when you create a masterpiece in eight minutes

#sevensamurai #akirakurosawa #videoessay
The opening of Seven Samurai, analyzed. Akira Kurosawa has a whole bevy of film making technical tricks up his sleeve - a telephoto lens to compress the background and foreground into a vivid, detailed image, an editing technique known as "axial cut" to efficiently set the tone and layout of the scene, and lateral motion to subconsciously establish the heroes and villains. Akira Kurosawa is one of the greatest directors of Japanese Cinema and here are some of his filmmaking techniques. This video essay dissects these masterful minutes. Seven Samurai is one of the greatest Japanese films of all times.
Sources:
fd.noneinc.com/secrethistoryof...
akirakurosawa.info/2015/02/13...
Lens Compression Doesn’t Exist - Here’s Why: • Lens Compression Doesn...
Cinematographer Explains 3 Different Camera Lenses | Vanity Fair
• Cinematographer Explai...
Lateral Movement Study (Where did he go?): academic.csuohio.edu/kneuendo...
Akira Kurosawa - Composing Movement: • Akira Kurosawa - Compo...
Which Way Did He Go? Lateral Character Movement in Film: • Which Way Did He Go? L...
Chris Stuckmann's review: • Seven Samurai - Movie ...
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[@Arttective]

YES. I know Japanese is not read left to right. Sorry for the mistake :D Thank you so much for watching. If you wish to help this channel grow, please consider becoming a Patron on Patreon! www.patreon.com/arrtective. This will enable me to make video essays full time, which is my dream job. Thanks again and be safe!

[@Alsatiagent]

The theory remains to be explained. Something to do with optical tracking and right-handed dominance in 90% of people? A moving object that first appears on the left field of vision will give a person more time to prepare for "the catch" or deflection with their right hand? I don't know. I am left handed! An excellent presentation, whatever the case.

[@katsujinkin60]

EXCELLENT! I have a B.A. Degree in Cinema and Film Production, and I have watched Seven Samurai at least half a dozen times. I have never seen a more perceptive, insightful, and entertaining analysis than this one. Some of my teachers could have learned a lot about opening the eyes of students to this magical medium. Nothing in a film is there by chance, especially not in the films of a true master like Kurosawa Sensei! Thank you so much!

[@Arttective]

Thank you so much for this awesome comment!

[@katsujinkin60]

@@Arttective Keep up the good work! Be well and prosper!

[@LoneWolf_Cub_Ogami_Itto]

I'm just an HVACR technician in rural KY. I own the Criterion Collection Laserdisc & Blu-ray along with many other Kurosawa and classic Japanese cinema, just got thr Criterion Collection boxset of Zatoichi The Blind Swordsman and Hideo Gosha's Three Outlaw Samurai Blu-ray

[@Driv3rMadness]

This is your masterpiece so far. Technical analysis is severely undervalued by critics today and it is because of a paradoxical reason: they subconsciously appreciate these details without dissecting them by name. A shot looks better in telephoto lens when you aim at portraying every single element within the frame, be it close or distant. This is a crystal-clear vision. There is a scene in Carrie taking place in a classroom where the same thing is done to show the laughing bully in the front and the background with equal importance; however, Kurosawa was an expert to make it seem as clean and beautiful as possible. The movement of individuals as organisms is something I learned to appreciate from Ozu's films, and how, if two characters are in agreement, they will move in the same way, talk, make gestures and move almost like mirrors, but will be looking at different (actually opposite) points in the frame if they are in disagreement. Kurosawa's handling of movement is operatic and wonderful. The reference of left to right and viceversa is a classic; the mind is accustomed to watch something "progress" towards the right. I don't think the law of "reading from left to right" is universally applicable as not all have the same habits; however, the subconscious law seems to obey the norm that if something happens from the right, it is not in harmony. Little did I know that your best work was about the analysis of the opening 8 minutes of the film of a 3+ hour masterpiece. Your attention to detail is exquisite and that is what enriches this channel so much compared to others. We have a new EveryFrameAPainting. Keep up with the outstanding work. Also, Happy Birthday.

