Takeshi Kitano a biography
"In Japan, there is a broadcasting station called NHK, like BBC, but much, much stricter. When I was a rising star in comedy I appeared on a live program, and the director specifically said you can't say such-and-such, if you use these words you'll be finished. So of course I couldn't resist. I said 's**t' 12 times in a row. I said, 'I saw a s**t-like substance on the street. So I went over and I picked it up and smelled it, and it smelled like s**t. Then I felt it and it felt like s**t, and I liked it, and it tasted like s**t, so I put it away. Thank god I didn't step in it!' That was my coolest moment, because it was a tremendous risk. They could have cut me off but they didn't. The director was fired and the producer was moved to another program, far away from Tokyo."
Takeshi Kitano on the question: What's you're coolest moment?
In the Beginning
Takeshi Kitano was born the 18th of January 1947, and was the last of four offspring born to a working-class couple in downtown Tokyo. His father, Kikujiro, was a loveable, thirsty craftsman, in lacquer and paint.
Takeshi describes his relationship to his father:
"I almost never talked to my father. When we brothers heard his footsteps, we ran away and hide. I suspect that he was a member of the yakuza. But to provide his family he was forced to work as a housepainter."
His mother, Saki, was a woman with a fierce drive to keep her family afloat and her kids in school. Even though it meant doing peacework day and night in their home. During Takeshi's youth the Kitano household had known very hard times, but was far from destitute.
"My family didn't allow me or my brothers to see films or read comics or novels. In that post-war period the whole emphasis was an economic growth. Films were out. That's why I studied engineering! I never really knew the worlds of movies and Manga existed until I reached college".
Takeshi's family became the first family, on their street, to get a TV, in 1956. And their house became a kind of community center.
"I remember my neighborhood as being like one big family. People still growing vegetables in nearby fields and washed them in the river, boys chased butterflies and dragonflies, their moms chatted at the public baths while their dads tipped a few at the bar on the corner".
Takeshi made it to college, but, to the shock of his mother, he dropped out in his third year.
"My dream was to work for Honda. But it was the late 60's, there was a big student movement, which came over from France, and people who studied philosophy, Marx and Lenin had a higher status. I felt if I could join them, I could meet more girls, so I cut classes...Eventually I dropped out and went to work in a strip joint".
"The Two Beats"
He started to work as a janitor and coffeehouse waiter. In 1972 he took the job as an elevator boy at the strip joint. The same year Takeshi met Kiyoshi Kaneko, and they formed a manzai, a crosstalk duo, called "The Two Beats". (His popular nickname "Beat" Takeshi, which he by the way still uses when he is acting in movies, comes from this time, as one of the half of the comedy duo) And began sharing nightclub stages with the strippers. "The Two Beats" were the "alternative comedians" of their day. Especially popular with students and the younger generation for their hyper-rapid, risqué and irreverent routines. 1974 a TV producer saw them perform, and two years later they captured top comic honors on NHK, Japans largest network.
"After I got into the entertainment world I was once arrested by the police, and of course there was this accident. (The moped accident in August 1994) On each occasion, I was told I was finished, but I came back. That's why I like the notion of a return match".
"Psycho Killer"
Nagisa Oshima, the director of Merry Christmas, Mr. Lawrence, was the first who steered Takeshi away from comedy, by commenting that he'd be great playing a criminal. Takeshi followed Oshima's advice, and took the role as a psycho killer in a TV serial that became a big hit. Takeshi continued to act in TV dramas, and extended his range by hosting talk shows and by writing humorous short stories. He did this on the side with "The Two Beats", before the act broke up in the early 80's. Takeshi then began acting in movies, and made his debut in Ikuo Sekimoto's, Danpu-Wataridori from 1981. In this movie, Takeshi plays a policeman who tosses off a lot of gags. This movie didn't become a success.
"The problem then, Takeshi says, was that the people started to laugh, because they thought I was the comedian "Beat" Takeshi. The first role people took me seriously in was, Merry Christmas, Mr. Lawrence with Mr. Oshima. That made the Japanese people realize that I could act as well".
Takeshi continued acting in movies, and (as he mentioned before) won international attention, for the first time, in Nagisa Oshima's Merry Christmas, Mr. Lawrence, 1983. In this movie Takeshi plays a typical Japanese solider, Sgt.Hara, obedient, brutal and sentimental when drunk. This movie, Oshima's first in English, was a strange, haunting drama set in a Japanese POW camp, centering on test of wills between two martinet Commanders played by Ryuichi Sakamoto and David Bowie. Since then, Takeshi has maintained an incredibly prolific and diverse career, and has become Japan's foremost Media personality. He stars in seven TV programs each week (at least), appears in commercials and publishes columns in several magazines and newspapers. Takeshi also paints witty and accomplished cartoon-style pictures, writes poetry and serious novels.
