‘Silent’ is Golden: Interview with Hyoe Yamamoto, Director - “When I Become Silent”

Japan. I had been there a few times and communicated with a few friends there on occasion, but I’d not ever tried doing an interview without sitting in front of the interviewee which made my request for an interview with Hyoe a little bit of a challenge. The time difference aside, the real challenge was battling both of our ever juggling schedules. I even installed the famed SKYPE on my machine with the hopes that we’d somehow coordinate a video chat. Grr. No..between my computer refusing to cooperate and the time (or lack thereof!), it wasn’t meant to be. Screw it..I went old school..and it turns out to have worked like a charm. I actually learned a great deal about Hyoe in our email “sit down”…

“When I Become Silent” (Watashi ga chinmoku suru toki)

Director/Screenwriter: Hyoe Yamamoto

Principal Cast: Ayaka Maeda (Kyoko), Nahana (Rie)

Editor: Akiko Iwakawa

Director of Photography: Shu G. Momose

Producer: Hiroko Akatsu

Lighting: Hiroshi Ota

Music: Yuko Ikoma

Daron Jenkins: When you were a kid…was this what you were hoping to be, a filmmaker? Or was there something else happening then..

Hyoe Yamamoto: I have always wanted to be a filmmaker, ever since I was a kid.

Daron Jenkins: As a kid, what made you think "I really want to make films!"? Was there a film that made you feel that, and if so which one. I’m a filmmaker too and I trace my inspiration from (like every other american filmmaker) seeing Star Wars for the first time…

Hyoe Yamamoto: My Dad is a cinefile, and with a new invention at the time called videotapes (beta tapes mostly), I was able to watch many films since I was little As for the very first film I saw in theaters, my dad told me it was a French soft porn sensation Emmanuelle. I don’t really remember the one that made me say, "aha! I want to be a filmmaker!"

Daron Jenkins: I’m curious…where did the subject for the film come from? You actually have a few subjects going on…Creativity and the struggles behind it…The impact relationships have on creativity and passion…Fear of commitment..

Hyoe Yamamoto: I think every filmmaker reflect themselves upon the films they make to a certain degree, so I think you can say that all the subjects you mentioned above have been on my mind recently.

Daron Jenkins: So would if be fair to say there’s a little of your own personal fears represented here?

Hyoe Yamamoto: I would be lying if I say not at all, but I would like to think that it’s a mixture of my own real feelings and my own imagination.

DJ: What are some other hidden struggles that you think a filmmaker needs to be aware of?

HY: That’s different for each filmmakers and I can’t really speak for others. But you can find such struggles wherever you look and pay attention to.

DJ: How do you get past that struggle to get into a creative mindset? Any secrets to share with fellow filmmakers?

HY: I think this is also different for each filmmakers, but I don’t really have any secrets. I just try to be modest and listen to what other people mean to say in my daily life.

DJ: What I love about "When I Become Silent" is that you were able to wrap a subject like lesbian lifestyle in a film without making it the subject, was that a conscious effort?

HY: Yes, absolutely. It’s a universal theme with a very specific setting, and it’s the setting that makes it more interesting for the viewers especially for short films.

DJ: Why only a short film? Seems like there’s a great story burning there and might make a great longer format film?

HY: The story was adapted from my original feature length screenplay about 6 people, men and women of different age range, living in Tokyo. The two characters in "When I Become Silent" were my favorites, so I made it into a short.

DJ: Any preference short or feature length work?

HY:I would definitely like to challenge feature length films. Since the kind of films I want to make is not necessary about the plot points and twists, I feel that there are so much I can do when the audience is given a chance to feel the characters and absorb the atmosphere of the film, and you can’t really do that with short format.

DJ: Any chance we’ll see the full length version in festivals anytime soon?

HY: I hope soon if not sooner.

DJ: What’s the general response from viewers in Japan. I would think that there’s not a great acceptance for gays & lesbians there as of yet, so I’m curious how the film played.