[@Arttective]

As always, a massively beautiful and eloquent comment! Thank you so much. Your constant comparison to Every frame a painting is so flattering, I've no words. I liked your thoughts on what you said about critics. It's absolutely true. That's why I make video essays to counter them ;) Also thanks for the Birthday wishes.

[@Arttective]

Also I just realized after watching it: The Carrie scene you mentioned (I'm guessing this one kzbin.info/www/bejne/hHrdg6VpntJnecU ) is a "Split Diopter" lens, not Telephoto. But I do agree that it is meant to elicit the same effect! Will leave another brilliant essay on Split Diopter lenses, they are absolutely stunning! kzbin.info/www/bejne/d5S9Y4KPapKHm68

[@Driv3rMadness]

Always learning from the master. And yes, that is exactly the shot I meant.

[@rohitshivdas6902]

Just brilliant! You have not only upped your game but also increased our expectations. Akira Kurosawa truly was the greatest of all. Even his worse is better than many filmmakers best.

[@Arttective]

Thanks man. Expect more videos on Kurosawa.

[@chrisbanbury]

The purpose of the long lens is to make the background village massive in the frame. In a wide angle shot the distant village would not appear present and vulnerable.

[@Arttective]

Absolutely spot on

[@oltimer3159]

Like how are you supposed to comment on a video like this, no words can do it justice, I just gotta appreciate it for a second, seeing my username in Japanese was very life affirming. Also don't act like I was eyeing up that Catch-22 you've got lying on your desk, I'd love to see you incorporate more stuff that you yourself recorded into these videos as well. Also let's get some more lens appreciation in upcoming projects. Your visualisations were top notch.

[@Arttective]

And how do I reply to a comment like this, especially from my #1 fan :)? Thanks so much man. It seems many liked the way the essay got technical on lenses so expect some more stuff like that in the future! (I was lucky I have an iPhone because of which I was able take telephoto shots)

[@8teillumin]

7 Sam is by far one of the greatest motion pictures ever committed to film…. Your analysis of the opening is also one of the best technical analysis I’ve seen in a while… it is a beautiful summary of a discussion I had whilst studying media and film studies when in college back in the late 90’s. And the simple fact that Lucas admired and used all the key components used by Kurosawa as George Lucas studied and used the basics of mythological story telling for the Original Trilogy and coupled with Kurosawas own natural understanding of mythology of the time period, and the idea of selflessness of the assembled samurai and Lucas using R2 and 3PO as the narrative perspective for the 1st 1/4 of his fable film.

[@Arttective]

Thanks so much and totally agree. We wouldn't have Star Wars without Seven Samurai.

[@NobleVagabond2552]

Wow the lateral movement analysis really blew my mind. Well done

[@Arttective]

Thanks :)

[@gestaltleviathan9579]

This is great content. Thoroughly thought out analysis without any filler.

[@Arttective]

Thank you!

[@Dontuween]

I never even noticed the left/right connotation!. Even Kyuzo's duel with the hot-headed samurai, Kyuzo was always seen from the left side! (until the other samurai charges, and only then do we finally see Kyuzo from the right side initiating his death blow).

[@Arttective]

Good observation!

[@frankie7371]

i loved every second of this movie and you summed it up brilliantly

[@Arttective]

Glad you loved the film, it's a classic

[@jonkeenanjr6697]

Thank you so much for this - this has been my favorite film for almost thirty years - recently got my septigenarian parents to watch it and they loved it - your insights and especially your graphics-aided explanation of the telephoto lens, as well as its thematic use in Kurosawa's films is on point - new subscriber, will share

[@Arttective]

Glad you enjoyed it! And thanks to you to for the kind words!

[@habibb582]

This was one of the best 7 Samurai analysis videos I've found so far

[@Arttective]

Thank you so much, means a lot! Please share it with anyone who is interested!

[@diedfamous]

Really enjoy your extrapolations on lenses and their effect - the visuals are really nice!

[@Arttective]

I hope I could do those more. People seemed to have liked that part a lot.