"My publisher calls me a 'permanent anarchist', but I worry about living up to a label like that. Won't I soften? Aren't I doomed to disappoint audience expectations? But one of the reasons I became a comedian in the first place is that comedians can say things that are very harsh or very close to the bone, and be allowed to say them. In Japan, that's a unique position. Even though I've expressed what are probably minority points of view and said things that may not be socially accepted, I have somehow been accepted by the Japanese public".
Takeshi acts in movies for other directors as well. He starred alongside Keanu Reeves and Dolph Lundgren in Robert Longo's science-fiction epic Johnny Mnemonic from 1995. He also starred as the one eyed gay hit man Kyoya, in Takashi Ishii's Gonin, 1995, and in the adaptation of his own novel, Many Happy Returns, 1993. Which was a satire on Japanese religious cults, directed by his former assistant Toshihiro Tenma.
Kinji Fukasaku Dropped Out
Takeshi did his directorial debut in 1989, with the yakuza thriller Violent Cop.
"Making films is very different from doing comedy. When I do comedy, I want immediate laughter; I'm not trying to give the audience a deep experience. But I want my films to be something people can sink their teeth into".
Takeshi was originally only to star in Violent Cop, but when the director, Kinji Fukasaku, (best known for his Jingi Naki Tatakai- Battles Without Honour or Humanity, 1973-76 series) dropped out, (when he became apparent that he only could get the 10-days-at-the-time-TV-working Takeshi Kitano in the lead role) the producers asked Takeshi if he would be interested in directing the movie
"I said yes", Takeshi explains. "The problem was that I had never directed and I had never studied directing, even though I had watched a few films in my time. There was a crew who had been in the industry for a long time and who had studied the usual methods, which were based on the Western influence- moving the camera, getting different camera angles. The problem with moving the camera in Japan, though, is that when you move it, you always get something you don't want in the frame. So I had to fight with my staff to get these shots with very little movement. After the movie came out, people said I didn't know how to make films".
Takeshi's use of long, static shots and the performance lends to a chilling tranquility to Violent Cop, Boiling Point and Sonatine. Violence explodes from silence and is captured by a still, unblinking camera. Takeshi says his approach to movie violence was influenced by the famous documentary footage of a suspected Viet Cong guerilla being shot by an American solider during the bloody Tet offensive 1968.
"There is no movement in the camera," says Takeshi. "No up or down, that, and when I saw a man who'd been stabbed in my neighborhood, is the most shocking thing I've ever seen. Violence is like comedy; it affects us suddenly, without warning. In boxing, I think it's scarier to watch one punch than to watch someone being beaten".
Takeshi Kitano a Violent Man?
Which brings us to the touchy subject of Takeshi's relationship with the press. There is a story were Takeshi and some friends attacks a editorship to a newspaper with raised umbrellas.
"A paparazzo had hunted my girlfriend for a long time. I was upset and waved with an umbrella. After that people say I'm violent. But I'm not. Ten years after this, those guys still dog me. They're still at it. But I will say this about the Japanese Mass Media, they are very sensitive to the way the outside world things. They may not have taken me seriously at first, but since Violent Cop and Sonatine received such a positive response in Europe, the Japanese Mass Media have started to take my films more seriously".
Boiling Point, A Scene at the Sea and Sonatine
After Violent Cop, Takeshi made Boiling Point in 1990. This time he wrote the script himself, and co-edited it with Toshio Taniguchi. 1991 came A Scene at the Sea, which became the first feature Takeshi collaborated with composer Joe Hisaishi.
"The Japanese journalists are not interested in my movies. They only want me to tell a joke". When Takeshi visited Goteborg Film Festival in February this year, a Swedish journalist also wanted him to tell a joke, to see what made him so popular in Japan, that when the young generation were asked who they wanted to see as Japan's leader answered: Takeshi Kitano.
"Ok, here is one. I was looked up one day by the Japanese mob, yakuza, who were wondering why my third movie, A Scene at the Sea, weren't about them. I answered that it was impossible, cause the main character in the movie is a surfer, who must be able to paddle on his board with help of his hands. Since almost everyone in the yakuza has lost some fingers, the surfboard would only spin around, if they tried".
