Lunch with Oh Lucy!

An interview with Atsuko Hirayanagi, director of Oh Lucy!

 In Oh Lucy!, you deal with the fundamental differences of culture and communication between Americans and Japanese with humor. Do you think the Japanese should open up more to the English language?

I don’t necessarily think so. That’s a part of who we are culturally, whether by choice or not, and differences make the whole world more interesting. Knowing and appreciating differences however, allows us to empathize with each other. We can open up to each other more, to be more forgiving and kind to ourselves even, and accept differences.

 In your opinion, is it the language learning or the role playing that helps Setsuko begin questioning herself?

Sometimes, playing someone else will bring up your true self. That’s what I learned when I was acting. Something you’re usually hiding comes out, usually your dark side. As Oscar Wilde once said – Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.

 Have you taken English courses that use this method?

Not exactly the same, but yes, I’ve taken an English accent reduction class, and the teacher did make me use a wine cork in my mouth to make bigger vowel sounds. Sometimes the instructor would tell me to act like an American while reading the course material. It was really silly, but interesting.

 Contrary to Setsuko, her niece is very extroverted. Is the difference between generations that great in Japan?

There is definitely a generation gap. Kids nowadays are so used to being photographed for example. They’re used to being seen. Yu is part of the ‘selfie’ generation. That is so opposite of Setsuko’s – my mom’s generation, who feels more secure as wallflowers, and like to blend in with the masses.

 The business world seems very dull and is mocked in your film. Is that environment one of the causes behind your main character’s inhibition?

I’m not sure if I mocked it…but there is a serious glass ceiling for women in Japan. Those office workers, the so-called OLs (office ladies) in Japan, most typically don’t get promoted. They’ll stay OLs until they retire – often after marriage or giving birth.

 Why did you decide to work with Kaori Momoi as your main actress?

I used her image in my pre-thesis review visual presentation, where I had to convey visual aspects of the film. I of course never thought that I would end up actually working with her!

 In which context did you make this short film?

This was my thesis short film for NYU Tisch School of The Arts, Asia. The idea sprung out from a class exercise, where I was supposed to write 100 ideas in four weeks. Every day the teacher would give us a subject like, write a rom-com, buddy film, musical, action, or dinosaur movie, etc. The idea for Oh Lucy! came from the topic – writing about someone you know. So I wrote about someone I know, and mixed it with some of my personal experiences as a foreign student in the US.

What are your upcoming projects?

I’m developing a few projects in Japan and the US, including a feature version of Oh Lucy!

 I read that you are a black belt in karate. In your opinion, what can karate teach us about cinema?

When it comes to filmmaking, there is no limit to how much energy you can put into it. The limit is as far as your stamina and energy can go against certain deadlines. I learned the discipline of pushing my limits through karate.