Celebrating an American Classic with Three Tsuburaya Productions Legends!

Masao Nakabori. Photo by Brett Homenick.

Today (Sunday, March 17), I received a very kind invitation from former Tsuburaya Productions script supervisor Atsuko Tanaka to join a special event in Jimbocho. The topic of the event was a breakdown of the various film techniques used to create Citizen Kane (1941), hosted by Japanese cinematographer Masao Nakabori. 

What made this invitation special in particular is that she offered to meet me about 40 minutes before the start of the event so that we could spend some time together prior to the event. She also invited me to the after-party, which was even more generous of her. But, as it turned out, that wasn't all.

Atsuko Tanaka. Photo by Brett Homenick.

She told me that another Tsuburaya Productions script supervisor, Noriko Shishikura (a.k.a. Noriko Suzuki) would be joining her. Shishikura-san doesn't do many appearances at events in Japan, and I'm not aware of her appearing at any other gathering. Suffice it to say, it was a rare opportunity!

Miyanobu Inori. Photo by Brett Homenick.

First, let's take a closer look at the day's VIPs. Atsuko Tanaka is a former Tsuburaya Productions scripter (known these days as a script supervisor), who worked on Ultra Q (1966), Ultraman (1966-67), Ultra Seven (1967-68), The Space Giants (1966-67), and Kaiju Booska (1966-67). In fact, when I showed her my Kaiju Booska DVD sleeve for her to sign, she was quite amused by it.

With Noriko Shishikura.

Masao Nakabori is a cinematographer whose credits include Ultraman, Ultra Seven, Operation: Mystery! (1968-69), Silver Kamen (1971-72), and Ultraman Taro (1973-74). On the big screen, Mr. Nakabori frequently collaborated with director Akio Jissoji, including the films Tokyo: The Last Megalopolis (1988) and Ultra Q: The Movie (1990).

Noriko Shishikura (born in 1937) has worn many hats in the Japanese film and television industry, having worked at different times as a scripter, screenwriter, director, and a producer. She was formerly married to Ultra-series director Toshitsugu Suzuki.

Atsuko Tanaka signs a Kaiju Booska DVD sleeve. Photo by Brett Homenick.

As a scripter, Shishikura-san has worked on Ultra Q, Ultraman, Ultra Seven, Silver Kamen, Tokyo: The Last Megalopolis, and a bevy of Nikkatsu films from the 1960s, going as far back as 1961. After that, she directed Ultraman: Great Monster Decisive Battle (1979), which is essentially a clip show of previous Ultraman episodes with some new footage edited into it.

Noriko Shishikura signs an Ultraman DVD sleeve. Photo by Brett Homenick.

She also produced the Tsuburaya Productions TV series Star Wolf (1978), Nobuhiko Obayashi's Cute Devil (1982), Ultra Q: The Movie, and Ultraman Tiga (1996-97), though only with director Jissoji.

An even bigger surprise was meeting Miyanobu Inori, who worked on three Akira Kurosawa movies in the camera and electrical department. Inori-san had a few stories to share about his experiences. 

On Dreams (1990), the staff had to create realistic-looking cherry blossoms. Kurosawa was pleased with the results and gave about one bottle per six staff members of White Horse, Kurosawa's favorite whiskey, for a job well done.

For the scene depicted on the poster of Rhapsody in August (1991), Inori-san was personally involved in putting film lights under the water to create the desired effect. (I didn't realize one would even do such a thing!)

Kurosawa liked shooting from far away with a zoom lens. On Madadayo (1993), there was an open set in Gotemba for a scene that took place right after the war. As you might imagine, it's difficult to light a scene from far away. They used a spotlight, with which the actors were fine. But Kurosawa didn't like it because it was too shiny and didn't look realistic.

A lot to write about, but that only scratches the surface! I had a great time today, and I must thank Tanaka-san for the invitation. It was truly remarkable!

Bin Furuya's 2021 Christmas Show!

Bin Furuya addresses the audience. Photo by Brett Homenick.

On Saturday, December 11, I attended a Christmas show hosted by Bin Furuya, the original Ultraman suit actor. It was essentially a variety show, which featured an onstage Q&A session with the guests, singing from various performers, and even the reading of a Christmas story.

The show was organized and arranged by Furuya-san's company, so you could imagine that numerous Tsuburaya Productions alumni would be in attendance -- and you'd be right! The two official guests were Hiroko Sakurai and Sandayu Dokumamushi, veterans of the original Ultraman (1966-67), but even more luminaries attended the show in audience.

Bin Furuya, Sandayu Dokumamushi, and Hiroko Sakurai reminisce about their Ultraman days. Photo by Brett Homenick.

In the audience, I spied former Ultraman script supervisor Atsuko Tanaka, former Shintoho actress Kyoko Yashiro (the widow of Ultra-series director Toshihiro Iijima), Tsuburaya Productions cameraman Masao Nakabori, as well as director Minoru Kawasaki.

