“Perfect Days” star Koji Yakusho finds peace as toilet cleaner in Wim Wenders’ “Tokyo Set” film

Since 1979, Kōji Yakusho has played a stressed-out accountant (shall we dance), avenging samurai (13 murderers) and convicted murderers (The third murder). Now in the film, which is set in Tokyo by Wim Wenders Perfect daysThe Cannes Best Actor winner finds some peace while enjoying the life of a toilet cleaner named Hirayama who lives by Japanese philosophy komorebi. It is a word that describes the way sunshine and shadows filter through the leaves of trees, but in a metaphorical sense it also alludes to recognizing the happiness and sadness of everyday life. This means a lot to Hirayama, who provides valuable service in a world where he is often taken for granted.

DEADLINE: Wim Wenders said in previous interviews that this role was written specifically for you and that you contributed to the script. Can you tell us how you found out about this film and how it came about?

KOJI YAKUSHO: Well, it all started mainly with the Shibuya Toilet Project, also known as the Tokyo Toilet Project, which is about the public toilets in Shibuya, and I was asked to play this cleaning lady, one of the cleaning crew. So the story would take place in Shibuya, starring this character. But when I came up with the idea, maybe I wanted to do a short film or a photo book, but it was something I hadn’t done before, that kind of work. That’s why I was very interested and immediately said I wanted to be there.

And the producers approached me about the film and talked about Wim directing the film. And of course Wim is one of the masters. And I thought: “Would a master like him want to make this movie about the toilet?” But he immediately said yes to the offer. And then he was actually the one who suggested making a feature film. And it became a wonderful, great gift for me.

DEADLINE: The nature of the film is so interesting because it thrives on minimalism. We don’t really know much about Hirayama other than his dedication to his work. Towards the end of the film, however, we get a glimpse of a potentially complicated past through a conversation with his sister and niece. What did you think of him and his character when you read the script?

JAKUSHO: Regarding Hirayama’s past, I believe he was someone who actually saw or experienced hell. And that was part of my thinking when I played this character. But in the middle of recording, the producer and co-writer said: [Takuma] Takasaki-san asked Wim if he could say what he thought about it, since Wim had written his own biography, if you will, of the character. And that’s why they wanted Wim to share it.

Wim initially resisted and said it was not necessary, but they were able to convince him. So I received a message from Wim Wenders about Hirayama’s past. And many beautiful texts were about his past and especially about the relationship between Hirayama and… komorebi in a very specific way. And that really became a driving force for me and of course a big reference when I started working on the second half of the film.

DEADLINE: While watching this film, I thought about another character you played: Mikami Under the open sky which is similar to Hirayama in a certain way, as both are on the fringes of society and both reject the love and help of their fellow man. It’s almost as if the characters could be in a parallel universe. What exactly draws you to these quieter, more solitary roles?

JAKUSHO: Well, actually Miwa Nishikawa, who directed it Under the open skysaw Perfect days. And she actually said she was so happy that if Mikami didn’t die and if he survived and was rehabilitated back into society and got a job, that would be the character, she thought. So you are absolutely right.

The area where we shot is called Oshiage, the center of Tokyo. So the landscape was very similar. But as for loneliness, I don’t know if Hirayama thinks he is lonely or if he feels lonely. I think it’s true that he prefers interacting with Komorebi or trees rather than interacting with people because it gives him more comfort. And these are the things that I think gave him the hope to live. So looking at him, you might think that he is lonely, but I think there are people around him who love him, even though Hirayama might not choose to have a deep relationship with them. So I’m not sure if he’s really lonely.

DEADLINE: There are many references to this komorebi is used in this film to give a glimpse into his inner thoughts or something that is going on inside him. Was it already in the script or did you add it?

JAKUSHO: It was already in the script because it was the working title Komorebi or Perfect days. So it’s always been a big presence.