[@TheDavidfallon]

Excellent analysis of one of my favourite films.

[@Arttective]

Thank you!

[@teaMmMate]

Such an informative, well written and edited video essay. Amazing stuff!

[@Arttective]

Thank you so much!

[@guileniam]

First eight minutes? The entire thing is one of the very few best visions captured on celluloid. Also you've earned a subscribe

[@Arttective]

Thank you totally agree, one of the greatest things ever captured on film

[@stephenkeen5737]

Thank you very much for your analysis. I just finished watching the film itself and your analysis helped me notice things I'd missed. Particularly the villager who stood up was the same as the one who had had his wife kidnapped. On first viewing it's not always easy to catch who is who throughout - especially in black and white. I will share this for my film followers on Linked IN.

[@Arttective]

Thanks so much for the awesome comment. Glad you loved it

[@inyobill]

This is a complex film that not onley bears, but demands rewatching to appreciate. Speaking of which, I have viewed it it more times than I can count over the las 55 years (!!!), and it's time for a new look. I would rather watch something like this once again, than some stuff out there even once.

[@peterlamont1533]

Fascinating. Thank you for those insights.

[@Arttective]

Glad you enjoyed it!

[@jujubea3270]

So interesting, thank you for making this!

[@Arttective]

Thank you for the comment 🙂

[@DavidRivera-qb1un]

your editing is crazy, your opinion and view point great. Keep going

[@Arttective]

Thank you so much! Please also share my essays, it'll help me get some more exposure! Thank you again and I'm glad you enjoyed.

[@ronforeman8394]

Excellent video, great examples and diagrams

[@davidtuley5898]

I have seen the movie over 15 times and it hit hits me as it did when I saw it for the first when I was a mere 13 years old.

[@MrAwesomevideos123]

very well done, thank you!

[@pesho225]

How the hell do you only have 3k subscribers?!? This was an AMAZING video!

[@Arttective]

Thank you so much

[@dominictemple]

Damn man, you are really good at this, thanks.

[@Arttective]

Wow thank you so much for the compliment! :)

[@followingtheroe1952]

15:26 reminds me of the angel/devil on the shoulder trope. You can see the characters behind him portrayed as if they are 2 aspects of his own mind fighting against eachother. Pause at 15:37 and see the way they are facing.

[@Arttective]

ooooo that's a great observation!

[@martini1179]

Excellent and engaging analysis. Every bit as instructive as Every Frame a Painting's channel on Kurosawa. This is my first video and I'm subscribing, as well as re-watching this excellent film.

[@Arttective]

Wow thank you for such a massive praise!

[@diedfamous]

Great film and great insight, I dig it!

[@Arttective]

Thanks! And hey long time no see

[@whitelotus6230]

Wonderful work man! I like it very much!

[@Arttective]

Thank you! Cheers!

[@Amethyst_Friend]

Wonderful analysis, thank you! Subbed.

[@Arttective]

Thank you so much!

[@calebharris7568]

This is criminally underrated!

[@Arttective]

Thank you ❤️ share it with friends so i can get at least a little more exposure

[@bigl6322]

Fascinating…thanks!

[@Arttective]

Thanks for watching!

[@codykimmel]

Fantastic commentary! Maybe a lot has been said about this film, but I for one would be so interested to hear more of your thoughts on it. Subscribing now!

[@chrisbanbury]

I love this analysis 😍

[@Arttective]

Thank you

[@filmseriesenthusiast9213]

Superb analysis❤🥰

[@Arttective]

Thank you so much. Please share the video if you can!

[@mingyuhuang8944]

Well done brother, amazing movie, amazing review and explanation

[@Arttective]

Thanks a ton!

[@yashodeep1003]

Excellent excellent video....!!

[@Arttective]

Thank you so much

[@leej70]

What a great video. Good job!

[@Arttective]

Thank you so much. And I adore your username lol

[@leej70]

@@Arttective haha....thank you.

[@Arttective]

@@leej70 What... is your favorite color?

