Readers the world over revere the Japanese poet Bashō (1644 - 1694), master of the Haiku. Bashō was to Haiku what Shake-speare was to the sonnet - in a sense simultaneously creating the form and perfecting it.
Not as many are familiar with Bashō's contemporary, Hanatō Fukui (1650 - 1713).
Among Hanatō's most famous works are his "Ode To Milk", "Rumination On An Infection", and, of course, his "Argument Against Mildness". He is most renowned however for his sequence of cat Haikus, written throughout his life and finally collected and published posthumously in 1733 in a volume entitled simply "The Edo Cat Haikus". The original work featured illustrations that Hanatō himself had executed over many years.
We feature today a sampling of Hanatō's magnificent pieces, from the new translation by Trini Savitch:
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So many cats around,
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So many goddamn cats.
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They're freaking me out.
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I wake in a ditch,
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Face-down in fishy vomit.
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Mine? The alley cat's?
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Cat licks his behind.
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Full moon makes all pure and white.
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Cat licks his behind.
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You are a vampire!
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They tell lies, say you're a cat.
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Pelt you with garlic.
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Last night I was drunk.
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But you, cat, stayed home with me.
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You're my only friend.
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Kyoto cats yowl,
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Terrifying shrieks from Hell.
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I have wet the bed.
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Three days, no shaving.
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White cat rubs my drunken hulk.
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When I wake - white beard!
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Moonlight fills my room,
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Sweet dream of Kyoto girls.
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Hot breath. Claws. Hungry cat!
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Lithe cat chases light,
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Tries to catch pond reflections.
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Koi oblivious.
When the Hanatō Fukui left Edo (now Tokyo) for a summer to visit acquaintances in Kyoto, he composed some of his most moving and beautiful Cat Haiku. Occasionally, these have been published separately from the bulk of "The Edo Cat Haikus" in slim volumes usually called "The Kyoto Cat Haikus", and they have rarely been out of print since they were written.
We feature three of these so-called "Kyoto Cat Haikus", including one of Hanatō's most popular, "I have swallowed fur...":
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I have swallowed fur
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Shed by all the summer cats.
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I am so thirsty.
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Dazzling sun on koi
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Gleaming in the cat's still eye.
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My hangover pounds.
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A clear icy stream -
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I put the dirty cat in,
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Sound of screaming
VIDEO - CHEESE & CRACKERS
POSTCARDS FROM THE FUTURE:
How Eric Adkins Combined the Scope of Interplanetary Sci-Fi with the Intimacy of a Memoir
by
Neal Romanek
(as printed in the January 2008
edition of ICG, magazine of the
Eric Adkins is fast becoming the "go to" guy for shooting large-scale science fiction stories in High Definition . He famously partnered with director Kerry Conran on Sky Captain and the World Of Tomorrow (2004), a film captured on the Sony HDW-F900. More recently Adkins partnered again with Kerry Conran on preproduction for the Greatest Science Fiction Movie Never Made, Edgar Rice Burroughs' "A Princess Of Mars", usually entitled John Carter Of Mars in its various incarnations around the studios.
Postcards From The Future (2007) is a 38 minute sci-fi live-action short telling the story of an astronaut's lifelong commitment to exploration of the solar system. Eric Adkins shot the film in 4k on the Dalsa Origin. The story of Postcards is told extensively through correspondence to the hero's wife back on Earth in the form of video monologues - from the Moon, from Mars, even from the moons of Saturn. The story comes full circle when the daughter herself becomes a deep space explorer. The project was conceived as an indy short project by visual effects supervisor Alan Chan, who most recently oversaw effects work on Robert Zemeckis's Beowulf. Postcards has just premiered before the International Space Development Conference, in Dallas, hosted by the National Space Society.
Adkins work on Postcards came out of an unassuming desire to perform a thorough green screen camera test. Adkins had been studying every camera possible, in preparation for shooting John Carter Of Mars with Kerry Conran. Conran and Adkins developed John Carter for eight months before the project zoomed off to a sojourn with Robert Rodriguez. As of this writing, John Carter of Mars is in the hands of Pixar. Adkins and Conran decided early on that they wanted to capture the film in 4K. In preparation, Adkins studied Panavision's Genesis, Sony's F950, Grass Valley's Viper, the Arriflex D-20, and the Dalsa Origin. "But," says Adkins, "I have a habit of wanting to do camera tests with real-life workflow intents. It's one thing shooting charts and gray and white and silver balls, but what you don't get is the realistic aspect of what the workflow will be all the way through post." But where would he be able to do 4K real-world tests with essentially no budget?
