Before Anyone Else is a highly atmospheric short that takes viewers to the streets of Chicago. A couple, two skateboarders who make their way in the world as small-time crooks, chance upon an abandoned car with a gun in the glove compartment and a boy in the back. Taking the two causes discord between the couple as bad memories and bad habits super-charge and sharpen their bad behaviour.
This is the set-up to a film made by Tetsuya Mariko, a TV and film director who has carved a name for himself on the international stage with two titles: Destruction Babies (2016) and From Miyamoto to You (2019), two titles featuring anti-heroes fighting their ways through indifferent societies to some kind of meaning in directionless lives with emotional and physical violence never too far away. Both films went on to win awards, Destruction Babies taking the Golden Leopard for Best New Director at the Locarno Film Festival and the Silver Balloon at the Three Continents Festival while Miyamoto netted Mariko the 2019 Nikkan Sports Film Award for Best Director.
Intense titles, indeed.
That he would make a film in America was immediately attention grabbing but it turns out that he had studied in Massachusetts and readers can be assured that he made the journey to Chicago and took the same intensity to describing such lives to his Chicago-set story, Before Anyone Else, co-written by Gregory Collins (The Ningyo (2017)) and lensed by Yasuyuki Sasaki, a collaborator of Ryusuke Hamaguchi who also worked on the fantastic film Out There (2016) and also on Destruction Babies.
The team behind Before Anyone Else have crafted a film that lives and breathes the urban environments of its Chicago setting and also placed the actors in a prime position to give compellingly realistic performances to keep us gripped with the player’s plight.
Thanks to the kindness of the production team, I was able to get an interview with Tetsua Mariko where he explained where the ideas for the film came from, what his experiences working in America were like, and the differences with the Japanese film industry.
My thanks go out to producer Yuki Sakamoto Solomon and director Tetsuya Mariko!
Why did you make a film in America? Was it a case of coming up with the story and that dictating the location or did the story come as part of realising some ambition of shooting a film outside of Japan after studying in America?
The story can sometimes be evoked by the places and people it emerges from. Just before the outbreak of COVID, I was staying in Boston, and was intrigued by the idea of shooting in different cultural and intellectual landscapes. I was fortunate to be invited to the Chicago International Film Festival, where I served as a judge in the International Competition category. This visit created connections with the people living there, and I became interested in the allure of Chicago, situated between the cinematic hubs of the East Coast and West Coast in the States. As a Japanese, I treasured what I could perceive by being here, and that became the foundation for constructing the story.
Could you touch upon how you came up with the story with co-writer Gregory Collins? Were you inspired by a real-life headline?
I met Gregory before the pandemic, and since then, we have been engaging in online conversations, exchanging ideas, and collaborating on the script from the inception of the project. Despite the language differences, we found that cinema is a universal language, and the sharing of images and discussing which films could serve as references proved to be valuable. For this short, we focused on certain characters within a particular story as a reference. The crimes like a flash rob you see in the film were inspired by headlines from real news happening all over the US, imagining the circumstances that would compel the characters to act. Specifically, while scouting locations on-site, I noticed the presence of “abandoned lots” in the heart of Chicago, which we constructed as a key visual element.
This may be superficial, but I felt that the film shared a lot of DNA with “Destruction Babies,” what with the themes of young people dealing with anger/trauma and disaffection in an indifferent society. This issue is timeless and one that affects every society around the world.
Having made “Destruction Babies,” did you feel confident tackling this subject in an American setting? Also, what was it like working with an American/Japanese crew and how was the shoot?
Certainly. I spent several years commuting from Tokyo to Matsuyama in Ehime Prefecture to write the script for “Destruction Babies.” At that time, one of the reasons that drew me to that place was the intriguing landscapes and culture of Shikoku. I was motivated by the people who lived there with their unique perspectives and vibrant lives. The themes I portrayed in the film were based on what I, an outsider to that region, perceived and tried to depict through conversations with the local people. In this regard, it shares similarities with the approach I took for this project.
While it might not be as apparent when working solely within Japan, I realized there is a need to portray the States as an outsider too. This includes themes related to immigrants and other aspects that are common worldwide. I find this to be a meaningful endeavour. Simultaneously, I gained a deeper understanding of Japan’s uniqueness and its isolation from the global landscape, which motivates me to continue pursuing projects based on my interests.
On the production front, I learned a great deal. The systematic approach in the US versus the somewhat vague job roles in Japan. Each has its pros and cons, and as someone who initially only knew the Japanese industry, I was initially confused. However, as I continued, I realized that despite the differences of each country, filmmaking remains essentially the same, and the core tasks are identical. Nonetheless, I found the well-established labor conditions in the States to be enviable. I was also surprised by the depth of the workforce involved in filmmaking. In Japan, there is a problem with the lack of available staff, and in some departments, even young professionals are in their mid-40s. This hinders the growth of young talent in the industry. Moving forward in my filmmaking journey, I discovered that there are many things to learn.