Boiling Point and A Scene at the Sea were about apparent losers winning through by sheer persistence and force of will. Boiling Point was about a weedy garage mechanic taking on a local yakuza gang. And in A Scene at the Sea the main character was a deaf garbage collector that was teaching himself to surf. Then in 1993 came his best movie to date, Sonatine.
"A Sonatine is the kind of piece you play when you're learning to play piano. I figured I was about that stage in my directing career, so it seemed like an appropriate title".
Sonatine was about the highly successful yakuza hit-man, Murakawa. (Played by "Beat" Takeshi himself) This reversed the pattern from his prewievs movies, that were about big losers, to a movie about a successful yakuza.
"We don't know exactly how the hit man Murakawa has achieved his success, but it's clear that he has done a lot of very violent things. And now he wants to quit. In Japanese society, though, quitting is almost a dishonorable act. If you're a yakuza, you have to cut off a finger or something. But Murakawa want's to quit anyway, he's tired. When he gets sent to Okinawa, he realizes very quickly that he's going to be killed. And so what I wanted to show was what goes through a man's mind when he knows that he's about to die. It seems to me that life and death have very little meaning in themselves, but the way you approach death may give a retrospective meaning to your life. The point of setting it on the beach like that is that the context makes all Murakawa's personal problems seem so minor and unimportant. That wouldn't have happened if he had stayed in the city. It was essential to give him that space. And the beach scenes from the core of the film; the violence (much of which is offscreen anyway) comes before and after. It's like a sandwich, but not like an English sandwich- those guys put too much importance on the bread and not enough on the filling".
Crashed with Getting Any? and His Moped(!)
After Sonatine, Takeshi made his first comedy feature which he named Getting Any?, due to the story of the movie, a man who hunts women so he can to the "dirty deed". The same year, 1994, when he just finished working on this movie, Takeshi almost killed himself. On the night August the 2nd 1994, Takeshi got very drunk. He got on his moped, wearing a helmet with its chinstrap unfastened, fell asleep and crashed. Takeshi miraculously survived but spent almost four months in Isolation in Tokyo Medical College Hospital, suffering from scull fractures and a broken jaw. When Takeshi was released from the hospital on September 27, he had nervdamages making the right side of his face temporarily paralyzed.
"It's embarrassing", he confesses. "I was trying to visit one of my girlfriends. When I finally saw her, nearly a year later, she said: 'What took you so long?'"
He can joke about it now, but it took ten days before he recovered consciousness, and for a while the doctors couldn't rule out brain damage.
"When I woke up, I had a battle with my brain; I didn't know how much of my memory I had recovered. My two closest associates, Mr.Mori and Mr.Miyagi, came in and I wasn't sure, which was which. So I looked at Mr.Mori and said, 'hey, Mr.Miyagi', and they panicked. That reassured me. Obviously this was Mr.Mori. So I played that game for a while".
After the accident, Takeshi gave up drinking and golf in order to devote more time to painting, reading, studying science and music.
"People around me say that having come through such a traumatic experience, you can live a better life. Personally, I don't think so. It was just an accident. I hate the notion that because I was able to live, I should do this or do that, I don't accept that.
Time is very valuable to me. In order to make time; I had to cut back. Golf take's a day...In order to read, to study, to play the keyboards, the guitar, do all the thing's I wanted to do, I had to omit drinking and golf. So it's not because it's bad for my heath or anything. Right after the accident, even in the hospital, I drank- probably twice as much as I used to. I wanted to show that Takeshi hasn't slowed down. Six moths later, I realized how much time it took. So it's hard for me to say it was the accident that changed things. I'm like a sponge, trying to get in as much information and experience as possible. When I squeeze that, in form of a film or whatever, sometimes s**t may come out, but that's my rational for doing so much".
Returned with Kids Return
After the accident, and Getting Any? (which by the way became a flop. Takeshi was very disappointed that it hadn't worked out better. He spoke at that time about giving up most of his television work and disbanding his "stable" of comedians so that he could concentrate on directing movies and writing), Takeshi returned in 1996, with the boxing drama Kids Return.
"The entertainment community thought I would never return. Funny thing is, I have returned. My personal experience, however, has changed my views in certain ways. This time I wanted to do something outrageous, but I was afraid the Japanese public would think I had gone crazy after the accident, I had to reassure them.
