無垢なリアリティ

In school. I was of the, I don't know, angry young man student. Sure.

You were a rebel. Uh, I come out of anthropology. Yeah. So my focus is social systems. Right.

And in science fiction you've got two branches. One is science. Yeah. And the other is social. Right.

I'm much more of the 1984 kind of guy Sure. Than I am THX 1138 With the spaceship guy. Yeah. The spaceship. I got into spaceships, auto cars. Yeah.

I love cars. I love going fast. Going fast. So I like spaceships. Yeah. But it isn't the science aliens

and all that kind of stuff that I get focused on. It's the, it's the how do the people react to all those things. Yeah. And how do they accommodate them? Yeah.

So that's the part that really fascinates me. And I'm interested in, you did Something very interesting with Star Wars. If you think about it, the good guys are the rebels.

They're using asymmetric warfare against a highly organized empire. I think we call those guys terrorists today. We call them Muja Dean. We call 'em Al-Qaeda.

When I did it, they were vie calm. Exactly. So were you thinking of that at the time? Yes.

So it was a very anti-authoritarian, very kind of sixties against the man kind of thing. Nested deep inside of a fantasy

Or a colonial, you know, we're fighting the largest empire in the world. Right. And we're just a bunch of hay seeds in coonskin hats.

Right. Don's do nothing. That's right. That's right. And it was the same thing with the Vietnamese. Yep. The irony of that one is in, in both of those, the little, the little guys won.

Right. And the big highly technical empire. The English empire. Right. English Empire, the American Empire lost. Yeah.

That was the whole point. But That's a classic us not profiting from the lesson of history. Because you look at the inception of this country and it's very, it's a very noble fight of the underdog against the massive empire. You look at the situation now where America's so proud of being the biggest economy, the most powerful military force on the planet.

It's become the empire in the per, from the perspective of a lot of people around the world. It was the empire during the Vietnam War.

And, but we never learned, you know, from England or Rome or, you know, a dozen other empires, Empires Fought that went on for hundreds of years or sometimes thousands of years. We never got it. We never said, well, wait, wait, wait, wait, wait, wait. This isn't the right thing to do. And we're still struggling with It. And they fall because of failure of leadership or, or, or government often. Mostly it's, you have a great line, which is, so this is how Liberty dies to, we're in the middle of it right now to thunder a applause. Exactly. It's the po It's, you were, it was a condemnation of populism in a science fiction context. That's a theme that runs all the way through Star Wars. Yeah. And I think science fiction is so good at these kind of social themes.

Yeah. The great thing about Star Wars is I had a, a thing, I mean a, a a, a vessel that I could throw anything into.

Yeah. But one of the biggest problems you have in science fiction with movies that you don't have it in books or anything, but they, in movies, you have to create a real world. Yeah. And it's a real world that doesn't exist. Yeah.

And you have to do what I, what AkiraKUROSAWA used to say is it has to have immaculate reality. Yeah. Even though it's not real. I like that term. Yeah.

そして、私が、黒澤明がよく言っていたように、無垢なリアリティを持たなければならない。そう。たとえそれが現実でなくてもね。その言葉は好きだ。そうだね。

filmmaking during the 1930s. In part, this concern of depicting life as it is can be linked to Kurosawa's realist aesthetic. In realist cinema the primary emphasis is on "creating a semblance of actuality" in which "the subject [interacts] with the surrounding environment" (Beaver, 2007, p. 217). Seven Samurai (1954) exemplifies the focus on everyday life of the lower class as part of what Richie refers to as "immaculate realism" (Richie, 1998, p. 97). In the film Kurosawa shows us the rural poor of the farming village not as stock characters but as human beings who are capable of treacherous deeds and heroism, and who are capa

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