Making his film debut at the age of 20, Takeshi Kaneshiro has been a household name for most of his career. But over 40 films and 23 years later, the man himself remains a mysterious force who continues to capture the imagination of the audience.
Making his film debut at the age of 20, Takeshi Kaneshiro has been a household name for most of his career. But over 40 films and 23 years later, the man himself remains a mysterious force who continues to capture the imagination of the audience.
It is autumn in Tokyo and we are sitting in the hotel room waiting for Takeshi Kaneshiro. An entire floor in the hotel has been reserved for today’s photoshoot. The lift chimes and a man, wearing a red sports jacket and carrying a backpack, strides through its doors. It’s Kaneshiro and he bows slightly as he greets everyone in the room with an unexpected bashful manner about him. Up close, the lines on his face are visible, especially when he smiles. But these do not bother him—the 43-year-old laughs without reservation, with a sparkle in his eyes.
Observing him tilt his head as he listens to others speak is akin to experiencing a multitude of movie scenes come alive. Familiar movie characters flash across my mind: The one who repeatedly buys canned pineapples in Chungking Express; the one who repeatedly snaps photos of the sky above his balcony in Tempting Heart; and yet another who gazes at Shu Qi after a drink in a pub in Confession of Pain. In real life, he might look slightly different to his onscreen personaes, but you would still be able to easily spot him in a crowd. He is Takeshi Kaneshiro, after all.
TRUST AND EXPECTATIONS
Kaneshiro is mid-sentence when he abruptly jumps from his seat and dashes to a corner of the room, re-enacting a scene from the 2016 romantic comedy film, See You Tomorrow. In this particular scene, he recalls: “They hooked me up, upright and bottom-up, causing me to have a stiff neck.” Although this scene took about a week to complete, it was eventually cut. “I initially thought it would be an easy role, only to realise that it was physically demanding.” When he took on the role, he had no idea that he would have to sing, dance and fight. “Of course, I did not dance,” he adds. Fast forward to this interview and he confesses that he has yet to watch the final product. “It’s pretty scary to be in his cast. You never know if any of your scenes have stayed in the movie until it has been screened.” The person he is referring to? Renowned director and producer Wong Kar-Wai, with whom this is his fourth collaboration.
Wong Kar-Wai was one key factor of Kaneshiro accepting the role. Another deciding factor was Zhang Jiajia. “He is very good with his choice of words, especially in evoking emotions.” This is how Kaneshiro works: He is less concerned about how suitable he is for the role than with what is expected of him and his feelings for the character and whether he can meet expectations. “For example, if I were to be invited to act as a martial arts expert right now, I would not do it.” While he has taken on his fair share of such roles earlier in his acting career, on hindsight, he says: “I was always kept on my toes, trying to reach something beyond me. If that’s the case, why don’t I choose scripts that I can better manage?”
A MAN OF RESOLVE
Known as a man of few words, Kaneshiro surprises with an eloquence when it comes to the subject of filmmaking and he’s surprisingly eager to share his experiences. He describes Wong Kar-Wai as “assertive” and “resolved” numerous times throughout the interview and it’s clear they have built a tacit understanding over the years. “His direction stays fixed. All I need to do is deliver what he wants to the best of my ability, adding my own direction that complements his,” he says. “When he tells you he wants something to be delivered in a certain way, he has his reasons. I might think I cannot do it, but I might eventually surpass his original intents. This is where the fun lies.” The ability to create and push boundaries is the reason Kaneshiro is still passionate about films, but that’s not to say things are always rosy on set. “When the director gives you something that appeals to you, you find it fun. Of course, there are also times when you go, ‘Can we not do that?’,” he says with playful exasperation.
Despite having been away from the silver screen for some time, Kaneshiro admits he enjoys being on set. “The only thing I can’t take is [the] waiting. You won’t know when they will call for you, and you have no idea what to do with your time. But it is really enjoyable when everyone gives their input and discusses with one another... this is where the fun lies.”
What does it take for an actor to sustain a path of stardom? A study of Kaneshiro’s career projectory yields certain observations: When he first started out, he humbly accepted all challenges and hardships that came along with his roles before fearlessly unleashing his creativity and talent when he came into his own as an actor to be reckoned with. Yet, through it all, one thing has remained the same: He has no qualms sharing details on his performances and the productions he’s involved in, but he remains resolutely silent about his private life.
When quizzed about this, he replies, “Why would you want to look at Takeshi? I don’t even know what I am doing. The Takeshi you know is the Takeshi in your mind.”
When interviewed on his role in Warcraft, Daniel Wu shared that he was happy that the audience can finally see beyond his looks. Would such an experience excite you?
That is what I ask of myself in every role I play. It has nothing to do with letting the audience see me in the role; it’s about my ability to make the character come alive. I feel that that is my only responsibility when we agree to act in a movie. The focus should be on the character, not my looks.
You have only partnered a few directors in recent years—John Woo and Peter Chan.
It’s not that I only work with them; it’s just that I have worked with them before so when they invite me to act, it’s easier for them to persuade me.
Do you still find it hard to reject them?
I still try to reject them, but they keep persuading me. It’s hard to reject directors of their calibre. Should I agree, I always hope to enrich the character further. I do also consider other directors but would reject them if I don’t feel an affinity for the roles they offer at the time.
Is comedy challenging?
Yes! There are many different types of comedy—from dark comedy to exaggerated comical styles. Even those that the general audience see as shallow slapstick is challenging. It takes a lot to make people laugh and you fail if no one laughs. That said, acting in a comedy is fun; It’s very relaxing. It can be hilarious to see how the director, for example Chu Yen-Ping, directs you on how to act out a role; he can make you realise how funny a scene can be.
Is it difficult to make you laugh?
It is quite difficult to make me laugh or cry; it has nothing to do with one’s proficiency. When we get older, it gets harder to laugh at jokes that you have already heard before. It all boils down to individual styles. Or, we may not understand the same joke if we are from different cultural backgrounds.
Who is your favourite comedian?
I have many. Stephen Chow is one of them, but I have never acted in any of his movies. If he looks for me, the script need not factor into my decision to say yes as I’ll trust that he would have taken care of every factor.
How did it feel to work with Tony Leung again in See You Tomorrow?
There have been three movies where I’ve had the chance to interact with Tony. We share a similar trait of being a man of few words. We chat about food and wine.
What movie genre do you like?
All genres. Sometimes, I simply watch movies because it is part of my work. I watch how my co-stars act in other movies or just to learn more about the world. I don’t have a preference for any genre but I do prefer watching movies alone.
Do you watch commercial films?
I usually head to the cinema to catch films that are a must-watch. If the aesthetics are good, I will only watch it if I have access to a bigger space or where I can watch it on a projector. It’s a sign of respect for the production team, to experience the blood, sweat and tears that went in.
Photographed by Chen Man. Styled by Yoshiyuki Shimazu