There was depth to the characters in the writing, which hints at larger darker histories of abuse, and in the acting that really brought it out – especially the different layers of emotion that your leads Akiyo Komatsu as Jimmy and Chloe Skoczen as Lex. The warmth of Jimmy towards the child that Akiyo shows really offset his cockiness and foolhardiness. These emotional layers add a lot of compelling depth.
Did you work with the cast to build backstories to the characters or was this all done in the writing stage? Also, how did you work with the actors – lots of rehearsals? Trusting them to feel to the characters while shooting?
This was something I wasn’t aware of, but in the States, it costs money to engage in dialogue with the cast. It’s a system that doesn’t exist in Japan, but in terms of protecting actors and their labors, I think it’s crucial. Following this system, I had opportunities to have conversations with them, share the vision, and exchange opinions about the script, particularly during costume fittings. It was a relatively short amount of time, but they embraced the script as their own and were committed to their roles. Akiyo, our lead actor, approached the filming with such dedication that it was almost overwhelming. The characters, Jimmy and Lex, carry complex emotions, and I believed it was important for the actors to fully embrace and portray these roles. I placed my trust in them and made sure to create an environment in which they could perform as comfortably as possible.
Looking at the plight of the characters, each person has some fundamental damage that has hamstrung them from being able to grow. That final conversation between Jimmy and Lex is really heartbreaking as she tries to make him realise his wasted potential.
What does the title mean? Is it a reference to their inability to see beyond themselves/their situation? As in, “I put myself before anyone else.” Or maybe it looks at the way Jimmy treats the child – placing his welfare before anyone else’s in some way to address his childhood?
We considered various titles, but the choice of “BAE” was influenced by its usage as a youth slang term on social media. I understand it to be somewhat akin to “Darlin” or “Honey,” essentially meaning “beloved” but in a casual and somewhat ephemeral way. This is why I selected it as the title for this film.
I felt that the diversity of visuals made film was so absorbing. You utilised all sorts of styles – CCTV, POV, handheld camera – the dollies tracking the movement of the actors was so fluid and exciting and there was this layer of grey grain to the film that added a harder edge.
Yasuyuki Sasaki is the cinematographer – I believe this is the same person responsible for “The Fish Tale” (2022), “Aristocrats” (2020), “Touching the Skin of Eeriness” (2013) and “Destruction Babies”. Could you expand upon the visual design you created? How you worked with Sasaki-san? Lots of storyboarding and what sort of camera?
I think he’s not only an excellent cinematographer but also a highly dedicated and intelligent individual. Yasu (Yasuyuki Sasaki) was a senior (a year ahead from my year) from Tokyo University of the Arts, and was in the same year as Mr. Ryusuke Hamaguchi, who worked with Yasu on “Asako I & II.” I collaborated with Yasu on “Destruction Babies” and several short films. Typically, we start by reading the script, confirming the schedule and locations, and creating a shot list. Initially, I prioritize capturing what I want, but we often discuss the film extensively, sharing our visions and occasionally referring to other films. This helps us translate our ideas into practical shots for the actual shoot.
When shooting in Japan, the shot list serves primarily as a reference, and we tend to be somewhat flexible, adapting to the actors’ performances on set. However, in the States, language barriers may have posed a challenge, and we found ourselves having to stick strictly to the shot list. Therefore, for crucial scenes, including those in “BAE,” we started by working with the actors on set, sometimes even discarding the shot list and shooting based on their performances.
Having checked the Coyote Productions website, it looks like you are expanding this short into a feature. Will the story follow the same path? Could you give a clue as to what you will build up or change?
That’s the “story” I mentioned earlier. For the feature length, it is something that couldn’t be fully conveyed in a short film. One important aspect for me was to get to know Chicago in deeper sense first then to explore the possibilities of the feature film. Working with local staff and cast connected me to a valuable experience to envision the possibility. A feature is different from a short in terms of storytelling, but the satisfaction I derived from the world that BAE short provided a hint that the story is something I create.
Audience members often want happy endings. Can you imagine one for Jimmy, Lex, and Kai?
Actually, I created the part where Lex returns with Kai. I also hope for a happy ending, but what constitutes a happy ending for this film is different for everyone. I believe I chose an ending that is suitable for this short film.
Thank you for taking the time to look at these questions.
Before Anyone Else played as part of the Shorts 1: City & State – Revelations slate of short films at the Chicago International Film Festival 2023.
In-Person Screenings:
Oct 14 at 13:30 at Chicago History Museum;
Oct 22 at 13:30pm at AMC NEWCITY, Screen 13 – producer Yuki Sakamoto Solomon was present for this screening;
Virtual Screening:
This program was available to stream from October 16 at 12:00 to October 22 at 23:59.