Sandayu Dokumamushi reads a Christmas story. Photo by Brett Homenick.

The venue itself was a basement nightclub, so it was quite cramped. This made things a bit difficult to maneuver around. The guests were also much less accessible than at other events, but you could still approach the cool ones who didn't mind mixing with attendees.

With Minoru Kawasaki.

I had a nice chat with director Minoru Kawasaki, who was holding court with his entourage. He gave me a flyer for his recent Prince of Space remake (Planet Prince 2021) and briefly talked about it with me.

Masao Nakabori. Photo by Brett Homenick.

Cinematographer Masao Nakabori was another luminary I was able to spend some time with. I interviewed him a couple of years ago, and his career is impressive. Be sure to read all about it here.

We stepped outside for the chat, as the scene indoors was too crowded to talk comfortably. A little fresh air can do a lot of good!

Furuya-san clearly enjoyed himself, as he wore many hats throughout the show. Not only did he host the festivities, and discuss his history as Ultraman, but he performed as a singer and dancer, too! It was all a lot of fun to see. And that's a wrap! 

Masao Nakabori Q&A Now on Vantage Point Interviews!

With Masao Nakabori in June 2019.

My September 2019 interview with tokusatsu cinematographer Masao Nakabori has finally been completed and is now available at Vantage Point Interviews. In the interview, Nakabori-san talks about his work on the classic tokusatsu series Ultraman (1966-67), Ultra Seven (1967-68), Operation: Mystery! (1968-69), Silver Kamen (1971-72), and Ultraman Taro (1973-74), as well as his big-screen collaborations with famed director Akio Jissoji, including the films Tokyo: The Last Megalopolis (1988) and Ultra Q: The Movie (1990). 

The interview covers a lot of territory that you usually don't get to read about in English. Don't miss out!

Challenge from the Year 2020!

Bin Furuya. Photo by Brett Homenick.

"Challenge from the Year 2020" is the title of episode 19 of Ultra Q (1966), and it featured Bin Furuya in probably his most iconic suit-acting role (aside from the original Ultraman, of course). In this episode, Furuya-san played the alien creature Kemur, who is easily one of the most recognizable monsters from the entire series.

So it's quite apropos that as 2020 begins, there would be a special event with Furuya-san himself. The event was held in the evening of Sunday, January 12. Not only was Furuya-san on hand as a guest, but cinematographer Masao Nakabori joined the event, as well. Together, they mostly discussed the history of the original Ultraman (1966-67) TV series.

Masao Nakabori. Photo by Brett Homenick.

Nakabori-san even brought along a rare treasure -- the viewfinder of a movie camera from around the 1930s. Attendees got to hold and examine the viewfinder up close. It was a quite a treat to see firsthand how cinematographers of the 1930s shot movies!

The event was a lot of fun. Furuya-san thanked me for sending him a New Year's card and gave me his updated business card. Nakabori-san is always great to talk to, especially about the history of filmmaking in Japan. I hope to have a chance to see them both again very soon.

Bringing Ultraman into Focus!

Masao Nakabori. Photo by Brett Homenick.

Way back on Monday, September 30, I was privileged to spend the afternoon with former Tsuburaya Productions cameraman Masao Nakabori. His Tsuburaya-related credits include: Ultraman (196-67), Ultra Seven (1967-68), Operation: Mystery! (1968-69), and Ultraman Taro (1973-74). His other tokusatsu works include Silver Kamen (1971-72), and films like Tokyo: The Last Megalopolis (1988) and Ultra Q: The Movie (1990).

It was certainly a fascinating afternoon.

Back to 1966 ... Again!

Bin Furuya. Photo by Brett Homenick.

Tonight, I attended a special event with Bin Furuya (the original Ultraman suit actor) and Tsuburaya Productions cameraman Masao Nakabori. I attended a similar event about two months ago. As before, the focus was on the making of the original Ultraman (1966-67).

I arrived fashionably late (I'm always on the move, you know), but shortly after I arrived, I was treated to an interesting sight. Nakabori-san pulled out a model VTOL and demonstrated how the staff of Ultraman would manipulate them with piano wire.

Masao Nakabori. Photo by Brett Homenick.

During the demonstration, Furuya-san took the model and held it in his hand, as if he had just rescued it from a monster attack. Naturally, just about everyone in attendance pulled out his or her camera for that scene!

Overall, it was another great evening, although I came home completely drained after all the running around I did today.

Furuya-san rescues a damaged VTOL. Photo by Brett Homenick.

And that's a wrap! See you next time.

Getting into Focus with Nakabori-san!

Masao Nakabori answers questions. Photo by Brett Homenick.

On Sunday, July 14, I attended a talk event with cameraman Masao Nakabori. He has truly seen and done a lot in the realm of tokusatsu for Tsuburaya Productions, but his credits extend well beyond just tokusatsu.

Masao Nakabori. Photo by Brett Homenick.

