Gamera: The Guardian of the Universe (1995) | Ayako Fujitani, Eric Nakamura

Good evening everyone. Welcome to the Billy Wilder Theater, home of the public programs for the UCLA Film and Television Archive. My name is Paul Malcolm. I'm the senior public programmer for the archive. Uh I want to thank uh some of the individuals and organizations that have helped to make tonight's screening possible. Uh first, all of the archive screenings in the Wilder are free thanks to a gift from an anonymous donor. We are grateful to them for their support. Uh this series and this screening has been made possible with support from the INI initiative at UCLA for globalizing Japanese humanities. I want to thank all the community partners who have uh worked with us to help spread the word about this uh series. And finally, I want to acknowledge Kathy Ackers and Kate Park for initiating the conversation about this series back in 2023. So, let's have a round of applause for all those folks making things happen. And thank you all for coming out to the opening of our closing weekend for our series celebrating the 30th anniversary of Giant Robot Magazine. This series was curated uh by Giant Robot founder Eric Nakamura. And it's been a real honor for me and a pleasure to work with him. Uh he's here with us tonight. Let's give Eric a round of applause. Eric, so we've got one more night uh in this program after tonight. Uh, tomorrow night, filmmaker and actor Daniel Woo uh will be back here at The Wilder uh for a 20th anniversary screening of his Hong Kong action thriller, One Night in Monkok. Uh, and if you haven't gotten a copy of the book Giant Robot, 30 years of defining Asian-American pop culture, and I highly recommend that you get a copy of it, we'll be doing another book signing here tomorrow at 6 PM uh with Eric Daniel and Martin Wong, who's co-editor of Giant Robot. So, please come back for that. Uh, so turning to tonight, we have a fantastic program. I think a really fun show. Uh we'll be screening uh Gameamra, the guardian of the universe directed by uh Shuk Keko uh and released in 1996. Gameamra was the feature film debut of Ayako Fujitani and we are absolutely thrilled that Ayako is here with us tonight in person. Ayako, round of applause for Ayako. So Ayako would join myself and uh Eric on stage for a conversation after the film. Please stick around for that. And uh in the meantime, turn off all your electronic devices and enjoy Gameamra Guardian of the Universe. Thank you so much. In addition to Gameamra, Guardian of the Universe, author, actor, director, and screenwriter Ayako Fujitani is has starred in numerous films including Ritual, Daylight Savings, Man from Reno, and the short film Interior Design directed by Michelle Gandry as part of the omnibus film Tokyo. Her te uh her television work includes roles in Mozart in the Jungle and Last Ship. Her nolla Tohimu was adapted into the feature film Shiko uh Shiki Jitsu directed by Hideki Ano and most recently she co-wrote the screenplay and starred in uh starred in Tokyo Cowboy directed by Mark Marriott. Please help me welcome to the stage Ayako Fujitani and giant robot co-founder Eric Nakamura. >> Eric, let me start with you. What would you have said before the film by way of introducing Ayako in terms of like how did you meet? How did you uh I interviewed Aayeko for Giant Robot magazine uh in >> 2008? >> I would say around there in 2008 or nine. >> Yeah, it was it was for the Tokyo Omnibus U and her part was directed by Michelle Gandry and uh which was really interesting. I don't know if anyone's seen it, but it's really cool. And um so she was here to be I guess doing press and I got to interview her for that. And then uh after that she started writing for Giant Robot. which is kind of cool. >> Yeah. So, had you heard of Giant Robot when Eric before Eric reached out to you and then what was what was it that interested you about the magazine? Well, I I have been coming to LA back and forth and then I been to Giant Robot store and I have this cute little wallet that I bought and when I went to the store and so yes, I knew about the store and magazine and when I found out that he was going to interview me, I knew I was going to propose. Um, so I said to him after the interview was finished, I said to him, you know, I write too, so you know, and he said, "Okay." >> Yeah. >> So, um, you know, I know obviously Giant Robot, the name of the magazine, comes from Eric growing up and watching, you know, Kaiju movies and Giant Robot and Johnny Sako. Uh, I know you were an avid movie watcher when you were growing up in Osaka, but were kaiju films on your diet of movies or was this something you you grew up on? >> Uh, I was I I was watching any kind of movies like drama or horror or actions, but um, kaiju was one of the genre that I wasn't so so keen of. But uh when I had the when they called me from Gamra Studio and that they they asked me if I'm interested in going for audition. I went to the you know good old old uh video store and >> and there's a little backstory to how you got called for that audition, right? You were sort of discovered for this film, weren't you? >> Well, yes. Um I'm going to try to make it short, but yes. Um so yeah, I was um just a regular girl in Osaka and then um this um magazine like a zen Osaka Zing woman was helping out Osaka film festival and she came to my mom and said like I was a fan of uh Hiro Sonatada, right? And I said, "Sure." And um he was and I was a huge fan. And and uh um they said, "We're looking for u someone who's going to give him a big bouquet uh uh to him to Hiroi Sonetta who is in Shogun." Um and did does she want to do it? And I said yes. So I went and then I got on on stage and I gave him flowers and then but I wasn't that was it. But I was invited for the uh what do you call it? Reception party for the film festival. >> But I didn't know anyone. So I was just you know in the corner standing. But apparently