Shawscope Volume Three preorder

FREE UK shipping for Orders above £30

Click NEWS in the Menu for 88Films revised Release Dates

Ask Junichi Yamamoto 山本淳 Anything

Asian Horror, Body Horror, Interview, Japanese cinema, Japanese Directors, News, Steam Punk, Terracotta Distribution -

Ask Junichi Yamamoto 山本淳 Anything

The Japanese director of cult-classic Meatball Machine, Junichi Yamamoto answers your questions in our open "ask me anything" session:


1. How did you come up with the story of the Meatball Machine? Why did you decide to make a movie like this?

3. What influenced you in making this film, along with the 1999 edition? I think there is an influence from "Tetsuo" directed by Shinya Tsukamoto. But I wonder if there is anything else, what are the other sources?

A. The 1999 edition is my second independent film. The first was a horror movie titled "Linga Mania" with the right hand depicting a man with a red penis giving birth to a god. "Lingamania" was the first movie I shot, and as a horror movie, there were few gimmicks, and the next work was a horror movie with many gimmicks. Actually, it was a movie with Go Nagai's "Devilman" as a motif that I always wanted to shoot before shooting "Linga Mania". So I came up with the idea of ​​shooting my own "Devilman". At the time of shooting "Linga Mania", the influence of Shinya Tsukamoto's "Tetsuo" was pointed out. Actually, "Toshio" was my favorite movie and it was natural that I was influenced by it. So for the next work, I sought a different approach from "Tetsuo". The idea that came up was <powered suit made of blood and meat>. "Devilman" + <powered suit made of blood and meat> gave birth to a "meatball machine". By the way, the source of the design of the meatball machine was the hard man of the powered suit that appeared in Stephen Norrington's "Death Machine". I think the title was also influenced by "Death Machine". The idea was made by adding the machine and its antonyms.

2. How far is this movie a love story and how far is a horror story? How did you find that balance?

A. After all, I think that the driving force of human behavior is "love." The protagonists of this movie fight for their beloved women.

4. What was your pre-production schedule?

A. The 1999 version took a year to shoot, but the 2005 version took a week to shoot.

5. How did you choose the actors and actresses to appear in the movie?

A. The actors in the 1999 edition are mostly friends, and the others are friends of friends. The little girl role is my cousin's daughter. The 2005 version of Issei Takahashi's casting was starring in the TV drama "The Great Horror Family," which was shot by Yudai Yamaguchi, and it was decided to appear in that connection. Other than that, I remember deciding on the audition.

6. How was the collaboration with the two directors?
7. What are your best memories during the production?8. Did you enjoy shooting so much?
9. How was the collaboration with the two cinematographers?
10. What was post production and how long did it take?
24. What was the process of converting a 1999 "meatball machine" to a 2005 "meatball machine"? It seems that Junichi Yamamoto was dropped off in the middle of the 2005 MM for health reasons, and Yudai Yamaguchi was continuously cast. Has there been any major change due to this change of director?

A. The 2005 edition was my first commercial movie. All the experiences here were my first challenges. But they didn't work. The number of shooting days given by the producer was one week. However, I couldn't shoot the cut that the producer was satisfied with. The cause is my lack of experience and power.

Before the filming, there was already a disagreement between the producers and the film. The producers were an evolved remake of the 1999 edition that required a clear explanation for everything that happened in the film. I was a movie with a sequel to the 1999 edition that included ideas that couldn't be realized in the 1999 edition. Now, when I think about it, I think the opinions of the producers were overwhelmingly correct. It takes a budget to realize my idea and ensure a certain level of quality. I had no experience with commercial movies and didn't understand it at all.

After that, it was announced that my reason for leaving was a health problem, but the real reason for leaving was dismissal. I think the movie company took care of me when I said that I was leaving for health reasons. However, at that time, I wasn't in a mental state where I could make a movie because I was crushed by the pressure. Instead of me, it was Yudai Yamaguchi, a friend who was in the position of supervising this movie, who completed the additional shooting. So I'm not involved in post production at all. I'm really sorry for the movie company and Yudai Yamaguchi who gave me a chance. For many years after that, Yudai Yamaguchi and Yoshihiro Nishimura were out of contact. Rather, I was avoiding them. The release of "MM Gui Poison" triggered a reunion with Yudai Yamaguchi and Yoshihiro Nishimura, and I was able to apologize there, but I regret that I should have done it sooner. Also, I suffered a lot from the fact that I ended up letting go of the "meatball machine" I had created. I still have that suffering.

