Sadistic and Masochistic Page #4

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the couple would end up having sex.

Now, I understand

that's what porno is all about.

But back then, I just didn't get it.

Why here?

So I talked it over with the director.

If he'd agree to cut even one scene,

I was so relieved.

I was naturally reticent.

Did any of your peers ever

give a critical assessment of your work?

Kumashiro and other directors

would attend preview screenings.

Only Nishimura ever stayed away.

It was amazing.

They'd adjourn to the cafeteria

and analyze the film.

Sometimes I really wished

they would shut up.

That was the atmosphere that first year.

Nobody would approach me

with their comments.

And some were so cruel.

Because it was porno,

they seemed to talk more.

Did you ask them to critique your work?

No, I never did,

and I never wanted to.

You get a much better assessment

from a real audience in a real cinema.

Going by their laughter, their tears,

we soon knew

if the audience liked the film.

But we never knew

if it gave them a hard-on.

So you went to cinemas

to study audience reactions?

I'd see men transfixed,

holding their breath.

When the cinema

showed a triple feature, for example,

some men only stayed

for about half the program.

Then they'd walk out.

I wanted to yell,

"Stay for my film!"

Before Nikkatsu geared up

for Roman porno,

you'd never even consider

going on someone else's set.

But then we'd have three productions

all filming at the same time.

I'd be shooting here,

Nishimura over there

and Konuma down at the end.

All in one studio!

It was bedlam when someone yelled out,

"Rolling! Action!"

So we all agreed

that we'd take turns.

The audio was added later,

so noise didn't matter.

That's right.

It made it hard to synchronize.

It was almost impossible.

The poor ADs had to work really hard,

or else the cast would start getting confused.

I'd let the senior director call "Action."

Then I'd count to three and call my "Action."

One day in a production meeting,

someone said, "Yeah, but it's only porno."

Konuma was livid.

YOSHIEKI KUKAWA - SET DESIGNER

He jumped to his feet and yelled out.

"I'm putting my life on the line

making these films!"

When normally quiet Konuma said that,

I felt relieved.

Up until then,

I'd had a guilty conscience about

what I was doing-working on porno films.

At first, Roman porno-

Aiding and abetting porn?

Was given no artistic recognition.

But that made it easier.

We could really go out

and bring the fiction to life.

With no recognition,

there were no restrictions.

There's one thing I remember the most.

It was difficult to guess

what Konuma actually wanted to express.

OSAMU INOUE - EDITOR

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