[@leej70]

@@Arttective Blue. No, yell....arrgghh!!!!

[@Akira-ci8lg]

I think the extended depth of field is achieved by using small (narrower) aperture, instead of long focal length.

[@cheeseofglass]

0:45 "I'll take a look at how the opening of Seven Samurai SUCKS......... us in" Sheesh, that triggered my flight-or-fight response, for a second there

[@Arttective]

lol

[@poppycock4225]

Brilliant

[@Arttective]

Thanks!

[@atsukorichards1675]

Brilliant analysis and presentation! (A few things I noticed - the sound effects man's name was 三縄一郎, not 南. And, though it is not wrong, calling the director's name with -san in video like this sounds very strange to us - I cannot tell why, but it certainly does....望遠レンズ。アクセル。閉じる→クローズアップ。)

[@Arttective]

Oh man, I know there may be issues with some of the Japanese names! But thank you so much for pointing it out. Also why did it sound wrong to call his name with -san? I mean, is it because of my Indian accent or some other reason?

[@atsukorichards1675]

@@Arttective no, it has nothing to do with your accent at all. It is difficult to explain, but I think that for the analysis or observation works like yours it would be more appropriate to refer the names without -san, which conveys highly casual and friendly tones. I know using -san can mean polite and respect, and you must feel both to Mr. Kurosawa. Maybe I might be over-feeling, and the other people don't care...

[@Arttective]

Makes sense!!!

[@noname-gm2xx]

@@atsukorichards1675 Right! I agree with you. Also, at the same time, I admire the way you intend to pay your respect, Arttective. What a great analysis!

[@roystreet1395]

Thank you! Made me see that much more is going on than I imagined on first viewing. Can't wait to watch it again! On the reason for the positive valence of left-to-right movement and the negative valence of right-to-left, it's about time. Time flows left to right. People instinctively use left-to-right movement as a sign of the passage of time. For instance, if someone says, 'First I did this, then I did that," the first indication will be to the left and the subsequent one will be to the right of the first. Conversely, if someone says, "I did this, but before that I did such and such,' they will start on the right and the subsequent gesture will be to the left of the first. Screen movement in the right to left direction therefore arouses feelings of incongruity.

[@Arttective]

Thank you for the comment! About the direction, you only mentioned how left-to-right mirrors passage of time (which I agree with to be honest ). But the question of WHY still remains. Why is it left-to-right and not right-to-left? Why does this specific direction feel the correct one when it comes to passage of time?

[@roystreet1395]

@@Arttective I learned this from watching interrogators analyzing videos of celebrities on KZbin. As to WHY, I'm afraid that's above my pay-grade!😉

[@Johnconno]

I've always loved Burt Kwouk. ❤

[@knowthyself6981]

Impressive work

[@Arttective]

Thank you!

[@walangchahangyelingden8252]

Great video man.

[@Arttective]

Thank you!

[@abbysnation5245]

Thanks bro for this ...

[@Arttective]

Sure!

[@yaqub5447]

Amazing video

[@Arttective]

Thank you so much

[@TheBunnyodeath]

This might be a small thing. Your from india im from washington usa. I apreciate ypur video. And the honorific you attrubute to akurusawa san. And your assesment was perfect. Kinda made the same comments about tolkien. Who inspired lucas and he was just a writer. Tolkien. But ive seen every kurisawa sans movies. My nephew asked me what movies changed my soul. This was one for each person a story but outsourced was one as well as hidden fortress and warrior . iffran kahn one. To redeeme ones soul reminds me of a lot of kurasawa sans movies . Most japaniese suffered war death pain and arrogance. Kurosawa san understood apl of these things. As he portrayed in dreams. You should watch

[@Arttective]

Thanks so much man.

[@kakarrot62]

the greatest movie ever made

[@Finarphin]

At 5:13 we're considering blurriness. I'm not sure what you mean, exactly. I think you mean in focus as opposed to out of focus. In photography if you change one setting something else also changes, usually in the opposite direction. At a given f stop a long focus lens (whether it's telephoto or not) has worse depth of field than a short focus lens. So using a longer focus lens means you have to stop the lens down farther to get the same (or better) depth of field. But that means you're allowing less light onto the film...so you have to increase the time of exposure -- easy to do with a still camera, but with a film camera it's much harder. Or you could use faster film, or use more artificial light. Or settle for a darker image.

