Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three feet. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in a Japanese actor. And yet with all his quickness he also had surprisingly fine sensibilities.
I know it sounds as if I am overpraising Mifune, but everything I am saying is true. If pressed to find a defect in him as an actor, I could say his voice is a little rough, and when it’s recorded through a microphone it has a tendency to become difficult to understand. Anyway, I’m a person who is rarely impressed by actors, but in the case of Mifune I was completely overwhelmed.Akira Kurosawa on Toshiro Mifune (April 1, 1920 - December 24, 1997)
Hugo (2011) - Directed by Martin Scorsese
Drunken Angel // dir. Akira Kurosawa
In this picture I finally discovered myself. It was my picture: I was doing it and no one else. Part of this was thanks to Mifune. Shimura played the doctor beautifully, but I found that I could not control Mifune. When I saw this, I let him do as he wanted, let him play the part freely. I did not want to smother that vitality. In the end, although the title refers to the doctor, it is Mifune that everyone remembers.
His reactions are extraordinarily swift. If I say one thing, he understands ten. He reacts very quickly to the director’s intentions. Most Japanese actors are the opposite of this and so I wanted Mifune to cultivate this gift.
One of the reasons for the extreme popularity of this film at the time was that there was no competition – no other films showed an equal interest in people. We had difficulty with one of the characters: that of the doctor himself. Uekusa Jin and I rewrote his part over and over again. Still, he wasn’t interesting. We had almost given up when it occurred to me that he was just too good to be true – he needed a defect, a vice. This is why we made him an alcoholic. At that time most film characters were shining white or blackest black. We made the doctor grey.
Akira Kurosawa [x]
Shame (2011) - Directed by Steve McQueen
(Source: here-comes-everyone)
And then the set up for the second segment (the monologue) begins!
Even our presenter Joe is getting stuck into helping out
My view from the gallery where I was doing my Assistant Director duties.


