Production
Ran was Kurosawa's last epic film and by far his most expensive. At the time, its budget of $12 million made it the most expensive Japanese film in history. Filming of Ran started in 1983. The 1,400 uniforms and suits of armor used for the extras were designed by costume designer Emi Wada and Kurosawa, and were hand-made by master tailors over more than two years. The film also used 200 horses. Kurosawa loved filming in lush and expansive locations, and most of Ran was shot amidst the mountains and plains of Mount Aso, Japan's largest active volcano. Kurosawa was also granted permission to shoot at two of the country's most famous landmarks, the ancient castles at Kumamoto and Himeji. For the castle of Lady Sué's family, he used the ruins of the Azusa castle. Hidetora's third castle, which was burned to the ground, was actually a real building which Kurosawa built on the slopes of Mount Fuji. No miniatures were used for that segment, and Tatsuya Nakadai had to do the scene where Hidetora flees the castle in one take. Apparently, Kurosawa also wanted to include a scene that required an entire field to be sprayed gold; it was filmed but Kurosawa cut it out of the final film during editing. The filming of this scene can be seen in the documentary A.K..
Kurosawa would often shoot a scene with three cameras simultaneously, each using different lenses and angles. Many long-shots were employed throughout the film and very few close-ups. On several occasions he used static cameras and suddenly brought the action into frame, rather than using the camera to track the action. He also used jump cuts to progress certain scenes, changing the pace of the action for filmic effect.
Akira Kurosawa's wife of 39 years, Yōko Yaguchi, died during the production of this film. He halted filming for just one day to mourn before resuming work on the picture.
Read more about this topic: Ran (film)
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“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
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“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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