[@Arttective]

Yeah, the time I made the video I still wasn't well versed with all the technicalities. Focus is what I meant to say. Thanks for the illuminating comment!

[@youtuber5305]

This article which mentions SEVEN SAMURAI may be of interest: "Cinematic Explorations on How the Observer’s Vantage Defines Objective and Subjective"

[@Arttective]

Thanks for sharing. I'll check it out.

[@littlemusgrave5323]

Thought the left to right motion being perceived positively and vice versa was really interesting. Can it really be to do with the way we write though? Thought large parts of pre-WW2 Japanese was written right to left. Do you have any links to where you got the information from?

[@Arttective]

You can find sources in the description. I've also linked the original study that was mentioned in the video.

[@Arttective]

Here is the original study: academic.csuohio.edu/kneuendorf/vitae/EgiziiDennyNeuendorfetal12.pdf

[@Arttective]

Another KZbinr made a dedicated essay on this topic. It's brilliant: kzbin.info/www/bejne/j6SbXpRmrqlgg68

[@jamesromano8666]

With the exception of a few languages like Arabic, Hebrew and Farsi, most languages read left-to-right, so that is the "natural" way most information is processed by the eye and brain. Picasso employs that masterfully in his Guernica, which is a huge horizontal canvas: the eye traveling LTR finds itself clashing with the figures of pain and horror (animal and human heads, etc.) that are facing leftward, creating a real sense of conflict for the viewer as he/she sweeps the canvas to take it all in. Arttective is pointing out a similar use of intentioned lateral movement by Kurosawa-san--an insightful and brilliant analysis.

[@littlemusgrave5323]

@@Arttective Really sorry for the slow reply! Thank you for taking the time to write your replies, very interesting. I've watched the video and I'll set some time aside to go through the article and take notes. I think I'm still curious on a deeper level about where the left to right positivity element comes from. Many languages do go RTL, so it was intriguing (to me, at least), to ask why those cultures might perceive LTR as positive (and if they all do).

[@scoop4363]

08AUG2022 - Just off the top of my head I would suggest that "The Dirty Dozen" could be perceived as a distant relative to this masterpiece and that in the opening minutes contain quite a bit of setup. A leader reluctantly accepts the role of assembling a group of former warriors to ward off bandits. Hmm . . . never really gave that much thought until now.

[@Arttective]

Still need to see that one!

[@philippeleclou9956]

The whole movie is a masterpiece. Awarded at la mostra de venise, the movie dicribe the toxic relations between warriors and peasant, universal theme. For me, this movie must climb kurosawa to universal realisator, we must say about him Sensei Kurosawa ♥

[@ink-cow]

The lateral movement does seem to create the emotional effect you talk about, however there's a problem with saying the effect is related to our reading left-to-right. This couldn't explain Kurosawa's staging, as in Japan text is read right-to-left; so the direction of the bandits is what would seem more natural to his domestic audience, based on that. There would have to be another reason for why the leftward motion is unsettling, unrelated to text.

[@Arttective]

Which is why I say "It is speculated that..." it wasn't a conclusive statement. But I do agree with you, it is not related to writing systems.

[@loveofcinemastalker9869]

Loved it.

[@Arttective]

Thanks!

[@winslowtjiptadi6359]

Wow.. this analysis is undeserving to have so little likes..

[@Arttective]

Thank you so much. You can also share this video with those interested.

[@user-qp2xy5zs7r]

I could listen to this accent and fall asleep.. Can you upload an opinion of 2003 The Last Samurai?

[@chaitanbutte5193]

What font did you use? Just curious. Great video.

[@Arttective]

You mean for English? Or Japanese. Also thanks!

