Editors’ Note: Deadline’s latest series, Reopening Hollywood, focuses on the incredibly complicated effort to get the industry back on its feet while ensuring the safety of everyone involved. Our g…
as a Western journalist covering the crime beat in Tokyo who finds himself running afoul of a major crime boss. The episode was just finding its rhythm when coronavirus shut everything down. How to recapture the momentum?What an unusual moment, where you head to Tokyo to shoot a pilot, and then, wham.: It’s a weird time, but what can you do? I have this sense that the conscious perception of people is that this is a state, it’s temporary, and it’s going to end.
What is interesting in putting the scenes together, is how much I learned, primarily about the character that Ansel Elgort plays, and the promise of it. It’s theory before you shoot it. When you shoot it, it becomes realized, the French term of directing is, when you realize it in cinematic terms. I felt, this is better than I thought. This is really exciting and dynamic, and a breakout kind of character, Ansel as Jake Adelstein is.
. We spent a lot of time in South Central, downtown, and Ansel did three different stories to learn the complications of that job. He couldn’t go do that kind of immersive work in Japan, given the language issue, so we did it here, and he did great. He threw himself in a four-hour, only-Japanese-language language classes every day. After an amazingly intense four weeks, he can walk in a restaurant and carry on, have a conversation and Japanese-speakers say his accent is very good. He speaks and writes rudimentary, but he’s got a musical background, so his ability to memorize Japanese language is good.
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