2000 Interview 04

H :

I don't like repeating the same old methods or safe, predictable methods.
I like the sudden troubles and tension of old live TV broadcasts and breaking news.
I think that ticket quotas (*1) that rely on people involved are ruining independent films and theater.
(*1 In Japan, it is common for independent film, theater, and music performances to impose ticket sales quotas on actors and staff in order to avoid going into the red or to attract customers. Kiryukan has never imposed ticket quotas on staff or performers.)
We need to devise ways to make the audience want to watch of their own accord, rather than being solicited by people involved.
At "MIDORI," I want the audience to encounter one unexpected happening after another on the day of the show. I want to stage this in a planned way from the pre-show promotion stage. "MIDORI" starts from that part.
Once, at the outdoor theater of a small theater company called Zigeuner Koubou, I saw the auditorium suddenly shake violently during a play, split in two, and a real giant sailing ship rise into the sky. This information was not disclosed to the audience beforehand, so the impact of suddenly encountering it was strong.(*2)

(Continue to 05)

*2… This sudden event had a big impact because no information about it was made public beforehand.
If it had been publicized beforehand, the impact would have been halved.