DEADLINE: How did you become aware of Hirayama’s lifestyle? Are there things you have adopted from your own life? Or maybe you have no relationship with him?

JAKUSHO: We actually have nothing in common, but Hirayama is someone who is very happy with the way he lives his everyday life. And I was very jealous of that, of that very simple way of life. He has a career, a job he loves, and he gives it his all. And then he can relax, go to the bathroom and then drink some of his favorite drinks while reading his favorite books. And then when he goes to sleep, he probably has nothing he thinks he can’t do that day. So he is absolutely fulfilled. And when he is fulfilled, he can sleep peacefully, and I was very jealous of that.

DEADLINE: How was the prep work for this film? Have you been following the Tokyo Toilet team? There is also a lot of silence, patience and peace in Hirayama’s demeanor. How did you manage to take advantage of it?

JAKUSHO: Hirayama has these trees that he calls his friends. Of course I imagined that he had seedlings, [these little] Children of his friends, the trees he would care for and grow in his own home. So it was actually something I did as a hobby and it’s something I suggested. But I didn’t think there would be so many plants in Hirayama’s room, so it was a surprise [on set]even though it was my idea.

As for technology [toilet] When I participated in the cleaning training, I did the preliminary work myself before Wim asked me to do it. It was complicated because cleaning depends on the toilet, because they are all different, what tools you will use or what cleaning fluids you will use. And it’s not just about washing with water, everything is done by hand. So there were many steps and it was quite complicated to learn.

DEADLINE: Since this film focuses on the intricacies of Hirayama’s life, feel free to talk about how you watched the film and how a particular scene resonated with you that you might not have thought would come up during filming until its would come right to the screen , but ended up having an influence.

JAKUSHO: There were no descriptions of Hirayama smiling or laughing in the script. But when we were actually filming, Wim said: “Okay, maybe you can suddenly smile here or show a smile.” Or could you be the angriest person in the entire film in this scene? And when I played those scenes, I thought, “Well, that wasn’t in the script.” But then of course I saw the movie and understood how those subtle moments of facial expression where he was smiling or angry was something that connected the character with the audience. He became much better known to the public. It was interesting.

DEADLINE: Reflecting on your own professional journey over twenty years and the subject of this film reflecting your own life, what do you think of your own legacy as an actor so far? What keeps you going?

JAKUSHO: The motivation that keeps working in my case is when I see other incredible works created by other incredible colleagues in this industry. And then I thought, “Oh, but I have the same job with these wonderful people.” So that excites me. It gives me a lot of courage to continue. For me it’s not about my work, I’m more inspired by the incredible work others are doing.

DEADLINE: You won Best Actor at the Cannes Film Festival Perfect daysWhat was it like to be recognized in this way?

JAKUSHO: The jury had a passionate discussion and finally chose me as the best actor. I am incredibly happy. And I feel that this award was given to all of us, including Wim, the crew and the cast. I still feel like someone is coming out of Cannes and saying, ‘It was a mistake.’ Please give it back.”

DEADLINE: The ending can be interpreted in many different ways. There is the song “Feeling Good” by Nina Simone playing as Hirayama is faced with something difficult from his past, his colleague left him to fill the gap, and he just drives away with this look of mutual happiness or sadness on his face, sometimes both. How do you interpret the ending?

JAKUSHO: Well, actually we made two corners. And the second shot was that they took a frontal shot of me. And lighting took so much time that I waited a very long time in the toilet of Hirayama’s apartment. And when they called me, I was already very tired of waiting. But at least there’s this song by Nina Simone that has some energy. And although the lyrics are in English, they may not speak directly to me, but of course I knew what they meant. And I played this scene while thinking about Hirayama and also about my own life. But actually it was for me that Hirayama was happy. That was the feeling I had when I played that scene.

But when you’re driving a car and playing your favorite song, music has a strange power that affects us. Not true? And suddenly all these emotions come up in you. I was reminded of that too.