Shisuke Kaneo director of Gamra was there. He saw me and later um he wanted to see me for the audition for Gamra. So that's how we got the phone call. >> Was it easy to get that role? in a way because I sucked so badly in audition. It was uh the scene was the one of the scene that um when the taxi driver breaks off the um thing and then she has to say you know just camera run and just say that one line simple line and I couldn't say I was just too shy and I'm like I can't I can't say and then they called me back and said I got the role. >> So it's easy but it was hard. I don't know. >> Um, so what was that experience like? So you you got the part and then you had to go back and watch all of these Gamer movies and monster movies. What was that experience like? And I guess the other thing was were you not into I mean so my question would be like you're a kid growing up in Japan. Were these movies at the time you were growing up? Were they still cool? Were kids watching them? And were your peers into them and you were just like eh? >> And then what was it like when you, you know, finally got into it? >> I mean I was watching like every weekend there was like a Gorena. I don't know if you know any of those like a you know how do you explain >> sentai? >> Yeah. Senti you know like a five power >> colorful >> right >> suits people. So I did grow up watching those and then it's it's part of that genre and uh Gamra was definitely one of those cult movie that it was already sort of um disappeared and Godzilla was more mainstream and then Gamra was only the people who knows now and so yeah I I had to go and rented videos and then I I thought it was really cool and of course it's now that it has more value because it's really now the um the director of this movie the special effect director Shinji uh Higuchi Shinji and then uh Ano Hiyaki they actually built museum only for that tokatu because it is disappearing because CGI is so great and the miniatures and all this people getting inside of the suits is just disappearing. So, if I think about it now, back then I thought it's just so cool to get to see how it's made in front of my eyes. But now I if I look back, I got to be in that movie. It's really cool. >> Yeah. >> And then you did two more, right? Yes. >> Yeah. Was that like a the plan originally was just to have you were going to be in three movies or did they just kind of add them? >> I'm not sure. Like I think the story-wise they were going to do three but I I don't know if they were planning to have my character all three. Um and then there were uh there is like documentary very long documentary only about that debate and then how it the third one was made. It's a good one. Uh, Hideyakiano directed it and there's debate about having me or not having me and some crew hating me and some crew loving me and >> who what's wrong with these people? >> They're all serious that's all. And then I became very good friends with the people who didn't want me. So it's okay. It's life. >> Well, so but so from the story of the audition, you were obviously not like you weren't training to be an actor. You weren't training to perform. So but you got the part. So, what was that like when you were on set like learning lines, learning to act like in your first starring role in a feature film? I mean, what was that like? >> Everybody was so kind. That's let's put it that way. Um, yeah. Um, I think I had to learn just being on the set and from all those experienced people. And I mean in a way it's the best way to learn but they they were kind so I didn't I wasn't traumatized so it's good. Yeah. I remember um so going back just a little bit we were kind of like I think in a way the questions you asked the first question anyway was sort of almost testing is she does she have geek in her right that's kind of it right okay so Io once looked at so okay I'm a geek I collect Japanese toys right from that era a lot of stuff and uh so I guess one story is she saw that toy collection and she was able to name every every character every obscure weird show. She knew everything. And this is all toys from like the 70s, not from the 60s, 70s, 80s. And it's like older than her for sure. And then sure enough, she was able to name them all. So literally, it was really odd. >> Yeah, I have that in me. >> So yeah, she's for real. Never doubted for a second. But so so um so you began your career to sort of looking, you know, forward. You began your group with this series of three genre films, the the the camera movies, but now you're mostly known for like Art House, independent film, working with Michelle Gondry, some really like, you know, experimental, you know, directors. Was that a plan? I mean, would you like now once you got into the industry and you felt comfortable doing it, were you like, hey, I mean, were you did you have a choice between I want to keep doing these genre films or, hey, you know what, I want to explore this other this other thing, this other direction? I mean, I think I was never planned to do the genre of film or anything, but I always loved genre film. But I did feel frustration in the end because back then, even until pretty recently, if you do genre movies as an actor, you're the genre actors. And then but I guess because of Germo Toro and then because of like recently finally all these um action starts like you know Michelle Yo uh getting that Oscar all these things um they started to cross over >> finally and it's great that it doesn't matter and that's how it should be >> because it's just art. you're creating art and it shouldn't be you're doing this then that's it. You can't cross over and it should you should be able to but at one point I was frustrated and probably that's one of the reason I wanted to write myself because people would just look at me as oh girl like yes and no you know. Yeah. >> So do we have any questions from the audience? Raise your hand. We'll call on you and we'll bring