Chapter 27: Takeshi Iwata, What Could He Possibly Know About "Violent Cop"!

Chapter 27: Iwata Takeshi, What Does He Know About "Violent Man"!

Although he heard the applause, Iwata Takeshi was still quite bewildered.

However, he immediately spotted Shinobu, and the girl was smiling at him with a thumbs-up. She must have been mimicking the cool pose he struck earlier.

What on earth was happening right now?

Before Iwata could figure out the situation, the questions began.

"Director Iwata, may I ask, why did you choose to handle the end of the film in that way?"

"Huh? We're already at the end? Do you even know how to ask questions?"

"What? Is it not allowed? That final sequence of shots is clearly the very essence of the entire film!"

"But regardless, shouldn't we start from the beginning? Isn't the beginning brilliant enough? ...Director Iwata, I am very curious, why did you choose to film that stretch of sea?"

Good grief! Before Iwata could even say a word, the jury started tearing into each other. The two leading ladies, Ando from *Kinema Junpo* and Kobayashi from *Eiga Geijutsu*, were actually refusing to yield to one another. It made sense, given that the lists published by their respective magazines were essentially at daggers drawn.

Naturally, someone had to step in to 'mediate.'

Akio Jissoji smiled and asked Iwata, "I found the blue at the beginning of the film to be quite dazzling. Director Iwata, could you tell us why you chose to film it that way?"

With a renowned director like Jissoji speaking up, the two critics naturally backed down. Everyone was very curious to hear what Iwata had to say. After all, you are the director, and you were the one who filmed those shots!

Regarding 'Kitano Blue'—in truth, it wasn't just the sea. In his films, he often liked to use filters on streets and various landscapes to create a sense of blue. Iwata knew there were many interpretations, but he wasn't sure which one was the 'real' one. Right now, this blue had become 'Iwata Blue,' and when he was busy playing the 'Demon Iwata' and getting into fights, he really hadn't thought that much about it.

Damn it! Can't you guys ask something else?

Just as he was scratching his head, a young man spoke up.

"Blue represents melancholy; blue represents calmness. Melancholy and calmness form a sharp contrast with the violence. Director Iwata, am I right?"

Upon hearing this, Iwata thought, *Whoa, an expert!* Looking closer, wasn't this Koki Mitani? He looked refined in his glasses, and Iwata was actually a big fan of his later work, *Furuhata Ninzaburo*.

Iwata nodded, thinking to himself: *If you say so, then sure.*

"Oh, is that really so?"

"Mitani-san, subarashii!"

There was a minor stir among the jury; Mitani felt a bit embarrassed by the praise. In fact, the young screenwriter was thinking: *Damn it! I lost!* Why did he feel like he had lost to Iwata Takeshi?

Just then, another person asked a question.

"Director Iwata." The Third-Generation Ichikawa Ennosuke frowned slightly. "I have a small question: Ryosuke’s sister—why did you handle her character that way?"

This question seemed minor, but it actually resonated with everyone. Especially Miho Nakayama. As an older sister, she had been quite worried about her sister appearing in this film. But looking at it now... She didn't have a single line! She just spent the whole time giggling!

For instance, when Ryosuke returned home after a day of 'violence' and his sister made him a simple meal. It was too salty! She giggled. It was too sweet! She giggled. There was also the scene where they were playing around by the seaside. Had acting become this easy for lead actresses now? It was inexplicably infuriating. It was all that guy Iwata Takeshi's fault!

Even so, as a sister, she was still curious to hear the assessment of her sibling. Wait, how was Shinobu reacting? She looked over... and got even angrier! The girl was just staring at Iwata Takeshi, giggling.

Regarding the arrangement of Ryosuke’s sister—and especially with Shinobu staring at him like that—he was reminded of that 'pigtail attack.' No script, no lines. Iwata felt that as long as Shinobu could just be herself in the film, that was enough. There was no need for embellishment; the role required exactly that.

However.

"The Third-Generation is asking why she had no lines, right?"

"Indeed, Mitani-san."

Koki Mitani stood up again and walked toward Iwata, speaking as he approached.

"The sister truly didn't have a single line, yet this character expressed so much. From the opening shots, I don't think anyone would feel that there is something 'wrong' with the sister. But as the film progresses and those giggles appear repeatedly, one naturally begins to feel that she must have 'problems.' Throughout this process, there are no lines or explanations, and even Ryosuke never mentions it. From 'nothing wrong' to 'having problems'—it’s a natural progression. Yet, in this film filled with violence, the character of the sister appears so unique."

