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The card’s orange-golden color is a representation of the strength of the sun, which is integral in giving us life.Īnother circle lies in the center of the bigger circle that symbolizes the elevation of the moon. “I’m actually learning a lot by making these shorts, so it’s become an important way for me to improve my own skills.The Wheel of Fortune is a busy card symbolizing the endless wheel of life and karma that assists the earth, universe, and life itself. There’s less risk in filming short stories,” he said. “When you shoot a long film, there’s a pressure to not make a mistake. Plus, shorts are also a practical way of turning lemons into lemonade in a year of continued pandemic uncertainty. “When you show just this glimpse, it actually seems very realistic.” This seems normal because in fact we don’t know other people’s lives that well - we only ever peek at other people’s lives. “Characters in a short story appear more realistic, because you only glimpse a small facet of them. “You can create a sudden ending in short stories,” he said.
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What draws him to shorts is their incompleteness, and their ability to give viewers a tantalizing slice of life. He tried to give the three sections of “Wheel of Fortune” a sense of progression by creating situations that are increasingly unrealistic.
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#Japanese wheel of life how to#
Hamaguchi said he has long been interested in exploring how to play with film structure by combining sequences of shorts into a longer work. In all the shorts about human connection, it became even more important to him that the characters have physical relationships to each other, and to depict them hugging and touching.ĭespite the pandemic, he hopes to proceed apace with his next project, which will be four more shorts in the same vein on the theme of “coincidence and imagination.” “I didn’t want to lose the true essence of the story that I wrote before, but I also had to adjust some elements according to the current circumstances” once the pandemic became “impossible to ignore,” he said. As people quarantined and conducted more and more of their lives online, he imagined what it would be like to be “locked down but without access to that virtual reality,” he explained.įor the last short, he envisioned a near-future world in which a computer virus has infected all digital communications and wiped out the web. He had written all three scripts before the COVID-19 outbreak, but the unprecedented event nonetheless inspired him to add some light sci-fi elements to his last short. He managed to complete the third after Japan ended its state of emergency last summer. He started planning production for “Wheel of Fortune” back in 2019, and was luckily able to shoot the first two shorts that year before the pandemic. “I think I’m not doing enough and that I don’t know enough to call myself a feminist, but I certainly hope to do more,” he said. Hamaguchi declines, however, to call himself a feminist - not because he doesn’t agree with the stance, but because he feels he’s not taking enough direct action to merit the label. This didn’t happen when I portrayed men.” “I realized that when I portrayed women, social conflicts would naturally appear and become more obvious. “I was just trying to show women’s personalities, reactions and emotions, and so was surprised by how overseas viewers developed opinions about Japanese society” through that film, he explained. His mission, as he describes it, is simply to “portray what he sees in real life.” But the reaction of foreign viewers to “Happy Hour” made him realize that perhaps the complexities of real life in Japan could be best portrayed through the lens of the female experience.