Enter Alan Chan who was working at Sony Imageworks at the time. Eric Adkins heard through a mutual friend that Chan was eager to shoot this debut directing project on HD, and that Chan wanted to capture on data, not tape. The two discussed their options and Adkins popped the question: "I said: 'Since this movie is about the future, and you do work for Sony and they deal will 4K all the time ... are you up for 4K?' Alan, who's a futurist himself, said 'Yeah, I want to make that work'." Chan had the idea of making a digitally captured film that had potential for an IMAX-type release. Postcards from the Future was originally conceived as a kind of demo for such a project, though the final version seems to fit the bill itself. Completing the film, in between managing the visual effects demands of directors like Zemeckis, took Chan two years, but the live action elements were literally shot over a weekend - which might be a record for a film whose storyline spans two decades and a billion and a half miles. Adkins describes the enormous data-gobbling with a laugh: "This one-weekend shoot of capturing 4K images, at 16 megs a frame, at 24 frames per second, ended up yielding 3.24 terabytes of information to deal with. We recorded with the camera, also had a backup recorder. The editor wanted some footage too to immediately start playing with, and he had his own RAID set up, which we filled about half-way before we crashed it."
The central conceit of the live action shots is that they are live captures of a kind of "webcam" of the future, which would naturally - it is supposed - by of far, far higher resolution than the communication cameras of today. But there are several flashbacks that take place in the film, a character remembering his time under the blue sky of planet Earth, so how to differentiate the 4K webcams of the space age from "real life"? Adkins shot the flashbacks in HDV, which is of lower resolution than HD. The film-photography tradition of shooting a flashback in black and white, or using a different film gauge - Super 8, 16mm - seems to apply seamlessly to digital production. Adkins laughs, "HDV was the fantasy world, 4K was the reality."Alan Chan is known for developing realistic treatments of projected space hardware, like the "Space Elevator" which appears in some of NASA's show reels. The Space Elevator technology, in fact, appears in Postcards from the Future. To the budget and time constraints therefore were added Alan's strict dedication to realism and authenticity. Postcards and Star Wars are light years apart. Adkins's lighting style attempted to adhere to this rigid verisimilitude.
The set remains the same for much of the film, and was primarily composited afterward. Most of the live action being shot against a green screen. But the lighting from scene to scene varies radically in that the capsules inhabited by the main character travels literally from world to world. As a result, the sun itself, as it shines through windows or down onto spacesuited figures, is a different brightness, and a different color, and at varying levels of diffuseness. Green screen shooting allowed for this tremendous range of locations, but required strict attention to the characteristics of each location. One scene on the surface of the moon involves handheld shots of men in space suits. The lighting on the Moon is white and highly directional and brighter than the diffused light we receive on Earth. "The moon required a cool, but daylight, rim to it.. A kind of desaturated-cool look. It wasn't about color tint. And then on Mars, you got into rust tints reflecting into the window. And then on the surface of Saturn's moon Titan, we used a golden light. In that case it was not necessarily a completely accurate reflection of the surface of Titan, but emotionally it worked well."
Adkins also used a variety of lights in motion to simulate space flight. "There's one gag where the character is viewing a planet's surface and the sun goes behind the planet, putting the character in darkness, then as the ship rounds the curve again, the sun appears to come back up. The moving light gags really helped to create the reality that they were in flight."
The capsule itself offered a variety of challenges. Adkins had to ask, without fudging, What really were the light sources? Much of the lighting then came from the instrument panels surrounding the character, which allowed a great deal of freedom to play with color, levels, and flashing, blinking or alternating series of lights.
"I used these LED panels from Color Kinetics. It was quite nice because of the wide variety of options – an array of colored lights and white lights. So when there is a red alert in one scene I was able to switch instantly over to the red LEDs. I didn't have to gel them. I did put a little Opal diffusion on them, just because they were so close in some cases. But all the color combinations were created by using percentages of the red, green, and blue LEDs on the panels."
An additional challenge on the film was depicting the span of years that the narrative covers. The character ages two decades, forcing make-up requirements as delicate as the need for scientific accuracies. The clarity of 4K can make-up artists break into a cold sweat, and it's safe to say that the vagaries of make-up for high resolution video have not been completely solved. Testing the Dalsa's relationship with make-up was high on Adkins' shopping list in doing the shoot. "Initially the make-up person was quite nervous, but then she saw the lighting treatment and saw that we weren't going that edgy with it. And we found it worked quite well."Eric Adkins found the science of the story as inspiring as the fiction: "It was a lot of fun to really dissect the reality of these kinds of situations. It starts to give you ideas and then you really go for it." Postcards from the Future was shot in 24p. Adkins, looking back wonders: "We didn't want it to look like film. It was an image from the future. Who knows? Maybe we shouldn't have even shot it in 24p. Maybe we should have shot it at 30p. Just to be different. You even start to wonder: Well, how far would Lars Von Trier take 4K?"
We may colonize Mars before John Carter of Mars is ever made, but in the meantime, we get to see what Eric Adkins can accomplish not just on the planet Mars, but throughout the entire solar system.
(l. to r., 2nd assistant Terence Chu, Eric Adkins
& 1st assistant Paul Gugliemo with the Dalsa Origin)
