Schrader’s “Mishima” at Tokyo Film Fest & AI Actors

Veteran filmmaker Paul Schrader recently found himself at the 38th Tokyo International Film Festival (TIFF) for a landmark screening of his 1985 biopic, “Mishima: A Life In Four Chapters.” This event marked a significant moment, as the film had been withheld from official release in Japan for four decades due to past controversies. While reflecting on this long-awaited premiere, Schrader also offered his candid and intriguing perspectives on the rapidly evolving landscape of artificial intelligence in cinema, boldly predicting that audiences will eventually embrace AI actors and pay to see them on screen.

“Mishima”: A Long-Awaited Screening in Tokyo

Paul Schrader’s “Mishima: A Life In Four Chapters” finally debuted officially in Japan at the Tokyo International Film Festival, an event that Schrader, who considers Japan his “second home,” embraced with an upbeat mood.

The film, a biographical drama about the controversial Japanese author Yukio Mishima, faced significant hurdles upon its initial release. In 1985, the inaugural TIFF declined to include the film, largely due to objections from Mishima’s widow regarding its depiction of the writer’s homosexuality and other sensitive elements.

This unofficial ban, which prevented the film from being shown in its subject’s home country for 40 years, stemmed from an unwritten agreement between Japanese right-wing figures and the film’s financiers, Toho-Towa, and Fuji TV.

Schrader recounted how he even wore a knife-proof vest during the initial filming in Japan, fearing potential attacks from nationalist groups. However, he expressed that the long-ago controversy felt largely forgiven. He believes the film’s screening now, after decades, holds less political charge and is more of a historical curiosity for contemporary Japanese audiences.

AI’s Transformative Impact on Filmmaking

Beyond his cinematic past, Schrader extensively shared his thoughts on the impending AI revolution in the film industry. He acknowledged the rapid pace of AI development, describing it as a tool, akin to a typewriter, but one that could fundamentally alter traditional filmmaking roles.

Schrader noted that many modern action films already heavily rely on AI-generated elements, with human faces often being the last remaining non-AI component. He anticipates a near future where even these faces will be AI-generated.

The director posed a crucial question: “Will human beings pay to watch AI stars?” He believes the answer is yes. Schrader suggested that an “AI star” could be created by combining characteristics of beloved actors, stating, “Use a little bit of Brando, a little bit of Kevin Costner and make an exciting movie, and I think people will pay to see that movie.”

He cited the example of a digital clone of TV star Suzanne Somers, which can answer questions in her voice by processing her written works, illustrating the advanced capabilities of AI in creating lifelike digital personas.

Schrader views AI as one of the “Four Horsemen of the Apocalypse,” alongside nuclear war, global viruses, and environmental collapse, all converging rapidly.

The Enduring Legacy of “Mishima”

When asked if “Mishima” is his masterpiece, Schrader expressed a sense of awe at its creation. He humbly admitted, “I don’t know how I made it. I don’t know how it ever came to exist.”

While he considers other films like “Affliction” or “First Reformed” more cohesive in his personal view, Schrader acknowledges the ambitious and audacious nature of “Mishima.” The film, partly financed by industry giants like Francis Ford Coppola and George Lucas, alongside Japanese partners, represented a monumental undertaking.

Schrader reflected on the controversial debate scene in his film, where Mishima confronts radical students. He interpreted Mishima’s engagement not as a political debate, but as “theater,” a performative act, much like Mishima’s eventual ritual suicide.

A Filmmaker’s Reflection on Mortality and Future Projects

At 79, Schrader remains actively engaged in filmmaking. He mentioned having finished scripts and preparing for the final mix of his latest project, with two more films slated for the upcoming year, health permitting.

He reflected on the realities of his age, recognizing his friends passing and acknowledging his own mortality with a pragmatic outlook. Despite this, he conveyed a strong desire to continue creating, stating, “I’ve had a very rich and productive life. I just want to make a couple more.”

Conclusion

Paul Schrader’s appearance at the Tokyo International Film Festival offered a unique blend of retrospection and futurism. The long-awaited screening of “Mishima: A Life In Four Chapters” provided an opportunity to revisit a significant, albeit controversial, work from his past. Simultaneously, his insightful and somewhat stark predictions about AI’s role in cinema underscore his continued engagement with the evolving art form. Schrader, a seasoned director at a reflective stage of his career, remains a keen observer of both human nature and technological advancements, suggesting that the future of storytelling may look vastly different than its past, with AI actors potentially captivating audiences in ways previously unimaginable.