Departures - BEHIND THE SCENES

"Departures"
BEHIND THE SCENES
by Tim Nasson
February 26, 2009

Watch "Departures" Trailer

Winner of the "2009 Best Foreign Film Oscar"

The “Encoffiners” - With loving kindness, they preside at life’s final departure.

“Encoffination,” the ceremonial washing, dressing and placing of the deceased into a coffin in the presence of the bereaved, is a career less than highly sought after, but one in “Departures” that is both heart-warming and life-affirming. In the film, a young man comes face to face with the many ways in which people are visited by death and in the process creates a new life for himself.

Yojiro Takita is one of Japan’s most accomplished directors, from his early success with comedies such as “The Yen Family” and “We Are Not Alone,” through dramas such as “When The Last Sword Is Drawn.” The script is by Kundo Koyama, his first for the big screen, although he served as writer on the cult-hit cooking series “The Iron Chef.” Composer Joe Hisaishi, who wrote scores for many Hayao Miyazaki films, such as “Spirited Away” and “Howl’s Moving Castle,” provides the original score. The film is shot on location through the four seasons of the year in Yamagata Prefecture, located in Japan’s beautiful northeast region.

Masahiro Motoki plays Daigo, a man who has lost his way in Tokyo and returns to his hometown with his wife Mika, played by Ryoko Hirosue. She brings clarity and naturalness to the role of a wife who initially disapproves of her husband’s career choice, but eventually comes to understand and respect it. Tsutomo Yamazaki brings his craggy features and towering presence to his portrayal of Sasaki, Daigo’s employer and mentor. The supporting cast of well-known character actors includes Kimiko Yo (“Café Lumiere”), Kazuko Yoshiyuki (“Glory To The Filmmaker!,” “Granny Gabai”) and Takashi Sasano (“Kabei” – “Our Mother”).

“Departures” opened in Japan in the fall of 2008 and became a major box-office hit. It has since earned 13 Japanese Academy Prize nominations, including Best Picture, Best Director and Best Actor. It is one of the five nominees for an Academy Award® in the Best Foreign Language Film category.

"Departures" is the first Japanese film to be nominated for Best Foreign Language Film since Yoji Yamada's 2003 samurai drama "Tasogare Seibei" ("The Twilight Samurai"). Since the start of this award in 1947, only four Asian and three Japanese films have ever won it, beginning with Akira Kurosawa's 1951 classic "Rashomon."

Auditions for a corpse

A few scenes were filmed in early 2007 in order to capture the snowy landscapes, but principal photography began that spring. After 40 days filming on location in Yamagata, the crew moved onto the set in Tokyo. Filming ended after nearly 3 months without incident.

The only problem was with the scenes involving corpses. Although playing the role of someone who has died, the actors remain very much alive and no matter how quietly they lay, their eyelids or their veins would twitch. This might not have been an issue in a film where the corpse is incidental to the story, but not in this film. Ultimately, the problem was solved by fabricating a meticulously modeled corpse “doll.”

This problem had first materialized as the crew prepared to film the opening encoffination scene. Every time Daigo handled the corpse, the actor burst into a fit giggles claiming he was ticklish. Abandoning that actor, the producers held an emergency audition for an actor who could play “an absolutely still corpse.” Shirai Koyuri was chosen from among 200 applicants and you can see her onscreen, beautifully portraying a perfectly still corpse.

The encoffining technique: Nearly magical

In the story, Daigo is transformed from a professional cellist into a professional funeral director; neither profession brooks any compromise. Motoki, (the actor playing Daigo), began training for both roles well before filming began. During filming, Motoki soundproofed his hotel room, retreating there for two hours every day to take cello lessons. Motoki mastered his part as a funeral director under the tutelage of a real professional, practicing on his own personal manager, reluctantly drafted to play the corpse.

With such rigorous training behind him, Motoki braved his cello scenes without playback, resulting in authentically moving performances. Under the closing credits, there is one long take that shows the actor encoffinating a corpse. The technique he displays in this scene reaches an aesthetic peak, rivaling that of an illusionist. While shooting this scene, the entire crew held its breath, engrossed in his performance. When the director finally called “cut!” they broke into a standing ovation.

Q&A WITH THE DIRECTOR - YOJIRO TAKITA

Where did you get the inspiration for this project?

I received the idea for this project from the producer. I knew of the job of a “nokanshi” (encoffineer) through reading a book, but as I have never actually been in direct contact with them, there was too little I knew of the job. When I read the script, I felt the content very familiar and close, and though the film will be dealing with death, I felt that the film would definitely become interesting. I think finding the charm in themes that other people do not want to touch, is probably a habit to all directors.