In my previous movies, death has been the answer for the characters; they were looking for the right way to die. In this film, although they choose to live, the characters haven't found an answer; living is in some ways the harder choice".
Kids Return (the title, in English on the print, borrowed from Takeshi's first book if poems) is different in structure from his earlier movies. It's crammed with story, incident and character, and deliberately avoids any single narrative focus. The activities of the two protagonists are not only cross-cut but also counterpointed with many glimpses of other lives, other problems; there is a huge supporting cast.
"The two central characters, Masaru and Shinji, are based on boys I knew at school. Their classmate, Hiroshi, the kid who starts out as a salesman and ends up as a taxidriver, is also based on someone I knew at that time. There were two distinct types in the high school I went to; the élite, the ones who studied hard, and the dropouts, who cut classes all the time and thought it would be cool to become yakuza. The teachers pressured the first group intensely and generally ignored the second. The film, obviously, focuses on the drop-outs".
Takeshi found Masanobu Ando and Ken Kaneko, the two lead actors in the movie, through auditions.
"The casting people and producers saw some 250 kids and got the list down to about 40 before I saw them. I chose the ones who seemed least confidant. The ones who came in swaggering with confidence were the first to go. This time it was a bit of a gamble for me; I'd never used pretty faces in my films before. Masanobu Ando, the boy who plays Shinji, came to see me with a face that said he knew I'd never choose him. Actually, I had another boy in mind for Shinji (he's the one who now plays the shortest of the three school bullies), but I wasn't sure that he could hold the audience interested for the duration of the film. And so I gave the part to Masanobu at the last minute".
The two boys seen performing manzai cross-talk routines in the movie obviously echo to Takeshi's own entry into show business as a comedian. But Takeshi explains that they don't represent him, in any way.
"If they'd been autobiographical figures they'd have become the main characters and it would have been an entirely different film. Manzai routines are traditional way of making people laugh, but my approach has always been to break all the rules. When I first appeared as a comedian on a stage in Asakusa, I was banned from performing there again for six months- because I spoke badly of the management, the venue and the audience. I went on to break the rules of television performing and novel-writing too. Maybe I'm doing the same in film?".
When I saw Kids Return, at Stockholm's International Film Festival 1996, I missed Takeshi himself in the role as the local yakuza boss, who is now played by Roy Ishibashi. I thought when I saw it, that maybe Takeshi didn't want to act infront of the camera so soon after the accident, and passed it to Ishibashi instead, But the truth is this:
"For me, film is a essentially silent. I like films without dialogue or music. The audience should be able to get all it needs from images alone. Nothing should need to be explained through dialogue. Obviously I try to get inside my characters when I write them, and I know what their facial expressions and behavior should be expressing. Whether I appear in the film myself is not the primary consideration. Of there is role fore me I'll take, because as an actor I know what I want as a director. But if the story doesn't offer me a role- as in the case of Kids Return- then I stay behind the camera. It all comes down to the way I want to stimulate the audience's imagination. I have very high expectations of my audience".
Kids Return became the first of Takeshi's movies to do well at the box office in Japan, making it something like a breakthrough for Takeshi.
Once Again, Takeshi Kitano together with "Beat" Takeshi
In 1997, Takeshi returned once again to the director seat. The difference this time was that he would not only direct the movie, but also take the lead role. Last time we saw the collaboration between director
Takeshi Kitano and actor "Beat" Takeshi were four years ago, with Sonatine. The movie, Hana-Bi, was about a tough ex-cop, Nishi (played by "Beat" Takeshi) tying up the loose ends of his life and taking his terminally ill wife Miyuku (Kayoko Kishimoto), on a farewell journey to the snow-covered mountain, Fuji.
"I wanted to show how a Japanese man tries to handle his own responsibilities. The way Nishi does this may well be different from the way a man in another country would do it. Actually, many present-day Japanese will very possibly see Nishi's behavior overly romantic or sentimental, or at least rather out of date. But the way he discharges what he understands to be his responsibilities conforms with an ideal, which existed in Japanese society at least since the Edo period. You can see this ideal in action in many of Chikamatsu's plays, for example".
"Filmkrönikan"
January the 21st, 1998, Takeshi were interviewed on a Swedish television program called the Filmchronicle.
