and worked as an assistant cameraman under Akira Kurosawa, during which time his most prominent credit was Yojimbo (1961). In 1973, he became a cinemtographer in his own right. He also once came pretty darn close to becoming the cinematographer on a Godzilla film, but that's a story for another day.

Overall, it was a great evening, and I was fascinated by all the stories from the set of Virus, particularly the ones about the Western cast. Needless to say, fun was had by all.

Japanese Actress Kaoru Yachigusa Passes Away at 88

Actress Kaoru Yachigusa died of pancreatic cancer on October 24 at 7:45 a.m. She was 88. Ms. Yachigusa began her acting career in 1947 and remained in demand as a performer the rest of her life. She married Toho director Senkichi (The Killing Bottle) Taniguchi in 1957, and the couple remained married until his death in 2007.

Ms. Yachigusa is best known among genre fans for her leading role in The Human Vapor (1960), as the object of Yoshio Tsuchiya’s affection, the ethereal dancer Fujichiyo. She would return to the science fiction genre in the late 1970s under the direction of Kihachi Okamoto in Toho’s Blue Christmas (1978) as the wife of Eiji Okada’s scientist character. This, of course, only scratches the surface of her celebrated acting career.

Rest in peace, Ms. Yachigusa.

THE HUMAN BULLET! An Evening in the Company of Minori Terada!

Minori Terada. Photo by Brett Homenick.

Today, I had the distinct privilege of meeting actor Minori Terada. Terada-san stars in Kihachi Okamoto's The Human Bullet (1968), but he is also known for his supporting parts in such films as Okamoto's Red Lion (1969), Station (1981), Hayao Miyazaki's Castle in the Sky (1986), Akio Jissoji's Tokyo: The Last Megalopolis (1988), and Ultra Q: The Movie (1990). On TV, he guest-starred in Ultraman (1966-67) episode 14 as the assistant truck driver.

Terada-san was a lot of fun to talk to. We spoke about Akira Kurosawa movies and Japanese movies in general. Suffice it to say, his acting resume is extremely impressive, so there was no shortage of topics to discuss.

Ultraman Taro's Toyoyuki Kimura Passes Away at Age 71

Toyoyuki Kimura poses with Ultraman Taro in November 2017. Photo by Brett Homenick. 

According to his What Is Youth? (1965-66) co-star Yumi Mizusawa, actor Toyoyuki Kimura, who played ZAT member Tadao Nambara on Tsuburaya Productions' Ultraman Taro (1973-74), has passed away at age 71. Prior to his role on Ultraman Taro, Mr. Kimura acted in several Toho movies during the 1960s and '70s, especially ones directed by Kihachi Okamoto, namely Fort Graveyard (1965), Epoch of Murder Madness (1967), Red Lion (1969), and Battle of Okinawa (1971).He can also be seen in The Crazy Cats' Big Explosion (1969), which was Teruyoshi Nakano's first work as special effects director.

Series writer Shigemitsu Taguchi (left) poses with Toyoyuki Kimura at an event promoting the release of Ultraman Taro on Blu-ray in Japan. Photo by Brett Homenick.

I was fortunate enough to meet Mr. Kimura at a signing event in November 2017 and had a pleasant chat with him. 

No other details are available at this time. 

Rest in peace, Mr. Kimura.

UPDATE (4/9): According to his Japanese Wikipedia page, Mr. Kimura passed away on April 3. However, there is still no cause of death given.

A Stroll Around Inokashira Park!

Yumi Mizusawa. Photo by Brett Homenick. 

On Wednesday, March 6, I enjoyed a stroll around Kichijoji's Inokashira Park with actress-singer Yumi Mizusawa. Of course, it's still too early for cherry blossoms, but the weather wasn't warm enough to enjoy a lengthy walk.

By sheer coincidence, while I was waiting to meet Mizusawa-san at the train station, I spotted writer Fumio Ishimori approaching the ticket gates. We were both quite surprised and had a brief conversation.

I was happy to speak with Mizusawa-san about her acting and singing career in great detail. She began appearing on television in the early 1960s as a child actress, so her career in entertainment covers a lot of ground.

Many thanks to Mizusawa-san for the enjoyable afternoon!

Attending a Tokyo Talk Show!

Yumi Mizusawa. Photo by Brett Homenick.

On Thursday, November 29, I was invited to attend a taping of an online talk show hosted by actress Yumi Mizusawa. The taping location was quite far from my home, but thanks to an opening in my schedule, I was able to attend.

I was happy to see Mizusawa-san again, and she was eager to practice her English. I'm sure there will be more opportunities to come in the future.

Returning to the Live Stage!