HY: I have yet to find out. The film is screening at Tokyo Lesbian and Gay International Film Festival in July, so I’m looking forward to it. There have been some lesbian and many gay films in Japan, but they just don’t have a great exposure in the market.

DJ: How’d you go about putting together your crew and cast?

HY: I auditioned 160 actresses for the part of Rie and Kyoko. It was the fun part of the whole process. I put together my crew through friends and people I know. I felt very lucky to find very talented people.

DJ: Well if you speak to either of the actresses, let them know…both were great. Great camera presence. Think you’ll work with them again on future projects?

HY: I would love to. We had very good working relationships. I told both of them that it was too short this time (only three day shoot) and we will do it again longer soon.

DJ: Both actresses were wonderful. Being able to find good talent is tough. Usually helps to have a good connection to other filmmakers and film communities. Is there a tight community of independent filmmakers there or do you find it hard to find other like minded people to share techniques and topics with?

HY: I got the feeling that there are communities there, but I was going in as an outsider, and I didn’t really have any direct contact with such communities.

DJ: Making films in Japan, what kind of process do you have to go through to find locations, get permissions, etc. Not sure if it’s more difficult or easier for a filmmaker there or here?

HY: There are many restrictions concerning location shooting in Tokyo especially in the city center. You have to take care of a lot of paperwork when you can get permits and it can be a pain. But they don’t really care if the production is insured, so it’s easier in that sense. A lot is done based on verbal agreement.

DJ: How interested are you in joining the the band wagon and doing Hollywood type movies? Or would you be content doing indie films mostly?

HY: I certainly have no aversion to it like some people do. As a filmmaker, you should always try to reach out for greater audience, and if Hollywood type movies let you do that, why not?

DJ: What was the biggest challenge for making this film and what would you do over again?

HY: Meeting the right people at the right time who are willing to help you and guide you. Because you have to depend on other people to do everything when you’re making a film, I think this is essential in filmmaking and, I guess in life as well.

DJ: What’s next for you? Any film projects or upcoming festivals you wish to tell everyone about?

HY: "When I Become Silent" is screening at Paris Cinema International Film Festival in July, and Indpanda International Short Film Festival in Hong Kong in August. I’m developing a few feature length projects, and I hope to get one of them off the ground soon.

RAPID FIRE…

Filmmakers who inspires you:

Ken Loach, Claude Sautet, Nagisa Oshima, Agnes Varda, John Cassavettes, early Takeshi Kitano films, and Wong Kar Wai with the very exception of "My Blueberry Nights".

Best Films you’ve seen in the past 6-8 months:

I saw Paranoid Park recently, and I liked it a lot. Tôkyô!, which is a set of short films by Michel Gondry, Leos Carax and Jun-ho Bong, is great!

Favorite Books:

Letters to A Young Poet by Ranier Maria Rilke, collection of short stories by Stephan Zweig

My Last real vacation was:

No vacation.

One thing people need to know about me:

I love movies.

My Best friend loves me because:

You should probably ask that person.

Sleep late or Get up Early?

Sleep Late

Favorite Food:

Anything that tastes good

My Favorite Musical Artist:

Recently, I have been listening to Bach and a Japanese electronic group called Geskia.

Actor I’d most Like to work with:

There are many, but the one I’m thinking of at the moment is a Japanese actress named Ayako Wakao

One thing you always wanted to try:

Play Jimi Hendrix guitar solo on stage.

Your preference: In Front of the Camera or Behind the Camera?

Behind

Five things people will find in your room:

Macbook, coffeemaker, ipod, postcards on the wall, books

One other job you’d love to try:

Carpenter

More about Hyoe Yamamoto

Hyoe Yamamoto came to the United States as an exchange student and graduated from the film production program at the Tisch School of the Arts in 1997. He was a recipient of the Warner Bros. Film Production Grant for his thesis film, A Glance Apart. At Night, his third short film, had its premiere at the Tribeca Film Festival and can be seen on the Independent Film Channel. He is currently developing feature projects in the US and Japan.