Yamato (film) - Production

Production

Filming for Yamato took place from March to June 2005 at a closed-down shipyard of Hitachi Zosen Corporation in Onomichi, Hiroshima Prefecture. Approximately JPY 600 million was spent in building a 1:1 scale set of the forward section and the portside anti-aircraft guns. The starboard side, aft section and the barrels of the A turret were not built since the film only required scenes on the port side. However, compliance issues with Japan's Building Standards Act prevented the reproduction of the Yamato's pagoda tower. Instead, photographs of the Yamato Museum's own 1:10 Yamato model was used for post-production. The interior scenes were made on a sound stage, but a hall near the set shows the various rooms and props reproduced for the film.

The set was opened to the public on 17 July 2005. Approximately one million people visited the set by the time it closed doors on 7 May 2006. The dismantling of the set began four days later and finished on June 13. The gun replicas were transferred to the Yamato Museum while the city of Onomichi kept the props and costumes.

Read more about this topic:  Yamato (film)

Famous quotes containing the word production:

    ... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.
    Emma Goldman (1869–1940)

    The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.
    Debbie Taylor (20th century)

    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)