Issey Ogata‘s name is not at the top of the poster or in much of any marketing for Silence, but his role as Inoue Masashige, so very ominously nicknamed “The Inquisitor,” is among the most essential and memorable in Martin Scorsese‘s religious epic. While primarily a veteran of Asian television, Ogata still eanrs a special place among cinephiles — one that will only grow wider and stronger once this film opens — for his work in Edward Yang’s Yi Yi and Alexander Sokurov’s The Sun, the latter of which features him as Japan’s Emperor Hirohito in the final days of World War II.
Much of Silence comes to comprise the opposition between Masashige and Andrew Garfield‘s Sebastião Rodrigues, but Ogata’s performance excels largely because it’s far more difficult to parse than the character it represents — alternately comic (a major part of his acting background) and menacing, often condescending, yet with hints towards some sympathy for the Christians’ devotion. In person, the actor is a very kind man who, in brief answers, makes clear the breadth of his knowledge and experience.
The Film Stage: Given that he’s such a cineaste, I wonder if Scorsese had many questions about your film career — for instance, your time with Edward Yang and Alexander Sokurov.
Issey Ogata: Marty, I remember, towards the end of a dinner, he told me that he loved this particular scene from The Sun by Sokurov.
What scene?
It’s a scene where the Emperor met with MacArthur, and he’s about to leave, and nobody’s there to open his door — and he’s never opened his own door, so he’s very carefully opening his door. Marty liked that scene very much.
What was your familiarity with Scorsese before coming aboard this project?
I’ve certainly seen many of Marty’s films, but it was definitely Taxi Driver that gave me the strongest impression and just keeps coming back to me.
At today’s press conference, you talked about applying to your performance a Shūsaku Endō text, The Golden Country, that also features the Inquisitor. Did you introduce Scorsese it? What were his thoughts on your making it integral?
He definitely read it, Marty. He definitely brought it up, but I’m not sure if he read it at that time of the shoot or not — but he most likely has. Marty reads everything. He’s read most of Endō’s books.
Were you a great admirer or Endō in your previous years? How might you describe his place in Japanese culture and literature?
I hadn’t read much before taking on this job. Even Silence I tried to read when I was young and didn’t get through. So I can’t speak much in terms of Endō’s place in the Japanese culture and literature, but there’s a book called The Sea and Poison — I think there was a film, as well — where you can see it, but I think the themes in these stories are that people would do such cruel things. “Can these people be saved?” is one of the questions. It’s not about salvation for victims; I think it’s more about salvation for the people who do the bad deed. I think he’s someone who really explored the theme of salvation for people who were weak or betrayed. I think that was his theme, and I think he really explored it for the language of literature.
I assume you revisited the novel for this film. I wonder if it was strange to do so — since you might associate the book with youth — as an older, accomplished man.
It’s a bit tricky, because I was already cast, so I read very much in the mind of Inoue. [Laughs] It was a very important point for me, as Inoue — but I think for the book as well — where he talks to Rodrigues about these four concubines. He’s comparing this religion with a very crass analysis of these four women, so I thought Inoue was… it’s very tricky, because he’s not just denying this Christianity. He is, first, taking this extra step to compare Christianity to this very crass, real-life situation; then he’s denying that. That really stayed with me when I read the book. The concubine is very similar: it’s violently, forcefully replacing this faith. Comparing a big thing to a tangible object. It worked quite well. People are having a very hard time stepping on the tablet. That method gave me a huge impression.
Your English-language performance was particularly fantastic. I wonder about your preparation, since you have these very long dialogue scenes.
First, I memorized a line, and had this dialogue coach, Tim Monich, who helped me with the pronunciation of each word. Then, on set, I just went with it. It was as if improvising a song — so I played. It was as if I knew the lyric and was just improvising the melody of it, based on the instinct I had on set.
While I have time, I’d love some memories of your time with Edward Yang on Yi Yi, which is a favorite film of mine.
Such a kind man, Mr. Yang. He was very gentle; his voice was very soft. It’s like Marty’s set: it’s very quiet. With him, it was really one or two takes — very fast. The crew loved me, because it was so fast. [Laughs] There was a scene where we’re in a Chinese restaurant and the character I’m playing is talking to the main character. First, they did the wide shots — so the camera is all the way — and, after, the camera came very close to me. Edward, for some reason, was very concerned, assuring me: “The camera’s close by, but don’t worry — just do as you’ve been doing.” He was very concerned and thoughtful. When I was being considered for the film, I saw a couple of Edward Yang’s past films, and there was one actor that stood out, and I was convinced that it was the same guy in these two films. I told Mr. Yang, “Oh, yeah, I really like this actor who was also in this film,” and Edward was kind of upset because it was two different actors, and, to him, it was a completely different person. To me, it was a little embarrassing. [Laughs] He was a very kind director.
One last thing: I have to compliment you on the deflation you do at one point in this movie. It is one of the great cinematic moments this year.
I have a very soft spine. It’s not a visual effect!
Silence enters a limited release on Friday, December 23, then expands on January 6 and January 13.