Wim Wenders habla de ‘Días Perfectos’, una postal de la cultura japonesa| El Tiempo
I was in Tokyo for a week and looked at these toilets and yes they were amazing I never seen any toilets like this but then again I saw also something else I saw something that I thought was much bigger than any toilets I saw the way that people of Tokyo came back after
The longest lockdown in history just happened to be that week and I was so moved by what I saw because in Europe the end of the lockdowns had were always catastrophic but in Tokyo it was the opposite it was people treated everything with a lot of respect and
They had Barbecues in these cemeteries and parks and they had parties but they left it Immaculate and there was a great sense of responsibility for the common places and the common good and treated each other with money much more respect than I was used it and I realized in in
Japan the sense of the common good was even heightened after the pmic and that really touched me so I told these people who had invited me to look at toilets I told them the truth yes your toilets do inspire me but they inspired me for something very different they inspired
Me to tell a story in Tokyo that I think is bigger than the story of The Architects and their creation it’s a story of the common good and I would love to tell a story about a caretaker of these toilets and be able to talk about Japan and the love of small things
And and I thought I talk myself out of a great job and to my amazement they said yes go for it so what do we need I said we need a good script and a great actor and that was the Beginning Let me start with the dreams because we called them dreams in the script we wrote it in to the at the end of the first day he reads his book and then he falls asleep and I had this intuition that for a moment I would like to see the
Afterglow of that day and what he remembered or what survived in his brain from that day and I said that would be great to see and I suggested it would be just little moments of light and his favorite trees and and we just passing Little impressions of the day and we
Loved it and then we started to write because the film is so much his routine that we started also the dreams in as if they were part of his routine only that when it came to shooting the film and we realized we had to do it very fast and I only had 17
Days I couldn’t possibly shoot those dreams there was no time for us and then I turned to my wife she’s been on all my films for the last 25 years as still photographer and I said this time you have a better job and I explained to her
That she was going to be the Dream Factory and that she on her own had to produce these dreams and had to produce these little flashes of the day for every shooting day of the film and the trees from the beginning were in the film because in a city like
Tokyo everything is manmade everything the houses the streets the stuff you you you work with the toilets the car the only thing that is not man-made basically are the trees and of course the light and the sky so we soon defined harama through his love for the
Light and for this beautiful thing that the Japanese kabi which is the play of light and shadows produced by dreams and we loved the idea that trees were his friends so trees became an important part in his daily life and we became very attentive of the
Trees that we saw in the course of the film and we filmed a lot and then finally in the course of the film he even gets a tomashi Tre his Dre friend that his niece assigns him To foric
El cineasta alemán regresa con ‘Días Perfectos’, cinta sobre un hombre que asea baños públicos en Tokio. La película refleja la belleza de las cosas sencillas y está nominada al Óscar como Mejor película internacional.
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