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Bunraku Exclusive report: a co-producer's view
10.05.2009
The article below comes from a first-hand report which was set up exclusively for this blog at the expense of time by a hard-working academic at the OhioStateUniversity.  If you want to use the information here, please link directly to  [info]bunraku_blog if you can or at least cite the blog clearly, as it is intended as a resource for people interested in any aspect of the production and deserves credit as such. The image on the left shows Alex McDowell.

Bunraku is reported as having a production team of nine people, one of the three co-producers being Alex McDowell, better known as a designer of major Hollywood successes such as Minority Report, The Terminal and Fight Club.

Alex McDowell was invited to give the 2009 Glimcher Lecture at the WexnerCenter for the Arts (a partner of the OhioStateUniversity) on 7th April and a kind [info]gackt_army proxy had the opportunity to ask a question of Alex about Bunraku and how its title and concept might tread between the different cultures of East and West.

Q:

To what degree did you feel that the production should stick to real aspects of traditional Japanese theatre, such as bunraku, and were you influenced by what you thought Western audiences would recognize as authentic?

Alex McDowell’s reply indicated that the “feel” of Bunraku would be a Samurai cowboy movie aiming for the style of 300.  The look would be deliberately stylized, with characters appearing sometimes as though their fabric was on a very small scale and with the sets sometimes seeming to be made of folded paper.

Alex explained that, in Bunraku, he was using the idea that the movement in the camera-work should dictate the set, rather than the set-design in any way limiting the action. So, if a character performed a kick which needed a physical context, such as a wall, that wall would be provided in the design.  In this way, the actors should have a total freedom of space in which to work and to give of their best.

Alex’s special value to Bunraku as a salesman has been front-loaded:  the pre-visual content (image and media to show how the production would look and could work) that he made to show during the Cannes film festival helped the director to double the amount of anticipated investment in the production.

Alex is also an articulate and enthusiastic advocate for the intelligence which his craft can bring to the industry.  He is convincing in his arguments that work done beforehand in determining the necessary narrative content of a set (why physical things are there in both historical and functional terms) is a key component of the integrity of the finished work and a key component of a movie’s success in entertaining, intriguing and captivating its audience.
материал подготовил  wonqkk

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Bunraku, a few guesses on why we haven't seen a release date.
15.05.2009
Bunraku is a typical film, in that it took an average 3 months for principal photography, and a year of post-production, this film has a lot of computer graphics (it is supposed to have the look of Sin City) so a summer release '09 was always a hopeful deadline, plus the current economic situation may have changed things.

While Bunraku has been labeled a 'Hollywood production' because it is US based (backing not location shooting) it is really an Independent film. A lot also depends on distribution contracts whether we will see it in theaters or direct to DVD, which will vary by country.
материал подготовил karadin

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