8. What kind of camera did you shoot with? Red Cam, Arri Alexa, etc.

A. The 1999 version was shot with the ZC1000 8mm camera. I forgot the name of the camera used in the 2005 version, but it is an SD camera.

11. Do you have any ideas that came up during the shoot that were put into practice on the spot?
13. Are there any scenes you wanted to shoot but couldn't?

A. I couldn't take all the ideas I had prepared on a strict schedule, and shooting was a series of compromises. The missile throwing, which was also the 1999 version, was scheduled to be shot in the 2005 version, but due to the schedule, it was not possible to shoot. In Japan, shooting continues until the director says it's over. But at that time I didn't understand it. I was really stupid.

12. How did Yoshihiro Nishimura direct the blood?

A. I love Yoshihiro Nishimura's "marginal artificial coefficient" and wanted him to participate in the 1999 version of the filming. For that reason, I tried to contact Yoshihiro Nishimura, but it never came true in an era when neither e-mail nor mobile phones were widespread. If Yoshihiro Nishimura was involved in the 1999 edition, history would have changed. Yoshihiro Nishimura is a great artist who deserves respect. Above all, he has an overwhelming belief.

14. Where in the movie is your personality best represented?

A. The existence of Necroborg, a powered suit made of blood and flesh.

15. This movie has been well received in the West, was this surprising to you, or were you always aware that there might be a market?

A. I was desperate to make a movie rather than a surprising reaction. But I was convinced that there was a market, and when I was asked to do this interview, I knew it was still there!

16. How do you think Japanese movies are different from American movies?

A. In the United States, the production cost of 100 million units is collected even for independent films, but in Japan, only a really embarrassing amount is collected. Besides, even in commercial movies, you can only shoot projects with original works and similar products of hit works. I think it's getting harder and harder day by day to make an original horror movie like "Meatball Machine". The degree of understanding of movies is completely different between Japan and the United States. Someday I would like to make a horror movie to be shot in Japan, which is funded by the United States. I already have a scenario and have sent it to an American movie company ... The title is "Human Mikoshi"!

17. What impact did you have after this movie was released?

A. After the release of the 2005 edition, "The Machine Girl" and Yoshihiro Nishimura's "Tokyo Gore Police" were filmed, so I think that a new horror scene in Japan was pioneered.

18. I know someone who wants to do a soundtrack job for you. (Arne Venema aka Project Soda / Rec Mirage in Hong Kong). )

A. I haven't participated in the 2005 post-production, so I have no acquaintance with that person. excuse me.

19. Have the actors been threatened to quit because of fake blood or make-up?

A. You have never met such an actor in "Meatball Machine" or other horror movies. All the actors get excited by becoming monsters or getting bloody with makeup.

20. What is his feeling about the spread of CGI in special effects?

A. CGI is indispensable. However, watching a movie that relies solely on CGI makes me feel lonely. CGI isn't impossible, but at the same time it doesn't stimulate the imagination of the audience, it's just amazing. So, even if I see a great CGI, I will forget it the next day. But that may be just me (laughs). For the director's "Hellbot", which is currently being prepared for shooting, I'm thinking of taking advantage of analog special effects without using CGI as much as possible. I'm shooting a movie that makes full use of the technology that I was absorbed in when I was young, which is being lost due to the development of CGI.

21. What punk rock band did he listen to when he was a teenager?

A. If you're limited to punk, I loved The Clash.

22. What kind of soundtrack did you envision when creating your original "meatball machine"?

A. There are a few musicians out there, and I've always asked them to make emotional music. I also wanted music that was more sound effect than music.

23. Do you remember a particular element from the soundtrack of a particular song or other movie?

A. I like progressive rock such as Pink Floyd and King Crimson. So I love goblins, which are often used in Italian horror movies.