Was there an event in your life that drove you to make this film?

I was interested in the theme all the more because my experience with death was quite limited. Although I participated in ordinary funerals before, I had never seen or thought about what was happening on the other side of the funeral and the people who were involved with this. When I was small, it is true that the funeral has often taken place inside each household, and the death was somewhat a very closed incident. However, if I had actually realized what “death” was about, is another story. While I was gathering information, I suddenly felt the sense of realizing the presence of “death” right in front of you, just as I felt in my childhood. What existed there was that the family, the relatives, did not despise nor detest “death.”

What was it about the idea that resonated and made them feel compelled to spend this time with this story?

Any human beings have to face death at one point, but at the same time, they try to turn one's eyes away from death. The recognition of this fact may have come up in watching this film, and I feel that the audience may have replaced themselves with one of the characters and tried to touch or feel their death through other people’s lives.

Do you need inspiration to commit to a project, or just a good team of collaborators?

To be able to team with a good group of staff is a major premise and essential. However, nothing can start if there is no inspiration. Whether or not you understand the subject is another matter, but your feelings of attraction towards it is definitely the most important thing of all. I live for such inspirational occasions.
A film is made with various elements combining. Therefore, a good staff gathers when there is a good inspiration. And, extraordinary power is completed by consuming and growing with the power from these surrounding parties.

What do you consider to be unique and original for/to this project?

At first, neither the production, nor distribution, and even more, the release of the film was decided. Because of this, I was dealing purely with the project, without trying to be “too art-house” or “too commercial.” At the same time, although in the face of adversity, I had much confidence that this project would definitely work.

After you finished the film, how did it change you as a person? What did you learn from this experience?

I believe I came to face "death" more naturally. I am afraid to die, but not afraid of “death” itself anymore. When I attend funerals for my close ones, often I would have just prayed for the deceased, but I found myself touching their faces, and trying to confront their death. By touching their skin, I would feel the warmth of the deceased, the warm-hearted life of the person who had cared for me. I came to think that I must tell kids that death exists in everyday life. It is important for us human beings to witness, that we are given birth with crying, and we die crying.

Looking back on the filming of this movie - what scene stands out the most in your mind and how did that scene touch you?

I like the scene where Mashiro Motoki plays “Ave Maria” on the cello, after eating chicken in the office with Tsutomu Yamazaki and Kimiko Yo. I think the scene was able to capture a moment in which each character had a chance to think back about themselves in a gracious manner. I believe that their bonds were expressed without words. I also like the scene where Tetsuta Sugimoto sends off his deceased mother to be burned, but only is able to say “Ma! I’m sorry!” in the backlot of the crematorium. I felt that it made sense from a man’s point of view, of how a man will deal with a mother’s death.

We all deal with death of loved ones throughout our lives - the sadness, the mourning and the celebration of our loved ones’ life. But the actual prepping our loved ones for “encoffination” is a process that is often over looked or not seen. What research did you do in preparation for this film?

The most important for me was what “encoffining” actually was. The atmosphere and the great sensation that I felt when I had experienced the “encoffinment” backed up my attraction for, and confidence in creating this film. The experience also made me realize the wonder and beauty of sending off someone with respect.

I found it interesting that you choose Kundo Koyama as the scribe for this film. He really captured the beauty and the sensitivity of the story while interjecting moments of humor. Did the script evolve naturally when you first read it or were there many revisions?

The script was not originally in this style. We changed the characters and characters' feeling towards death. I felt that death was not a dark incident, but a moment infused with humor and grace, so I had changed my view somewhat from the standpoint presented in the original version of the script.

The cello music plays an essential role in the movie, really enhancing the film to another level. What was the direction that you gave Joe Hisaishi when you first met?

We knew from the start that the cello piece would have a major role in the film. We discussed creating music with themes of reconciliation and reproduction. The reason for having the lead play the cello was because of the wide range of tunes that the instrument was able to play.

With the current economic crisis in both the U.S. and throughout the world, many people are losing jobs they have grown comfortable with and accustomed to; now people are having to take jobs they never expected they would do. Motoki plays out these emotions and reactions beautifully in concert with his adjustment to the new job. Was this something that came naturally or did you have to coach him through it?

We had different visions and believe we both respected them. Masahiro Motoki had to learn the art of encoffinment; he went on to express the beauty of a person, sending off another person, by conducting the act with grace and blessings. He definitely brought it into his own world.