Interview: Take Masaharu on Directing THE NAKED DIRECTOR Season 2

Brash and shocking as the subject it is based on, Netflix’s The Naked Director shows no sign of modesty in its second season. 

 

Delving further into the 'fall' part of the rise and fall of porn industry pioneer, Muranishi Toru, the series’ lead director, Take Masaharu, talked exclusively with LMD about the risks of taking a darker turn, how tried and true methods saved shooting during the corona pandemic, and the enduring inspiration of Tokyo street legend, Shinjuku Tiger.  

 

 

 

Take Masaharu:  I’m very glad that I could do it, because the original schedule didn’t match, so I had to pass and I was very sorry.  But in the end, I managed to come back, so I am very, very happy about it.

 

 

TM:  The one thing we really had to change in a big way is that because of the corona pandemic, we couldn’t shoot much on location, so we had to use the set.  And actually, originally in film, we use a lot of sets; this is where the filmmaking can shine.  But so far, because of the budget and because of various reasons, we have been away from it.  So, this time, because we had to use the set because of the pandemic, we could go back to what we were really good at in the beginning, which is doing it on the set.  

 

I think maybe from now on, we can go back to where we started.  Maybe I can say this is thanks the pandemic, or because we tried to overcome the adversity caused by corona; I think we can go back to where the films can shine, which is to shoot on set, of course with some computer graphics.

 

 

TM: (Laughs) I would like to do it, but Mr. Yamada, he had to put on a lot of weight, so maybe it would be difficult for him.

 

 

 

 

TM:  Well, we do a lot of planning with the staff about how to shoot, and we really prepare the set before the actors come in.  So, we create the shooting set to be 100% ready.  I don’t really do testing or rehearsal, so often when the actors come in, we can start rolling the camera almost right away. 

 

Sometimes, we don’t even do the testing.  And so for that, we know where the camera should be, the position, and how we are shooting; we all plan it beforehand, so that everything is very ready.  So, when the actors come in, we can just start shooting.  I think that’s very unusual.

 

 

TM:  Well, there’s no rule or regulations, but maybe the reason is that because I am a man, maybe I wanted to shock.  I wanted to grasp the moment where the actresses are really shining.  So, that’s what I was really interested in, shooting that moment of the actress.

 

For the male actors, I think I wanted to grasp a different moment, because of the dramaturgy of especially season two.  Originally, we were not focusing on adult video, either, but season two, even more so; we are more away from adult video.  It’s a different kind of dramaturgy, so that is why I think I wanted to see the male actors shine in a different moment than nudity.

 

 

 

TM:  When I first started season one, actually, I was even thinking of ending it with the ending of season two, because I thought it was the most interesting ending.  Also, I thought it was really interesting to capture the flow of the 80s bubble economy that has burst.  In the 90s, the Japanese economy went downhill.  So, I thought it would be interesting to show that.

 

That’s what I was thinking in season two, but when I started season two I already knew that I wanted this tone.  And I understand that you watched up to episode three, and if you go on to episode four and more, there’s going to be more happening; it may be harder for you to watch.  I have to ask the unsuspecting audience viewers to really put up with different emotions, because I’m cornering all the characters into very harsh places; but bear with it, and please watch until the end.  

 

After the cliffhanger, each character has their beautiful place, so please wait until the end, and please have that expectation that each of them will go to their own places in a very nice way.

 

 

 

TM: (Laughs) Well, actually, I didn’t understand the meaning of the conch shell whistle, myself, in the beginning, but in creating season two, and certain scenes, it made sense to me.

 

In making the drama, I’ve been watching all kinds of films, not only Japanese films, but also European, American -- film from all over the world, whether it was new or old.  I’ve been trying to adopt and integrate what I thought were very interesting components, or elements from various movies that I’ve been seeing. 

