One of the biggest names in special effects for the Millennium series of Godzilla films (which ran from 'Godzilla 2000: Millennium' until 'Godzilla: Final Wars,' Yoshikazu Ishii was an often unsung hero of the staff for those films. Working mostly on the crew detailing the miniature sets during the monster battles, he has parlayed that love into a career as special effects director or director of special effects-heavy films as well as the odd horror film or two among his resume.
On the occasion of his recent film 'Game Master Death Sushi' screening at the 19th Japan Film Fest in Hamburg, I sat down with the director to ask a few questions about his early work in monster movies and the new film.
Me: What drew you into making movies, initially?
Yoshikazu Ishii: I wanted the audience to have fun
Me: What especially about special effects photography do you find appealing?
YI: It is to express special effects
Me: What was the experience like working on films like 'Battle Under Orion' 'The Unbroken, and Sinking of Japan?'
YI: I'm sorry I can not understand it is my English ability.
Me: Having worked in various activities within the industry, do you find any particular aspect more appealing or rewarding?
YI: What I did various work lives in my movies.
Me: You love Japanese Kaiju films and you have actually shot and participated in some of them. Can you tell us about the reason you like these films and the experiences you had while shooting them?
YI: Destruction of the city by a monster, a monster battle
I do not know why I like it, but I am excited.
My work kaiju:
- GODZILLA FINAL WARS - Assistant Director
- ULTRAMAN MEBIUS (TV) - episode 1~8 Assistant Director
- DAIMAJIN KANON (TV) - Assistant Director
- ULTRAMAN GINGA - Director & Assistant Director
- ULTRAMAN GINGA S - Directer
Me: Where did the concept for Death Sushi come from?
YI: I wanted to make a rolling sushi horror movie
Me: Was there any kind of behind-the-scenes experiences in getting the project started?
YI: One day, all three cameras stopped and did not move. That day eventually stopped
Me: With a small cast and few locations, was the low-budget a hindrance or a liberation in the creative process?
YI: I could not visualize all the images because my money was all my budget
Me: Was it always your intention to add a blend of comedy and silliness to the more obvious horror elements?
YI: Yes
Me: How did the cast react to the shooting conditions in a special manner?
YI: I took pictures in order from the beginning
Me: What was the film-set like in-between takes?
YI: I'm sorry I can not understand it is my English ability.
Me: What is your opinion of the Japanese movie industry at the moment?
YI: Film is a production committee system, amateur producers are all
Me: What about the underground/exploitation productions?
YI: I will just listen to bad production stories
Me: Are preparing any new projects?
YI: Yes Things like low-budget kaiju movie
This interview was originally published on Asian Movie Pulse and is gratefully reprinted with their cooperation.
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