By the time he finished, Mitani was standing right in front of Iwata, staring at him. Iwata didn't show any extra emotion, simply acting as a listener. Mitani inexplicably felt that the man had a powerful presence, but he continued:

"She seems to be the only one without 'problems.' Compared to those thugs, she is simply a normal person. The existence of this sister, in turn, highlights the madness of those guys. If the sister is a patient with intellectual disabilities, then what does that make the others? Director Iwata, that is what you wanted to express, isn't it?"

After saying this, Mitani continued to stare at Iwata. In his view, this critique was his own move in the game. *Iwata Takeshi, you Yakuza director, how will you respond to this?*

"Oh..." Iwata thought to himself: *Did I think of all that? Did I film so much meaning into it? As expected of me!*

And so, he nodded.

The members of the jury couldn't help but applaud upon seeing this.

"Subarashii! Mitani-san!"

"Subarashii! Director Iwata!"

"What a dazzling pair of young men!"

*This... I lost!* Mitani felt quite wounded. He had lost completely to Iwata Takeshi; what did it matter if he had guessed correctly? The presence the other man projected—and most importantly, his magnanimity—made Mitani feel he had lost by a wide margin. He just didn't know about the later internet slang term 'tool character.'

Of course, Iwata didn't subjectively intend to treat Mitani as a 'tool.' He just... and then another question came!

"Shouldn't we talk about the ending? Ryosuke’s suicide—why did you film it that way?"

Mika Ando couldn't hold back anymore. In her view, she had finally waited for her chance, hadn't she? However, regarding the handling of the ending, not to mention Kikuchi's twist, the act of Ryosuke’s suicide alone was a small modification Iwata had made to the original film.

In the original, Ryosuke was killed by the second-in-command from Nito's side, who then replaced Nito. To Iwata, this ending—being killed by someone else—wasn't the best outcome for Ryosuke. This film was originally Takeshi Kitano's first, so it couldn't be perfect. Moreover, Iwata’s modification of 'suicide' was actually a choice that aligned with the Kitano style. In Kitano's films, especially those that followed, he frequently appeared with a gun pointed at his own head. Some said this represented Kitano's self-destructive tendencies, while others held different views. Now that it was his, Iwata's, film, what should he say?

Just then, someone snorted coldly. Kobayashi didn't stand up, but said in a haughty tone, "That light is the key, isn't it? Why did Ryosuke have to kill the sister he loved most? Because he was already in despair, or even a dead end. If the light shining through the door represents hope, what right did Ryosuke have to embrace it? Therefore, he chose suicide. And isn't that line quite obvious?"

"Obvious?" Ando was actually quite angry, but she really wanted to know which line she meant.

"Crazy, everyone is fucking crazy!"

After Kobayashi delivered this line, she looked at Ando with the eyes of a victor. Ando was jolted. "So that’s it."

At this moment, Kobayashi had achieved a total victory over Ando!

So, was that really the case? Everyone looked at Iwata again, waiting for the answer from the director himself.

Iwata thought to himself: *Is that it?*

Well, there were many interpretations of this shot, but the image of light from the door shining on Ryosuke was indeed rich in meaning, and very 'beautiful' as well.

Thus, Iwata nodded again.

"Subarashii!"

"What a truly brilliant critique!"

Praising the critic was the same as praising the film—that was for sure. But was that it?

"I am curious, why are there so many shots of Ryosuke walking back and forth in the film?" Akio Jissoji finally raised this question.

And, unsurprisingly...

"It must be to express the character's inner state!"

"It's clearly to build atmosphere!"

"Did you notice the path Kikuchi walks at the end? It’s the same as Ryosuke’s!"

"You people, police officers need to walk a lot; don't you understand that?"

Sure enough, they started arguing again. Faced with this scene, what else could Iwata say? *I just copied Takeshi Kitano's 'padding' technique!*

Just then, Narimi Shimaya stood up and spoke: "Seniors, teachers, this is truly wonderful! Not only is there such an outstanding film, but there are also your brilliant critiques!"

He then walked up to Iwata and said solemnly, "Director Iwata, can you entrust the distribution of this film to us? Please!"

He bowed, full of sincerity.

Iwata thought to himself: *I’ve been waiting for you to say that!*

But he put on a very troubled expression and finally said, "Alright then."

Everyone was naturally pleased, and the members of the jury offered their congratulations. Only Shinobu saw through her uncle... *You guy, you really know how to act!*

And... oh, there seems to be someone else, right? Koji Yakusho—the henchman should have the self-awareness of a henchman, and he was smiling quite happily.

I am very sorry, I woke up a bit late today. It is Monday; please support, please vote, please add to your collection.