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I was speechless to finally watch the film on the big screen for the first time. The festival was postponed with the pandemic and the film eventually premiered on June 12th, 2021 at Tribeca Film Festival 2021. I was so happy when the film got into Tribeca Film Festival 2020, but then shit hit the fan. Speaking of film festivals you initially got into Tribeca for a premiere, right? That must’ve been an amazing experience. Eventually, we finished the film in mid-2019 and started submitting it for film festivals. That delayed the post-production because I had to do everything remotely. However, my artist visa was denied in 2018 and I had to leave NYC and move back to Tokyo before we completed the film. After raising additional funds on Kickstarter, we went into post-production. The script took a year to write, and we spent two weeks filming principal photography in September 2017.
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I imagine a lot of time went into both creating the concept but also assembling the film in post, how long did everything take from start to finish?
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That’s how we came up with the initial concept. We wanted to make a film about everyone’s first interaction, a sperm falling in love with an egg. Eventually, I think the rental house felt empathy and met with our budget without changing our wishlist. So, the DP Jens Victor was taking out an inky, flags and other small units from the list to fit the budget when we were checking out the equipment. It was almost impossible to fit the G&E equipment the DP and the gaffer wanted within our budget. It was an ambitious project for young filmmakers like us and we couldn’t have done it without ARRI CSC’s support. We shot on Alexa XT with Zeiss Ultra Primes rented from ARRI CSC and some of the pickup scenes were shot on RED Scarlet W. When it came to shooting, did you have an idea how you wanted the film to look, cinematically? One of the things that struck me was the ambition in the scope of Prelude yet how intimate it is. We love the theme “Birth” and we wanted the climax to be the birth of a child. Every diner has a quirky regular customer, time passes differently in it and maybe because I was not born in the U.S., it’s such a magical place to me. We chose the diner as the main location because the whole story takes a place in a mother’s uterus and we wanted a surreal location. So, we wanted to use a couple as a personification of sperm and egg and wanted the audience to figure that out. We love using metaphors and hidden meanings in movies. How did you work the broadness of the initial concept into a script, was it a case of narrowing down the ideas into specific scenarios, i.e a couple discussing at a diner/the birth of a child, etc.?
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So, we wanted to make a film about everyone’s first interaction, a sperm falling in love with an egg. But, we believed that interacting with other people is what makes you special. The co-writer and my childhood friend Koji Enomoto remembered a story our middle school teacher told us: there were at least three people thinking the same thing we did and doing the same thing we did at any given moment in time. The concept of Prelude is fairly expansive, to say the least, what were you drawing from when you developed it?
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It’s an eye-opening example of how to tackle lofty ideas on a small budget which DN is delighted to premiere here today alongside a chat we conducted with Matsumoto where he discusses the thought-provoking concepts of Prelude, the intention to shoot the film with an eye for the big screen, and the delayed yet overwhelming festival premiere at Tribeca 2021. Matsumoto then casts his vision back to the origins of human existence and the film’s true expansive nature takes hold. He presents this thesis through the intimate setup of a couple discussing their lack of physical individuality, noting how their actions are likely being simultaneously performed by many others all across the world at that very moment. Specifically, Matsumoto suggests that it is our interactions with each other that define our existence. It’s not afraid to speculate and throw ideas around surrounding the human condition. One of the most exciting components of Tsubasa Matsumoto’s existential drama Prelude is its ponderous nature.