ABOUT tokyofilmgarage

TFG (tokyofilmgarage) was first conceived by Hiro Oda and Tom Flint as a launchpad for making films and filmmaking connections in Tokyo’s burgeoning independent film scene.  The idea was to construct a network of filmmakers whose ideas and expertise could cascade around freely and reach anyone who was in search of collaborative partnerships, creating a sort of “artist’s bank.”  The output would focus on low-budget, avant-garde cinema which strived to be nonconformist and daring, rather than established and conventional. 

Tokyo seemed like the perfect place to set up an internationally-minded, grass roots organization to gather talents ranging from writers and directors to actors and composers.  Since it’s founding in 2006, TFG has worked hard to open it’s niche by producing a number of festival-bound projects and continually investing in new resources.  With plenty of fresh ideas and avenues to explore in the midst of this contemporary filmmaking renaissance, the opportunities for creativity are limitless.

 

 

 

 

 

                                           ~And Some Literature~

tokyofilmgarage was born at a sort of small, unknown bar in an alley in Shibuya where

people who really understand what Tokyo is drink till 4:00. a.m.

 

“Hey Bartender, how’s it going?”

 

“Hey, Hiro.  The usual?”

 

“Uh-huh, the usual shot and coffee.”

 

“You gonna stay here till sunrise with only a couple of coffees?  You must’ve missed the last train.”

 

“Yeah, something like that.”

 

The man took a box of Gauloise cigarettes out of his pocket and struck a match.

 

“By the way Bartender, are you still writing novels?”

 

“Sure.  As a matter of fact, I’m in the middle of working on a script.”

 

“I take it you’re not getting paid. Shouldn’t you be focusing more on your business?”

 

“A shot of Turkey coming right up.”

 

Kiyo poured some Wild Turkey into a shot glass.  The smoke from the Gauloise spread over the counter and the bar was shrouded in it’s distinctive scent.

 

“So, what kind of script is it?  Who asked you to write it?”

 

“A guy named Tom.  He dropped in about a month ago.  I’ve got no idea how he found this place, but he said he was shooting a movie in Tokyo.”

 

“Really?  Where’s he from?”

 

“Boston.  We had a great time talking about Ozu, Fellini, y’now all the greats.  By the end of the night, I promised him I’d write a story about Tokyo for his next project.”

 

Kiyo took out a yellow Carlos Giobin record from the shelf and laid it on the player.  The needle slid up and down along the record as if it was dancing.  A piano tune by Giobin started.

 

“The other day, another guy named Daniel from Spain, came in here and said, “This place is  the real Tokyo.  I’d like to shoot some scenes here.”  I asked him what he was doing.  He said, “I’m looking for my life here in Tokyo.”  The lead actor in the movie went by the name of Jun.  This guy is crazy.  Ten years ago in N.Y., he had an audition and he got into a huge argument with his  black girlfriend in the audition room.  They kept at it for a few minutes right in front of the director, F.Lang.  Lang was really shocked at them and told them there wasn’t a scene like that in the story. Nobody had told him to do it.  Then Jun came back to his senses and said that he was Ed Wood, before walking straight out of the room.  After that, he came back to Tokyo and trained himself at a Zen temple, worked as a taxi driver, and even as a private detective. In the end, he decided to go back to being an actor.”

 

“Why does everyone come to Tokyo?”

 

“Who knows?  Maybe because they’re all crazy.”

 

Hiro breathed out the smoke of his fourth Gauloise, and got the feeling that something had already begun.


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