 

So, what’s important for me is surprise, rather than understanding what it is.  To answer your question, I wasn’t worried about all the details not being understood.  And also, Netflix’s people would check the script, and would tell me whether it works or not.  But also, they basically told me, “Okay, you make the film as you normally make.”  So, I just trusted myself in making my own film.

 

 

TM:  All the characters in this drama are such strong, powerful characters.  So, the actors, I would like to understand how the actors approach each role, and that is the basis.  And plus, sometimes, maybe I just let them do it, or I sometimes ask them to add something, or suggest something different, but the basis and foundation is the approach by the actor to that role.

 

And especially in The Naked Director, we have such first-rate actors, so when I did the casting, 80% of my job was done.  They just gave to me.  I had a lot of expectations from the actors, and I just concentrated on myself in getting what they are giving.  In taking what they’re giving me.

 

 

 

TM:  I don’t really know everything about Mr. Muranishi, but from what I read about him; all the documents and talking to people who knew Muranishi, it looks like he took really good care of the actresses.  And when they made a lot of money, he shared it with the actresses.  

 

But at the same time, I heard that around Muranishi-san, maybe he was mistreating the male staff.  That he was more violent toward men.  

 

Historically, there was a lot of harassment going on.  In the media, in the regular TV, or the regular film industry, there aren’t a lot of women; whether it was a make-up person, or actresses.  So, the women were very suppressed.  It’s a very male-dominant world.  However, in the adult film industry, you need actresses.  The adult video world doesn’t exist without actresses.  And especially, Mr. Muranishi was treating the actresses very nicely.  

 

Of course, there are other ways, we call from A-to-Z, there could be very different treatment; a very wide range.  I don’t know about other adult video companies, but his company, Diamond Visual, they were making a lot of hits, so they were making lots of money.  So, all the efforts and the struggles actresses went through were in a way paid off by getting more guarantees, or more money, or getting recognition.  Some of them became stars, so, they were well rewarded.  So, I depicted those actresses around Mr. Muranishi; that they climbed the ladder together with Mr. Muranishi.  

 

However, in season two, his attitude toward the actresses starts to change, and starts to be more negative.  And especially after the latter half of season two, because he’s not treating them nicely, a lot of people are leaving him, so you will see that.

 

 

 

TM:  I don’t think he’s a very special person.  And when I started taking on this project, I thought about how I should depict this character, Muranishi Toru, who is the adult video director.  But as I was making this, something that I realised was that he was just a salesman of English lesson material, and later he became a director; and that transformation, is something that I am familiar with.  I was nobody, and I became a film director:  I went through that transition over thirty years, myself.  

 

So, I thought I could depict the story of somebody becoming a filmmaker; the isolation, the solitude is something that I can depict.  So, that is what I wanted to depict in season two.  And also, all these emotions – everything that you go through when you are trying to make your artwork, including human relationships -- all their ups and downs, and all the emotions – that, also, I wanted to depict in season two.

 

 

TM:  Actually, he is a newspaper delivery guy who wears a tiger mask.  Tiger Mask is the mask of an old professional wrestler.  That man on the bike (Shinjuku Tiger) is actually there.  Since I came to Tokyo, over thirty years ago, he is always there.  

 

Everything has changed in Shinjuku: It doesn’t look like how it was thirty years ago, but the only thing that didn’t change is that guy.  So, that’s why I filmed him.  He loves film.  He came to see 100 Yen Love in that attire, so I’m sure he’s watching The Naked Director, as well.

 

 

TM:  Well, my message to the worldwide audience, is, first of all, and most of all, please enjoy this film.  Under this pandemic, everybody suffered.  We are suffering, you are suffering, everybody is suffering.  So, laugh when you feel like laughing.  Laugh at him {Muranishi} when he is just wearing underwear, and also, if you feel like getting angry at him, or being mad at him, be mad at him.

 

He is quite horrible.  As incredibly bad as a person can be, but still, it’s a life he is living.  It’s important that you’re living.

 

 

The Naked Director Season 2 is now streaming exclusively on Netflix.