Nakabori-san is a cameraman whose credits include Ultra Seven (1967-68) and Ultraman Taro (1973-74). His other tokusatsu works are such programs as Silver Kamen (1971-72), Tokyo: The Last Megalopolis (1988), Ultra Q: The Movie (1990), and the decidedly non-toku Maborosi (1995).

The recent news from Mill Creek about the Blu-ray releases of Ultra Q and Ultraman was reason enough to celebrate, but truthfully, I take any opportunity I can to visit with Nakabori-san.

BACK TO 1966! Bin Furuya and Masao Nakabori Reflect on Ultraman!

Suit actor Bin Furuya and cameraman Masao Nakabori reminisce about the original Ultraman (1966). Photo by Brett Homenick.

On Saturday, June 1, I headed my way to a special event with original Ultraman suit actor Bin Furuya and cameraman Masao Nakabori, the theme of which was the original Ultraman series (1966-67). Despite being exhausted from my trip to Osaka (and the fact that I'd just finished work), I wasted no time in taking part in the event.

The event centered mostly around the two guests talking about the making of the original Ultraman. Many of the stories had the attendees in laughter. Of course, the life of a suit actor is anything but easy!

I can't remember the last time I'd seen Furuya-san, but suffice it to say it'd been too long. Naturally, he was constantly swarmed by his fans, making it a bit difficult to get a word in edgewise. Still, I was happy with the chance to see him again.

Nakabori-san is a cameraman whose credits include Ultra Seven (1967-68) and Ultraman Taro (1973-74). His other tokusatsu works are such programs as Silver Kamen (1971-72), Tokyo: The Last Megalopolis (1988), Ultra Q: The Movie (1990), and the decidedly non-toku Maborosi (1995). Luckily, I was able to spend more time with Nakabori-san, as he was much less swamped with admirers. I just hope next time I won't be running on fumes!

An Ultra-Good Evening!

From left to right: Masao Nakabori, Sojiro Uchino, and Hiroko Sakurai. Photo by Brett Homenick.

On Friday, December 7, I attended a follow-up event that likewise focused on the late director Akio Jissoji. Cinematographer Masao Nakabori returned to the event, as did former child actor Sojiro Uchino, who appeared in episodes of Ultra Q (1966) and Ultraman (1966-67). Uchino-san was directed by Akio Jissoji in episode 15 of Ultraman. Headlining the event was actress Hiroko Sakurai, who starred as Yuriko Edogawa in Ultra Q and Akiko Fuji in Ultraman.

Sojiro Uchino holds up the box for a limited-edition Akio Jissoji figure. Photo by Brett Homenick.

During the Q&A session, I was most interested in hearing Sakurai-san talk about becoming a Toho actress, which is a part of her career so often glossed over in interviews and articles about her career. Naturally, the conversation quickly moved on to Ultra-related topics, particularly her work with Akio Jissoji.

Between Masao Nakabori and Hiroko Sakurai.

Sakurai-san was very friendly and approachable as usual, and despite not having seen her in about two years, she remembered me from our previous encounters at various events. As expected, the event was at capacity to her presence, but she made sure everyone in attendance got what they needed. She's a true pro and a class act.

An Evening with Tsuburaya Productions Alumni!

In between actor Koji Shimizu (left) and cinematographer Masao Nakabori. 

Earlier this evening, I attended a special celebration of the late director Akio Jissoji, whose work spanned everything from the Ultra-series to the big-budget fantasy Tokyo: The Last Megalopolis (1988).

Masao Nakabori. Photo by Brett Homenick. 

Masao Nakabori is a noted cameraman whose career dates back to the glory days of Tsuburaya Productions, including Ultra Seven (1967-68) and Ultraman Taro (1973-74). His other credits include Silver Kamen (1971-72), Tokyo: The Last Megalopolis, Ultra Q: The Movie (1990), and Hirokazu Koreeda's Maborosi (1995).

Nakabori-san is a true genre legend, and I was privileged to meet him. I was pleased to find that he was approachable and eager to talk about his work. I was particularly interested in hearing about his commercial work with Akio Jissoji on Nikka from the Barrel commercials.

Koji Shimizu. Photo by Brett Homenick. 

Also on hand was Koji Shimizu. Shimizu-san played the villainous Mushitaro Kuri in episode 4 of Ultraman Ace (1972-73), one of my favorite episodes of any of the Ultra-series. He also played Katsusuke Atobe in Akira Kurosawa's Kagemusha (1980) and Isao Akiba in Godzilla: Tokyo S.O.S. (2003). On TV, he was a regular on the Super Sentai series Choushinsei Flashman (1986-87), portraying the evil Great Doctor Lie Köpflen.

I spent much more of the evening in Nakabori-san's company, but I certainly enjoyed my encounter with Shimizu-san. I first saw his guest appearance on Ultraman Ace in 2005, and it's a performance I've always remembered. I'm glad to have had a chance to tell Shimizu-san how much I enjoyed it.