On Friday 21, Komatsu Nana and Suda Masaki went on stage for a special Ito premiere at the Toho Cinema in Roppongi Hills, Tokyo. Separated by plexiglass panes they entertained the chosen few with co-stars Nana Eikura and Takumi Saito.
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Destruction Babies premiere in Tokyo – May 21, 2016
On Tuesday January 17, 2017, at the Roppongi Hills Toho Cinema, legendary American Director Martin Scorsese had come all the way from the US to Tokyo for the Japanese Premiere of his latest film: Silence/Chinmoku.
His star-studded Japanese cast was there too: Tadanobu Asano, cult director and actor Shinya Tsukamoto, Yosuke Kubozuka, Ryo Kase and 20-year-old Nana Komatsu who had made her Hollywood debut in the film as Monica, a young country girl whose Christian faith sealed her destiny, to a tragic end.
Her screen time was rather short and it was indeed a small supporting role but her flawless performance in different scenes did leave an impression, it was remarkable enough for the US media to take notice: Variety.
November 1, Closed Ward aka Family of Strangers has finally hit Japanese theaters, nationwide. The production chose the TOEI Cinema in Marunouchi, Tokyo for the official opening. Tsurube Shofukutei, Go Ayano, Nana Komatsu, other cast members and Director Hirayama were there to entertain the audience. Special ‘guest’ was a Sake barrell full of packs of kintsuba, a Japanese deli generally stuffed with sweet red beans.
Nana Komatsu and director Bernard Rose attended the US Premiere of Samurai Marathon at the New York Asian Film Festival on Friday, June 28. It was a memorable evening for the young actress as she received a Rising Asia Star Award. Rockin on has published a short but interesting report with highlights from the Q&A session as well as interviews. Original Post (Japanese) – Pics by Brent N.Clarke.
Selection of translated excerpts
“New York is such an amazing city with power and liveliness (…) here I felt like when I started acting, my heart was beating fast ” (Nana Komatsu, speech)
“What was your favorite scene in Samurai Marathon?” ‘A scene I liked was when my father burned a picture at the beginning of the movie. Originally it was a scene with speech, but I thought of expressing emotion without words, I tried to suggest this to the director’ (Nana Komatsu, Q&A)
“What’s the best thing to do so that Japanese actors appear in more American films?” ‘American films should right way appoint Nana a lot more. Then they should take Godzilla’. (Bernard Rose, Q&A)
“Princess Yuki Hime is sort of confined (…) but she is interested in the West and has a broad view of the world. She is a strong woman who wants to experience things without being bound by stereotypes (…) I thought it would be fine if I could impersonate such a woman so that everyone in the world could see and then have some cool after thought about her”. About the modernistic element in the movie and the empathy from the audience (Nana Komatsu, interview)
“Are there any overlaps with yourself?” ‘Yuki Hime and I are similar as far as curiosity is concerned, I’m very curious and want to try anything (…) it’s all about challenge, dressing as a man, getting into a group of men, I think that makes her a rather active woman for that era…’ (Nana Komatsu, interview)
“It’s a trite question but what about Scorsese and this time’s experience” ‘The way of shooting is completely different (…) Mr Scorsese isn’t the type of director who comes to the shooting scene, he comes when he needs it and will say ‘right, it’s good now, let’s have one more take’ and then you can have up to 30 takes and you don’t know which one will be used (…) Bernard Rose tends to favour live play (…) situations that seem chaotic serve as a strategy to give the cast a sense of unity’. (Nana Komatsu, interview)READ MORE
From Eiga.com yesterday, a series of photographs by Brent N.Clarke and a report on Nana Komatsu -with bits of interview- at the US Premiere of Samurai Marathon in New York last Friday (June 28). The movie was the opening film of the 2019 edition of the New York Asian Film Festival. That night, the young actress received the Rising Asia Star Award.
The article provides a summary of her career, reminds readers she had already worked with a non-Japanese director (Scorsese for Silence in 2016) and quotes her when she received her trophee: I am really honored and feel very happy. I’ve come to New York for the first time, but as an actor, as a person, I’m very thankful to be praised this way by people from another country. The actress humbly added that to be worthy of this award, she would like to continue and become an actress who could grow up greatly.
Asked a few questions by Nobuhiro Hosoki from Eiga.com, she said working with Bernard Rose was a fresh and valuable experience. He is not much into rehearsals and relies a lot on improvisation from his cast. Though she reckoned it could bring a certain level of tension, she found it was very rewarding for the actors.
Regarding this she mentioned that she had properly prepared and rehearsed a fighting scene with two other actors. Though she thought the resulting sequence was fine, Bernard Rose came and said it did not look realistic at all because fighting with swords wasn’t like choreographed work. He subsequently cut that scene. She was first very disappointed but then it helped her adapt to the director’s leaning towards a less preset way of working.