Yumi Mizusawa. Photo by Brett Homenick. 

On Saturday, July 14, I attended a stage performance starring actress Yumi Mizusawa.

Mizusawa-san was selected as a member of Toho New Talent's 5th class in 1965 (with Bibari Maeda) and went on to become a prolific television actress and singer. She starred in the TV series What Is Youth? (1965-66) alongside Yosuke Natsuki. While her credits are mostly non-genre, she appeared in episode 91 of Kamen Rider (1971-73) and episode 16 of Iron King (1972-73). Her most notable film appearance is in Kihachi Okamoto's Epoch of Murder Madness (1967).

I had a great conversation with Mizusawa-san after the show. She was surprised at how much I knew about her acting career. It was certainly great to see her again after meeting her for the first time last April.

CONCERT TIME! Attending a Live Performance by One of Japan's Living Legends!

Izumi Yukimura. Photo by Brett Homenick.

On Friday, June 22, I had the distinct privilege of attending another live performance by Izumi Yukimura. Yukimura-san sang many of her old favorites, and by now I've become quite familiar with them. Of course, I mainly know Yukimura-san for her acting roles at Toho, which include Kihachi Okamoto's Desperado Outpost (1959) and the all-star musical You Can Succeed, Too (1964).

Yukimura-san has been one of my favorite folks to visit in Japan. But I have to confess: Before I came to Japan, I had no idea who she was! Thankfully, that was quickly corrected, and I've been her fan ever since.

MASARU SATO IN CONCERT! Attending an Excellent Performance of the Maestro's Movie Music!

Shibuya Cultural Center Owada, site of the Masaru Sato concert. Photo by Brett Homenick.

In the past several years, there's been a slew of Akira Ifukube concerts in Japan. And why not? He was an excellent composer, whose influence goes well beyond his movie music. On the other hand, concert performances of Masaru Sato's compositions have been frustratingly scarce, especially for someone who actually prefers his music to Ifukube's.

The man of the hour. Photo by Brett Homenick.

On July 30, Shibuya Cultural Center Owada's Sakura Hall hosted a two-hour concert dedicated to Masaru Sato's film scores. The Sato family, Kihachi Productions, and Toho Music all cooperated with the concert, making it about as official (and authentic) as it could possibly get.

The program started off with comments by former Toho SFX director Teruyoshi Nakano, who directed the special effects for Godzilla vs. Mechagodzilla (1974), music from which closed the concert. After Nakano-san spoke, Kihachi Okamoto's widow, Mineko Okamoto, addressed the audience and spoke about her late husband. After that, it was time for the music!

SFX director Teruyoshi Nakano during intermission. Photo by Brett Homenick.

Things kicked off with Yoji Yamada's The Yellow Handkerchief (1977), followed by selections from several Kihachi Okamoto films, namely Desperado Outpost (1959), The Human Bullet (1968), and Tokkan (1975). From there, it was on to the Akira Kurosawa films, which were The Hidden Fortress (1958), Yojimbo (1961), and Red Beard (1965). Of all these performances, Red Beard was my favorite (followed closely by The Hidden Fortress).

Mineko Okamoto speaks from the stage. Photo by Brett Homenick.

There were a couple of breaks during the performance. A couple of times, Shin Godzilla co-director Shinji Higuchi went onstage and spoke about the movies and music that were being honored. After the Kurosawa selections, it was time for intermission. In the lobby, I bumped into a few old friends and familiar faces, including Teruyoshi Nakano and artist extraordinaire Yuji Kaida.  

Attendees milling about and shopping for CDs. Photo by Brett Homenick.

Following the 20-minute intermission, the concert resumed. The rest of the performance focused on Sato's contributions to the Godzilla series. The first film was Godzilla Raids Again (1955), which unfortunately didn't give the orchestra much to work with (except for the opening title, which was very well done). This score isn't one of Sato's better ones, unfortunately.

Thankfully, things kicked into high gear with Son of Godzilla (1967). Numerous tracks were performed, and they were all about as close to perfect as any orchestra could get without Sato himself conducting and arranging the music. The ending theme, in particular, was very moving.

The energy was maintained (if not surpassed) with Godzilla vs. Mechagodzilla (1974), which sounded nearly identical to the original recording most of the time. I've always loved this score, and to hear so many of its highlights performed live by a full orchestra was a real treat.

Overall, it was a great concert, but the Son of Godzilla and Godzilla vs. Mechagodzilla performances were the true knockouts for me. I usually don't go to concerts, and live music isn't that much of a priority for me, but this has to be the biggest exception of all time. If only I could go back and relive it all again...

Gotta get the CD!