[@annaclarafenyo8185]

Only one mistake: Rikichi's wife wasn't kidnapped or given in tribute. She willingly left the village to join the bandits, only to later regret her decision.

[@Arttective]

Thank you for pointing that out!

[@Finarphin]

I'm not sure that detail was ever established. Rikichi, at any rate, seemed to believe she was given to the bandits so the bandits would leave them alone.

[@annaclarafenyo8185]

@@Finarphin She left willingly, this is why she is ashamed. It's not realistic, it's expressionistic, its a study of infidelity from the psychological perspective.

[@Finarphin]

@@annaclarafenyo8185 That she left willingly is one way of looking at it, but I don't think that was clearly established. Rikichi's dialogue with the other two villagers in town suggests she was offered to them by the village. That's the way he sees it, anyway. That might not necessarily be true. What indicates to you that she left willingly?

[@annaclarafenyo8185]

@@Finarphin She wasn't offered in tribute, or else she wouldn't run back into the flames. The shame she felt when confronting her former husband is that of the unfaithful woman who regrets her infidelity. Kurasawa is writing a modern story, the romance notions are those of the 1940s 'tough guy' era of Cagney and Bogart, and his characters have those type of modern fascist-aware sensibilities, even though the setting is medieval.

[@Takemeout369]

Oh! Man, what was the music you used here? It's transcendent - please give me the name...

[@Finarphin]

It seems to be Hayasaka's score from the film itself.

[@GautamKumar-vk4zx]

@18:41 you mentioned that the negative comes from right to left because we have a habit of reading left to right considered positive. But your kind information japanese writing is from right to left. So Kurosawa is not having that concept in his mind. Hope you got my point

[@Arttective]

Which is why I said it is "speculated". I guess I should have been more clear. But it is true that this rule is universal that is not bound by religion or culture. The study I mentioned also proved this. You can check the description for the link to the study.

[@Arttective]

Also this rule is more of a subconscious rule so it's not necessary Kurosawa did this by design. But it has been observed that directors frequently followed it, knowingly or unknowingly. It's akin to the universal 180 degree rule used in almost all films.

[@Ruiz_Aquino]

Excellent analysis, however maybe you have been confused with the concept of 'telephoto lenses', as this type of lens (usually above 80mm) has a shallow depth of field ratio, as opposed to a wide angle (usually between 14mm - 24mm) and even a normal-lens (24mm - 70mm). So Kurosawa probably only shot the close-ups with the telephotos (100m or 200mm) and all other key shots on regular lenses like 35mm or 50mm.

[@Arttective]

Yes you are right. I saw recent interview of Tatsuya Nakadai and he said how difficult it was to shoot close ups in telephoto. Kurosawa was totally obsessed with it and tried using it wherever he can. I made an error in this analysis and thank you so much for pointing it out.

[@samuraijacques952]

Subscribed

[@Arttective]

Thank you 🙂

[@Manal1492]

Briliant!

[@Arttective]

Thank you 🙂

[@toka1024]

Its weird that we have the same name

[@Arttective]

Haha yes it's weird!

[@gardenlover9663]

This film kicks ass.

[@Arttective]

Goddamn right

[@mannye]

I remember the Criterion collection mentioning that the huddled mass of villagers crying is actually supposed to be funny. Anyone know if this is true?

[@Arttective]

Can you elaborate?

[@mannye]

@@Arttective I'm a little fuzzy on exactly which version of the Laser Disc I had. but I do remember it was the CAV (higher quality) version that was a box set and came on 4 or maybe even 6 discs. I know that David Desser, Joan Mellen, Stephen Prince, Tony Rayns, and Donald Richie were recorded in 2006 for the DVD release, but I don't remember who did the earlier Laser Disc commentary which must have been in the early 90's. At any rate, it was while watching this version of Seven Samurai, that I remember hearing from whoever it was that recorded the commentary that this scene of weeping townsfolk was in fact, supposed to be comedic. I'm sorry I can't be any more specific. I will try to locate the disc and if I can, I'll digitize the section I'm referring to and email to you.

