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Translated by Audie E. Bock."A first rate book and a joy to read.... It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book.... Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."--Variety"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."--Washington Post Book World
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Akira KUROSAWA Something Like an Autobiography Translated by Audie E. Bock VINTAGE A DIVISION OF NEW BOOKS RANDOM YORK HOUSE First Vintage Books Edition, May 1983 Copyright © 1982 by Akira Kurosawa Appendix copyright 1975 by Toho Company, Ltd., Japan All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published by Alfred A. Knopf, Inc. in 1982. This book is published under a program designed to encourage the translation and publication of major Japanese writings not previously available in English. The program was conceived by the Japanese Society of New York, and Alfred A. Knopf, Inc., is grateful to the Society for its continued support. Library of Congress Cataloging in Publication Data Kurosawa, Akira, 1910Something like an autobiography. Translation of: Gama no abura. Includes index. 1. Kurosawa, Akira, 19102. Moving-picture producers and directors—Japan—Biography. I. Title. PN1998.A3K789413 1983 791.43'0233'0924 [B] 82-48900 ISBN 0-394-71439-3 Illustrations follow page 119 Manufactured in the United States of America Cover photos courtesy of Akihide Tamura/Japan Society and The Museum of Modern Art Film Stills Archive Cover woodblock print by Hiroshige courtesy of Keith Sheridan. Translator's Preface I A W A I T E D my first meeting with Kurosawa Akira with a great deal of curiosity and a fair amount of dread. I had heard stories about his "imperial" manner, his severe demands and difficult temper. I had heard about drinking problems, a suicide attempt, rumors of emo tional disturbance in the late sixties, isolation from all but a few trusted associates and a contempt for the ways of the world. I was afraid a face-to-face encounter could do nothing but spoil the marvel ous impression I had gained of him through his films. Nevertheless I had a job to do: I was writing a book on those I considered to be Japan's best film directors, past and present. I had promised my publisher interviews with all the living artists; I could hardly omit the best-known Japanese director in the world. I re quested an interview through his then producer, Matsue Yōichi. I waited. Six months went by, and my Fulbright year in Tokyo was drawing to a close. I was packing my bags and distributing my household goods among my friends in preparation for departure the next morn ing when the telephone rang. Matsue was calling to say Kurosawa and he would have coffee with me that very afternoon. In the interim I had of course interviewed all the other subjects for the book, and all had spoken very highly of Kurosawa. In fact, the whole chapter on Kurosawa was already roughed out with the help of previous publications and these directors' contributions, so it seemed possible that my meeting with the man himself would be nothing more than a formality. Not only Kurosawa's fellow directors, but filmcompany executives, independent producers and most of the older generation of Japanese critics regarded him as a special case