"In Japan, that director who makes the movie with the greatest public successes, who becomes most respectable. The public doesn't care anymore if the movie is artistic or not. It's the box office result that counts. Back in time big directors like Akira Kurosawa or Ozu were respected, but it's possible that the Japanese public doesn't realized how big these two were, until their unique qualities were noticed in the West. Today almost all of the big box office movies come from the West. There must be computergraphic orelse it doesn't considered to be entertaining. It is that poison which came after The Second World War with the American movies. It's a cancer which we must cure, orelse the Japanese movie and culture won't survive".
On the question what Takeshi preferred of acting, writing or directing, he answered:
"I can't choose. All three things belong together. Too choose one thing infront of another, is like choosing one part from a car: the steeringwheel or the engine".
In a interview with Tony Rayn, Takeshi said that he found, in general, the editing part of filmmaking the most satisfying.
"If I'm going to work with someone else's script, I have to rewrite and rework it myself. I have tried to give Nishi a Japanese character, but I was a little afraid that the Europeans would relate and associate the role to kamikazepiolets or hara-kiri from Second World War. But it was an unnecessary apprehension, cause the Europeans now a day, understand Japan better. That was I think the main reason why it went so well".
Takeshi ends the interview with the words:
"I hope this film will brake way for me!".
And it would be a very strange thing, if this movie wouldn't be the real big breakthrough for the 51 years old Takeshi Kitano, now that it has won many fine prices at Film Festivals, such as the Golden Lion in Venice, all over the globe. At least I hope so.
"Players can play twenty-four hours a day, and I can work with movies all the time".
This biography were written with help of:
Jun. 1996. Sight and Sound
21 Oct. 1996. The Globe and Mail
Apr 30-May 7. 1997. Time Out
Dec. 1997. Sight and Sound
3.Feb. 1998. DN
Mister Shock Value by: William Marsh
Takeshi Kitano biography from Office Kitano
and he mad a lot of movies and stuff but i couldn't name them all cuz the site i go 2 c the movies iz out rite now, o0o shyt itz back on
so here u go
Blood and Bones (2004) .... Jyombion Kim
Izo (2004) (as 'Bîto' Takeshi)
Zatôichi (2003) (as Beat Takeshi) .... Zatoichi/Ichi
... aka Takeshi Kitano's Zatoichi (International: English title: informal title)
... aka The Blind Swordsman: Zatoichi (USA)
... aka Zatoichi (International: English title)
Batoru rowaiaru II: Rekuiemu (2003) (as Beat Takeshi) .... Kitano
... aka Battle Royale II (USA)
... aka Battle Royale II: Requiem (literal English title)
"Musashi" (2003) (mini) TV Series .... Shinmen Munisai
"Hyaku-nen no monogatari" (2000) TV Series
Batoru rowaiaru (2000) (as Beat Takeshi) .... Kitano
... aka Battle Royale (International: English title)
Brother (2000) (as 'Beat' Takeshi) .... Aniki Yamamoto
Gohatto (1999) (as 'Beat' Takeshi) .... Captain Toshizo Hijikata
... aka Taboo (International: English title)
... aka Tabou (Gohatto) (France)
Kikujiro no natsu (1999) (as Beat Takeshi) .... Kikujiro
... aka Kikujiro (Japan: short title)
... aka Kikujiro no natsu (Japan: English title)
Tokyo Eyes (199 cool .... Yakusa
... aka Tokyo Eyes (France)
Hana-bi (1997) (as 'Beat' Takeshi) .... Yoshitaka Nishi
... aka Fireworks
Gonin (1995) (as Beat Takeshi) .... Ichiro Kyoya
... aka The Five (USA)
Johnny Mnemonic (1995) (as Takeshi) .... Takahashi
... aka Johnny Mnémonique (Canada: French title)
Minnâ-yatteruka! (1995) .... Scientist
... aka Getting Any? (Europe: English title) (USA)
Kyôso tanjô (1993) .... Daisuke Shiba
... aka Many Happy Returns
Sonatine (1993) .... Aniki Murakawa
... aka Sonachine
Erotikkuna kankei (1992) .... Okuyama
... aka Erotic Liaisons
Sakana kara daiokishin!! (1992) (as Beat Takeshi) .... Azuma