[@mannye]

@@Arttective Was able to find a picture of the disc online. It was the commentary by Michael Jeck. I have located him and asked him directly if I am remembering correctly. I'll let you know what he says.

[@honeyfitz3791]

I suggest watch the first scene of "Jaws."

[@Arttective]

Another amazing film

[@XXmomowbXX]

19:58 "So to summarize/samurais,..." :D Pun intended?

[@Arttective]

Not really but I love the coincidence lol

[@hardikramteke5452]

16:35 I am glad you didn't use the word kidnapping. Most people confuse abduction with kidnapping.

[@Arttective]

Yep, totally different!

[@chrisbanbury]

There is no difference in common parlance. The definitions in the law are as many and contradictory as there are laws.

[@cca8255]

“What da fuq does this all mean” 😂😂

[@PaulGruendlerBeau]

So, you're reading CATCH 22 now?

[@Arttective]

Already done! I'm reading Mahabharata now

[@shippainoki]

I live in Japan and guess what... They write from Right to left.... :-) and Read Books from Right to left.

[@Arttective]

Yep! That was clarified many times in the comments already hehe

[@eduibnuwardana9998]

Txu India

[@belltoadfearless6747]

someone who knows seven samurai yet owns action figures of star wars sequel trilogy characters? interesting...

[@agnostic47]

And there was me thinking it was just a good film.

[@Arttective]

You mean you now think it's a great film? Just checking since your comment is a bit vague hehe

[@MrBrutal33]

Star Wars was inspired by The Hidden Fortress rather than Seven Samurai surely?

[@Arttective]

Hidden Fortress primarily inspired the story. But rest of Kurosawa's inspired film making styles. I talked about the wipe transition, if you notice.

[@gregorygarcia7807]

So glad Apu was able to find voice-over work after the Simpsons.

[@Arttective]

LOL. Thanks?

[@user-kz2wm2mw1g]

Are you an Indian who knows Japanese? Just asking 😂😂

[@Arttective]

I'm Indian but I can't speak Japanese 😅

[@Arttective]

Took some other person's help for translation

[@bertone262c8]

This video, this contribution, is completely unnecessary. Simply deleting it would be nice.

[@Arttective]

Why is it unnecessary? And why should I delete what took me a month to create?

[@Driv3rMadness]

Because it doesn't suit the (lack of) cinematic cosmovision of a single random individual on the Internet hiding behind a madeup username, and also because this person considers their "views" more important than the 1349/19 like/dislike ratio that did actually consider it necessary. Imagine being like that...

[@loriscunado3607]

Why is there swearing in this commentary? Most dishonourable and inappropriate. Why? Respectful of the director but not of the audience.

[@Arttective]

It's just a joke. Why get offended?

[@loriscunado3607]

Can you imagine a genuine Samurai swearing like that? Decorum matters in this world and in this film and your swearing is a crude and incompetent rupture of the otherwise fascinating technical discourse about camera angles and lenses. Sir your 'joke' offends me deeply. (Is sexual intercourse a joke? Was there a scene of Katsushiro fucking Shino naked on the floor of the hut? Did you see Yohei emptying his villager's bowels under a hedge?) Haven't you noticed that there is almost no on screen sex in Scorsese and Rohmer or Satyajit Ray's work?

[@Arttective]

I will give my perspective on this matter and on why I used that word. If you still don't agree after reading, there is nothing more to say and we'll respectfully agree to disagree. If you watched the video carefully, I said the word f**k in a nonchalant way to lighten the mood. It was a segment too heavy in technicalities so I imagined how a layperson must be feeling while watching me drone on. In my mind, I imagined them saying "but what the heck has this got to do with anything". Hence my usage of the word in the video. Also, these videos are made with the presumption that non academicians will watch it because that is the target audience I wish to reach. You seem like someone who respects appropriate language so I can understand why this hit a nerve. The word f**k is also used as an exclamation. Your mention of Shino, Scorsese, Rohmer, Ray makes it seems like you think I am making jokes on sexual intercourse. Not true. A word can have many meanings and usages. This is my side and I hope you understand. Good day.