24. How did this affect the final work, and would the results have changed if you had done the director yourself?

A. The scene where the last alien talks about the meatball machine is a scene that was conceived after my departure. It was actually cut, but in the last scene I shot, the hero tears his body and becomes tattered and becomes garbage on the roadside. The movie ends when the cleaner silently cleans it up. Inspired by David Cronenberg's "Rabbit" and William Sachs' "The Incredible Melting Man". As you can see, the 2005 version was an external battle horror movie, but I think my version is an internal battle horror movie.

25. The concept art of "Meatball Machine 2" is included in the bonus video on the DVD. Was this a different sequel than it was in Kodoku? Is it okay to expect "meatball machine 2" in the future?

A. I don't know anything about that. It must have been an independent idea of ​​the movie company. I don't know the future, but so far I have no plans for "Meatball Machine 2" to be directed by me. However, I always feel guilty about "meatball machines." I would like to make another movie like "Meatball Machine". And now, even though it's a low-budget independent film, I've come across that opportunity. We are preparing to shoot a movie called "Hellbot" that inherits the soul of "Meatball Machine". A cyberpunk battle horror movie. From hell at the end of outer space, parts of robots that have fallen to the earth parasitize humans. Humans parasitized by robot parts fight against each other, and the one who wins robs the robot parts and becomes a more complete robot.


Follow Junichi Yamamoto on Facebook and Twitter


1. ミートボール・マシンのストーリーはどのようにして思いついたのですか?なぜこのような映画を作ろうと思ったのですか?
3. 1999年版と合わせて、この映画を作る際に影響を受けたものは何ですか?塚本晋也監督の「鉄男」からの影響があると思います。しかし、それ以外にも何かあるのではないかと思うのですが、他のソースは何ですか?


2. この映画はどこまでがラブストーリーで、どこまでがホラーストーリーなのでしょうか。そのバランスはどうやって見つけたのですか?


4. 制作前のスケジュールはどのようなものでしたか?


5. 映画に出演する俳優や女優はどのようにして選んだのですか?


6. 2人の監督との共同作業はどうでしたか?
7. 制作中の一番の思い出は何ですか?8.撮影はとても楽しかったですか?
9. 2人の撮影監督との共同作業はいかがでしたか?
10. ポストプロダクションはどのようなもので、どのくらいの時間がかかりましたか?




8. どのようなカメラで撮影しましたか?Red Cam、Arri Alexaなどです。


11. 撮影中に生まれたアイデアをその場で実行したものはありますか?
13. 撮りたくても撮れなかったシーンはありますか?


12. 西村喜廣氏による血の演出はどのようにしたのでしょうか?




15. この映画は欧米でも評価されていますが、これはあなたにとって意外なことでしたか、それとも市場があるかもしれないと常に意識していましたか?


16. 日本の映画は、アメリカの映画とどのように違うと思いますか?


17. この映画が公開された後、あなた方にどのような影響を与えましたか?


18. あなたのためにサウンドトラックの仕事をしたいという人を知っています。(Arne Venema aka Project Soda / Rec Mirage in Hong Kong)。)




20. 特撮にCGIが普及していることについての彼の気持ちは?








24. このことが最終的な作品にどのような影響を与えたのか、また、あなた自身が監督をやり遂げていたら、結果は変わっていたのでしょうか?

A.ラストの宇宙人がミートボールマシンについて語り合うシーンは、僕の降板後に発案されたシーンです。実際にはカットされましたが、僕が撮ったラストシーンは、主人公が自らの体を引き裂き、ボロボロになって道端のゴミとなります。それを清掃員が黙々と片付けるところで映画は終わります。デビッド・クローネンバーグの「ラビット」やウィリアム・サッチスの「溶解人間The Incredible Melting Man」の影響を受けてます。それからも分かるとおり、2005年版は外面的なバトル・ホラー映画でしたが、僕のバージョンは内面的なバトル・ホラー映画になったと思います。

25. DVDの特典映像に「ミートボールマシン2」のコンセプトアートが収録されています。これは「コドク」の時とは違う続編の予定だったのでしょうか?将来的に「ミートボールマシン2」を期待してもいいのでしょうか?


Leave a comment