"Takeshi's Castle" (1990) TV Series .... Count Takeshi
3-4x jugatsu (1990) (as 'Beat' Takeshi) .... Uehara
... aka Boiling Point (International: English title) (USA)
... aka The Third and Fourth of October (literal English title)
Hoshi tsugu mono (1990) .... Yama no ojichan
Sono otoko, kyobo ni tsuki (1989) (as Beat Takeshi) .... Azuma
... aka Violent Cop (USA)
... aka Warning, This Man Is Wild
Anego (198 cool (as 'Beat' Takeshi) .... Shoji Sugimoto, Hitman
Komikku zasshi nanka iranai! (1986) (as Beat Takeshi) .... Police
... aka Comic Magazine
Yasha (1985) (as Beat Takeshi) .... Yajima
... aka Demon
Kanashii kibun de joke (1985) (as Beat Takeshi) .... Hiroshi Igarashi
Jukkai no mosquito (1983) (as Beat Takeshi) .... A man at a race horse track
Merry Christmas, Mr. Lawrence (1983) (as Takeshi) .... Sgt. Gengo Hara
... aka Senjou no Merii Kurisumasu
Sukkari... sono ki de! (1981) (as Beat Takeshi)
Manon (1981) .... Shinobu
Danpu wataridori (1981) .... Police 1
Makoto-chan (1980)
Filmography as: Actor, Writer, Director, Editor, Miscellaneous Crew, Producer, Himself, Archive Footage, Notable TV Guest Appearances
Writer - filmography
(2000s) (1990s) (1980s)
Zatôichi (2003) (screenplay)
... aka Takeshi Kitano's Zatoichi (International: English title: informal title)
... aka The Blind Swordsman: Zatoichi (USA)
... aka Zatoichi (International: English title)
Asakusa Kid (2002) (book)
Dolls (2002)
Brother (2000)
Kikujiro no natsu (1999)
... aka Kikujiro (Japan: short title)
... aka Kikujiro no natsu (Japan: English title)
Hana-bi (1997)
... aka Fireworks
Kidzu ritan (1996)
... aka Kids Return (International: English title)
Minnâ-yatteruka! (1995)
... aka Getting Any? (Europe: English title) (USA)
Kyôso tanjô (1993) (novel)
... aka Many Happy Returns
Sonatine (1993)
... aka Sonachine
Ano natsu, ichiban shizukana umi (1991)
... aka A Scene at the Sea (USA)
3-4x jugatsu (1990) (screenplay)
... aka Boiling Point (International: English title) (USA)
... aka The Third and Fourth of October (literal English title)
Sono otoko, kyobo ni tsuki (1989) (adaptation) (uncredited)
... aka Violent Cop (USA)
... aka Warning, This Man Is Wild
Filmography as: Actor, Writer, Director, Editor, Miscellaneous Crew, Producer, Himself, Archive Footage, Notable TV Guest Appearances
Director - filmography
(2000s) (1990s) (1980s)
Zatôichi (2003)
... aka Takeshi Kitano's Zatoichi (International: English title: informal title)
... aka The Blind Swordsman: Zatoichi (USA)
... aka Zatoichi (International: English title)
Dolls (2002)
Brother (2000)
Kikujiro no natsu (1999)
... aka Kikujiro (Japan: short title)
... aka Kikujiro no natsu (Japan: English title)
Hana-bi (1997)
... aka Fireworks
Kidzu ritan (1996)
... aka Kids Return (International: English title)
Minnâ-yatteruka! (1995)
... aka Getting Any? (Europe: English title) (USA)
Sonatine (1993)
... aka Sonachine
Ano natsu, ichiban shizukana umi (1991)
... aka A Scene at the Sea (USA)
3-4x jugatsu (1990)
... aka Boiling Point (International: English title) (USA)
... aka The Third and Fourth of October (literal English title)
Sono otoko, kyobo ni tsuki (1989)
... aka Violent Cop (USA)
... aka Warning, This Man Is Wild
Filmography as: Actor, Writer, Director, Editor, Miscellaneous Crew, Producer, Himself, Archive Footage, Notable TV Guest Appearances
Editor - filmography
(2000s) (1990s)
Zatôichi (2003)
... aka Takeshi Kitano's Zatoichi (International: English title: informal title)
... aka The Blind Swordsman: Zatoichi (USA)
... aka Zatoichi (International: English title)
Dolls (2002)
Brother (2000)
Kikujiro no natsu (1999)
... aka Kikujiro (Japan: short title)
... aka Kikujiro no natsu (Japan: English title)
Hana-bi (1997)
... aka Fireworks
Kidzu ritan (1996)
... aka Kids Return (International: English title)
Minnâ-yatteruka! (1995)
... aka Getting Any? (Europe: English title) (USA)
Sonatine (1993)
... aka Sonachine
Ano natsu, ichiban shizukana umi (1991)
... aka A Scene at the Sea (USA)
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