a microphone to you. Any questions for Yako or Eric? Let's go right down here in the front. >> Yeah. Mike. >> I always wonder when you're acting in these films, do they show you story boards or do they show like initial footage of what the monsters will be doing or is it just all this is what's happening? just some a director telling you how to react. >> Um, so yes, you you have the whole script, so you know what's going on, but it is hard sometimes to sort of picture what's happening. Um one of the interesting thing was the technical part of it is you know one of the uh assistant director will be having this long stick with something on the end and then he'll go like here's the camera so that every actor is looking at the same spot right so it's not like he's right there and then it's not vague and then he will sometimes he has to run from that way to there. So you just every actor is following the same eyelines. So those are the technical part. But I do remember uh Shizuk Ko the director told me genre movies are the more um that kind of movie you need better actors because if your eyes are not believing what you're seeing the audience can tell. So the actors has to make the audience believe. So, you know, so if you're just going like, "Oh, I'm just going to pretend and the lie can be shown to your eyes, I guess." And so the director ha had to work with actors, you know, you have to believe in it truthfully. Yeah. Oh, a question from the audience right here in the center. First, I'd like to thank you both. Eric, congratulations for giant robot anniversary and thank you so much for coming. We appreciate it. >> And so, what what is your next project that you're working on currently? >> Um, so I just recently finished a movie called Tokyo Cowboy. Um I think it's showing on Monday uh in LA this coming Monday in a film festival. What's it called? I don't know. Um sorry it's been going around everywhere and this past month. Uh and then it was showing in AMC and stuff. So I just kind of finished with that. I co-wrote with my friend Dave Bole and I'm I start in it. And then now the next project I am trying to uh I'm just going to say I I'm trying to direct. So we'll see how it goes. It's always a challenge. >> Direct what? >> A feature film. >> Oh, is it written or did you write it? >> It's already written 10 years ago. Let's see. >> Wow. You're on your script. It's your Oh, fantastic. >> Well, you know, it's free to say anything. >> Is it a partic Well, sure. Of course, of course. Um >> it doesn't cost to say it. So, one of the one of the um one of the themes of the documentary that we started the series with and just the whole legacy of Giant Robot is just how like the presence of Asian and Asian-American culture has sort of really like I mean there's still issues, but it's like it's it's much more into the mainstream. It's, you know, it's kind of all around us. And um I'm curious like as someone who's you know born and raised in Japan now lives in the states and goes back and forth and has worked in worked for European directors worked in for Japanese how how do you see like the presence and place of of Japanese or Japanese pop culture and how has that impacted you >> over the years? You're almost you're now a part of the cannon, right? The Game of Films have put you like right in the heart of like, you know, the center of Japanese pop culture, right? >> Yeah. I guess that's just that's just came later in the sense of I wasn't thinking that, you know, that wasn't the plan. Um, you know, I wish there are so many things like when I came 2009 and then when I met Eric and I was I was actually thinking to do more American films, but back then they were not casting any Asian people for regular TV shows or movies at all. And it was frustrating and it just to this day I still feel like I came a little too early and then I wasted a lot of time. Um and then now I'm just too old to be casted in other shows that everybody's casted. But it's okay. It's I don't know. It's great that it's like Shogun is doing great and all these things. It's like happening finally. Um but you know Japanese industry itself has a lot of challenge right now and then Hollywood has its own challenge right now. So I think it's just everything is changing throughout the years and then now that I'm just saying it because I've been in the industry in the end it's pretty long time now. So it's just um you never know. So, the only thing I can do is just keep trying and see what fits and whatever fits. Yeah. >> A question from the audience. I'll turn it back over. Any more questions? Oh, right here. Let's bring the mic down in a sec. There we go. >> Hello. Um, I just had a question about um your your collaborations with Hideyakano specifically. Um, you know, just trying to work with him and I know you he worked with him on a film that he directed and I was just wondering because he's like a lot he he influenced a lot of like pop culture and Japanese pop culture um as of you know recent times now. So I was just wondering like what was your like personal interactions with him and like how did he either like shape or like what what is it like you know what is it like you know how how is it like working with him you know >> um yes he has a I know he has certain repetition for being unique person um he's indeed unique but uh with me uh I felt very um I felt comfortable around him and he decided he's the one who called me up and said he wanted to direct a movie based on the story that I wrote. So, I felt comfortable enough to say whatever I want to say to him. And um he's the kind of guy he's just, you know, he doesn't smile much and then he's picky. So, people get um scared, I guess, and then people feel like it. They can't say much to him. But if you say your honest opinion to him, he's the person who would listen to you. And that's what I did. And then I think that's how we made the movie together. >> That's awesome. And for those