Initial Research: Three Writers

Since my project is going to be a 10-15 page long script with the theme grief and loss, I will be researching writers that have created films involving grief and loss, looking at their screenplays and method of writing. I will also gain knowledge on their portrayals of grief and loss, which might be useful for my own perspective of the topic.

Ryusuke Hamaguchi

Source: Depositphotos

Ryusuke Hamaguchi is a Japanese director and screenwriter. He was born in 1978 in Kanagawa, Japan. He graduated from the University of Tokyo and worked in the commercial film industry for a few years before entering the graduate program in film at the Tokyo University of Arts. Some of his works include Happy Hour (2015), Asako I & II (2018), and Drive My Car (2021), which won the Academy Awards for International Feature. 

Hamaguchi is well-known for his style of making films that deal with fiction that may manifest and play out in everyday life. The characters in his films are conveyed as people who are trying to understand another character. In some instances, emphasis is put on the other character instead of the main protagonist. By gaining this level of intimacy with another character, his protagonists gain an understanding of themselves to deal with the problems they are facing. Additionally, Hamaguchi takes time with dialogue and delivery, while structuring his films in a very slow, but balanced and interesting manner through the use of ambiguity.

His recent film, Drive My Car (2021), explores themes of grief and loss, and acting and truth. The main character, Yusuke, a theatre director, experienced grief after the death of his wife. He is confronted with guilt as he sees the juxtaposition of his life in the play he is working on, and with the actors he is working with. Beyond that, Yusuke has to face the truth of his wife's secret, with the regret of not being able to reach a proper conclusion before she had died. Through this, he shares a connection with his driver, who had experienced grief and loss.

Through Hamaguchi, I feel that I wanted to explore grief as a stage of life that can affect people for years to come. It's certainly hard for someone to face loss so suddenly, while not having a chance to confront and make peace before it. I want my character to also feel the impact of loss in their life, and their efforts of moving forward by opening up to others that have shared the same experience of loss, which is mainly among the family members itself and the main supporting character.

Hirokazu Kore-eda

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Hirokazu Kore-eda is a Japanese film director, producer, and editor. He was born in Nerima, Tokyo, Japan on the 6th of June, 1962. Kore-eda attended Waseda University's Graduate School of Letters, Arts, and Sciences in 1986 before going on to work in television and moving to films. He is well-known for his films such as Maborosi (1995), After Life (1998), Nobody Knows (2005), Still Walking (2008), Shoplifters (2018), and Broker (2022)

Kore-eda is mostly known for his style of humanistic films while being versatile with many other styles as he develops throughout the years. He is known for characters that found small, yet meaningful moments instead of focusing on drama and conflict. While his stories involve a moral that living life can be sad and challenging, he emphasizes how life is also full of moments that we treasure, share, and that we found meaningful to live on. Kore-eda once stated "I think that I’ve learned about humanity, and learned to value ordinary life. And I still have a wish to portray that." (Leader, 2017).

A film of his that explores grief and loss heavily is Maborosi (1995). The story involves Yumiko and Ikuo, a couple with a new baby living in Osaka. Yumiko was shocked by the news of Ikuo's death, who deliberately killed himself despite having no motive and a happy household. She is faced with a challenge to move on, despite being haunted by the past and having an arranged marriage. Along with that, in Still Walking (2008), a family reunion turns uneasy as they meet with Yoshio, a man who was saved by one of the family members 12 years ago. Although his presence brings pain, the family questions what they should do with him, as Yoshio now is 25 years old, lazy, and aimless.

Through Kore-eda, I want to emphasize on how the characters have moments of happiness that they still cherish, even while facing grief. At some part of the story, I want the character to reflect on the memories they had with their lost loved one, and decide that it is necessary for them to move on in respect of his or her memories. I also gained ideas on how the family might think of forgiving the main supporting character whom the victim saved, which might bring a subtle tension to the scene. 

Edward Yang

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Edward Yang was a Taiwanese filmmaker and auteur. He was one of the leading filmmakers of the Taiwanese New Wave and Taiwanese Cinema. Yang was born in Shanghai in 1947 but grew up in Taipei. Although studying engineering during his younger years, he returned to Taiwan in 1980 to begin working on television and films. He died in 2007 from cancer in California. He was mostly known for winning the Best Director Award at Cannes for Yi Yi (2001), and for A Brighter Summer Day (1991).

(Balmont, 2021) wrote on Yang's style, "Yang, in particular, is regarded for his concern with city living and the urban environment, with familial relationships seen as a microcosm for the changing society. Deliberate pacing, a novel-like density, rich, smoky colors, and a meticulous mise-en-scène, meanwhile, are the hallmarks of his perfectionist style." Yang is very well-known to explore conditions of Taiwanese society, with characters that feel universal in their struggles and feelings.

In Yi Yi (2001), Yang explores a family through its different generations from the youngest, a teenager, the adults, and the elderly. A dilemma that caused the family to break apart is the Grandma's sudden stroke and how each family member copes with the fear of losing her. There exists a feeling of regret for not being able to spend more time with her, while the teenager feels the guilt of causing her stroke. As each family members also deal with their respective problems, they are finally united again after her death. The film reminds us that while death exists, life still goes on with everyone having problems of their own. It also tells us that death might be scary but is natural, just like our own challenges in life.

Through Yang, I want to be able to create characters that feel universal in their struggles, especially with grief, so that all audiences can understand their actions and thought processes. I want to portray death as a natural part of life, even if it is unexpected, and that it is necessary to move forward just as the rest of the world does. I also will try to learn how to write naturalistic dialogues like him in order for the characters and the world within to feel realistic.

Reference List:

Volobueva, T. (2018) Stock photos, stock photography | buy images on Depositphotos, CANNES, FRANCE - MAY 15, 2018: Director Ryusuke Hamaguchi attends the photocall for the 'Asako I & II (Netemo Sametemo)' during the 71st annual Cannes Film Festival. Depositphotos. Available at: https://depositphotos.com/stock-photography.html (Accessed: October 28, 2022).

Sato, J. (2022) Director Hirokazu Kore-Eda attends the 'broker' press conference at..., Getty Images. WireImage. Available at: https://www.gettyimages.ie/detail/news-photo/director-hirokazu-kore-eda-attends-the-broker-press-news-photo/1241281451?adppopup=true (Accessed: October 28, 2022).

Leader , M. (2020) Hirokazu Kore-Eda: "I've learned to value ordinary life. and I still have a wish to portray that.", Medium. Film4. Available at: https://medium.com/@Film4/hirokazu-kore-eda-on-like-father-like-son-455c0c14c4c3 (Accessed: October 28, 2022).

BENAINOUS/DUCLOS, P. (2000) Photo call of the winners in Cannes, France on May 21, 2000-edward..., Getty Images. Gamma-Rapho. Available at: https://www.gettyimages.ae/detail/news-photo/cannes-film-festival-photo-call-of-the-winners-in-cannes-news-photo/113929709?adppopup=true (Accessed: October 28, 2022).

Balmont, J. (2021) An introduction to Edward Yang, The soulful master of taiwanese cinema, AnOther. AnOther. Available at: https://www.anothermag.com/design-living/13716/an-introduction-to-edward-yang-the-soulful-master-of-taiwanese-cinema (Accessed: October 28, 2022).