who I guess don't know, I guess Ano is he what is it? He did Ivan Gelion. >> Yeah. >> Uh and then uh Shin Godzilla, right? That's him too. Yeah. So for those of you who don't know, Yeah. big time director. >> Another question from the audience. Can you talk a little bit about like let's talk a little bit about your writing. I mean the you know you've written a couple of nollas and one of adapted in this into the film. Um, are you are you working on anything else or where where does that where does that impulse to write come from for you? The storytelling? >> I'm curious. >> Well, I if you look at my like u yearbook from my elementary school years, um I I did wrote down saying uh I wrote down saying I want to be an a writer. So I think that was my first passion, but I just happened to be actor first. So in a way I feel more comfortable um behind the camera writing stories and um it just so but I wasn't again same thing with my writing and then my acting I was never properly trained or studied in school or class. So it's just but I feel blessed to be act uh you know learning and collaborating with great writers and directors and then actors. So that's the best way to learn. Um, so I'm, you know, I'm I'm keep going to write and then I sometimes even translate my friends script and I just feel great, um, just reading stories and writing stories and then I want to keep doing it. Yeah. >> Um, so you have two daughters and I'm curious if you have passed on if they've seen this film or these films or what they think about uh, Japanese monster films in general. Have they have they watching them or are they >> Yeah, they they both watched Gamra actually in the big screen and u and then they know about this screening and when I was going and my older daughter said she's turning eight soon and she said um so how are they moving the monster and I said someone is inside of that suit. She's like what? So, I know that I mean for a long time I don't think camera's shown much, but then all of a sudden it's starting to show a little bit here and there. >> Um, I mean, is that kind of like writing this wave sort of of monster movies coming back again? And >> if if so, because you were almost going to do a you're going to be at a convention or something, right? >> Yeah, I did one convention and then I was invited not to another one and the schedule didn't work out. I think I was I was always invited to those but um I never went and then recently I went to first one and everybody was like whoa you showed up. I'm like yeah I did. Um, so I think it's Gamra is it's again it's one of those ones. It's it um like oh you like monster movies and then have you seen this kind of um secret uh cult movies but it's well made and um it's one of those things used to be when it was a black and white used to be kids um kind of a you know cutesy cutesy kaiju movie. But when they decided to make they brought this team and um Shinji and then the writer is he's from Ghost and Shell you know you can see if you pay attention which you did um the the writing is you know that when they talk about the self-defense army and all these u details are not for kids. They're going really detail and um it's it's a great team. >> Yeah. >> So, they were definitely going this was like the 30th anniversary reboot this this whole series. Yeah. Back then >> and but they were they were going for an older audience. You think they were trying to re redirect it towards >> they wanted to make a a kaiju movie that you could watch with parents and kids and then also parents can enjoy >> for this one. But then it gets darker the second one and third one it really gets dark and then the third one even I would say it's not even for kids. Yeah. >> Well, unless we have another question another question right here. Take one more question. >> Thanks for guys for coming. Um I just wanted to know from like a creative standpoint when do you write and like do you have a process for how you write? I wish I I wish I do. Uh but my husband is a writer. Um he writes like a proper writer and then >> what is a proper what is a proper writer? Like he has a schedule. He gets up. He works. Yes. Doesn't he have like a a wall of like post-it notes of stuff like that? >> He does. He has all those things. And then he wakes up. He gets into his like shirts with a you know proper shirt and he sits in front of computer no matter what you know and he has different projects and his organized mind especially I I did learn because I wrote short stories and novels you could get you can be a little messy if it's about novel this is just my opinion but for a screenwriter I do feel like you kind of have to be more like architecture sort of. You have to have that kind of organized mind which I struggle a lot. So >> I'm curious because in ter in terms of the form like the screenplay is you're writing for an industry you're writing for and you have to hit certain beats. You have to hit you know move things along a certain number of pages and that's the architecture you're talking about. You have to be very mindful of the structure right? >> Yeah structure and then you know it's it's not only for yourself and yeah all these things. So it it's a whole different thing, but I still do it in a messy way and I struggle in a messier way and then somehow in the end I'm like, "Oh, oh, it's everything is put together now. I don't see it coming until the end." >> Do you and your husband share your writing back and forth? Do you give each other feedback? And how does that work? We do give each other feedbacks a lot, but we decided to not to collaborate at all to save our marriage. Yeah. Yeah, we do get in a fight if we sort of try to work together, but we do appreciate each other's feedbacks a lot. That's it's just so different. I don't know what it is. >> Awesome. Well, I want to thank everybody for coming out. Ayako, thank you so much for joining us. Thank you so much. >> Thank you, Eric. >> Thank you,