Ridley Scott is one of the most influential directors of all time, and this is no hyperbole. A quick glance at his filmography reveals a daring director, one that has tackled everything from drama, to historical fiction, to sci-fi. A director that approaches genres with a clear vision and gripping stories to tell. But, just as important, his films have had an impact on generations of creative minds. The 1979 hit film Alien is a good example, but that’s just the beginning. Blade Runner in the 1980s, Gladiator in the 2000s, The Martian in the 2010s and House of Gucci in the 2020s. All of these films are, in one way or another, influential. Ridley Scott, in short, continues to surprise and inspire us. This is precisely why we want to look at something that strongly influences his work, by examining Ridley Scott’s Japan.
Japan is not only a source of inspiration for Ridley Scott, but it’s also a path forward: for films, for life. Watching some of his most popular movies, it’s clear that the Japanese lifestyle, people and philosophy were (and are) a big part of his creative vision. Scott, like us, is a lover of the country and its culture. Case in point, the documentary Japan in a Day, directed by him to show how Japan was holding up a year after March 11, 2011. In the film, he shows a snapshot of a place he deeply cares about, and one that he wants us to see through his eyes. But then again, Ridley Scott’s Japan has been there all along.
Today, we want to uncover that legacy. So join us as we examine some of Scott’s films and discover Japan through his perspective.
Blade Runner
Los Angeles in the universe of Blade Runner
Beginning with one of Scott’s most iconic films, much can be said about the Japanese influence on Blade Runner. But, for starters, we want to address the fact this film is an adaptation. Blade Runner is based on the novel by Philip K. Dick, Do androids dream of electric sheep? The film and the book are very different, but perhaps one of the most noticeable differences lies in its world building. Whereas Philip was looking at Russia to create his futuristic world, Scott was looking at Japan. The neon lights, billboards and nightlife of 1980s Japan, to be specific, inspired Scott to conceive a world for this film. Japan was, from Scott’s point of view, a much more realistic vision of the future than Russia.
Needless to say, Ridley Scott’s Japan can be found everywhere in Blade Runner. The colour palette is noticeable here, as the neon blue, yellow and red he incorporates turn his futuristic version of Los Angeles into a city reminiscent of 1980s Tokyo. As a matter of fact, in-universe Japanese writing can be found everywhere throughout this city. Considering the movie wasn’t filmed in Japan, this isn’t a mistake, it’s a stylistic choice. Add to this Scott’s inventive cinematography, set and costume design, and you get one of the best cyberpunk worlds of all time.
Is important to state that the world of Blade Runner is not a copy of Tokyo, visually speaking. It’s similar, of course, but the difference lies in its scale, as this futuristic city takes everything to the extreme. Scott, essentially, took the visual appeal of neon Japan, and combined it with some of the worst practices of corporate life. Thus, creating an engaging, nuanced and intriguing universe.
In Dialogue With Japanese Cyberpunk
Blade Runner’s protagonist, Rick Deckard
From a certain point of view, one could argue Ridley Scott was not admiring Neon Japan, but criticizing it. Blade Runner is, after all, a cyberpunk story, complete with a technological world that’s almost dystopic. This, let’s make it clear from the beginning, is true, but it’s not the whole story. Scott’s approach to technology in Blade Runner is nuanced. There’s a certain mystique, a sense of awe and wonder created by the world, one that remains as he critiques it. And, if you know anything about 1980s Japan, you’ll know his doubts were grounded in reality. A world so beautiful always has an underbelly, it cannot last forever.
Moreover, Blade Runner ended up being hugely influential in the cyberpunk genre, which has a great Japanese tradition. As a matter of fact, both Blade Runner and Akira were released the same year, 1982. As Japanese cyberpunk developed, Japan looked at Blade Runner as much as it looked at itself, creating more comprehensive and immersive worlds. To name a well known example: Ghost in the Shell.
So, in short, Scott wasn’t merely critiquing the apparently futuristic aesthetic of Japan, but dialoguing with it. He didn’t just borrow a look he thought to be cool, rather, he engaged with it and explored its potential dark side. And, if the people he influenced are anything to go by, this dialogue continues to this day.
Black Rain
Black Rain title card
In Blade Runner, Ridley Scott looked and Japan decided to enter a dialogue with it. In Black Rain, however, he actively engages with the country from within. This is not only because the film is set, and was filmed, in Osaka, but because of the underlying themes of the movie.
Our protagonist, for starters, is an intentionally unlikeable character for reasons that are integral to the film. He is framed as an anti-hero, an American cop with a no-nonsense approach who constantly clashes with the Japanese police. He especially locks horns with the Japanese cop that was assigned to keep an eye on him, played by renowned actor Ken Takakura. If you know a buddy cop movie, you know where this is going: the two characters will learn how to be more like each other to solve the crime together. However, the thing that sets Black Rain apart is how our protagonist relates to the villain.
The antagonist of the movie is a young Yakuza keen on becoming the new crime boss of Osaka. He, as the movie points out, has no respect for his elders nor Japanese tradition. Moreover, another Yakuza states that he was a direct consequence of the Black Rain, which was said to happen after the atomic bombings. People like him are, in turn, a consequence of western interference on Japanese people’s psychology. Their newly found ambition crosses the breaking point, becoming ruthless. Our protagonist not only needs to stop him, but set a better example. And Scott, as a western filmmaker tackling this subject, has that aim as well.
Osaka in its Totality
Osaka as filmed in Black Rain
Even among the harshest critics of the movie, most of them agree the cinematography is gorgeous. We want to emphasise this and say it is not only beautiful, but does wonders with the Japanese film locations. Ridley Scott was set on showing Osaka in its totality, making the neo-noir atmosphere of Black Rain almost palpable. In here, Ridley Scott’s Japan is fully coming to life, with neon lights, industrial complexes and gigantic spaces that speak volumes.
Remarkably, no two scenarios ever feel the same. The colours, architecture, background and accompanying light makes every part of Osaka tangible. From the now demolished Hankyu Umeda Mall, to the enchanting streets of Dotonbori, Scott really captured Osaka in a way few directors have. The 1980s have passed, Osaka has changed, but this version of it will forever exist thanks to Black Rain.
Akira Kurosawa and Ridley Scott
The master and the apprentice in Seven Samurai
In an BBC interview, Ridley Scott was asked to name his three favourite films. As someone with a clear passion for filmmaking, he struggled to narrow his favourites to just three. Nevertheless, he was able to name a few movies that struck him as essential, and one of them was the Seven Samurai by Akira Kurosawa. Moreover, in the same interview, when asked what director he would love to see at work, the first one he mentioned was Akira Kurosawa. Needless to say, this shows Scott is a big fan of the Japanese director. But then again, he has always shown that through his films.
You see, Ridley Scott’s Japan was not only informed by the aesthetic of the country, but also by the creative minds there. One of his messages to viewers in Japan in a Day is to grab a camera and film. At first, this message seems to be for documentary purposes: to show the world how Japan is holding up. But then he states, “make it personal. You never know if you’ll end up in Hollywood.” This shows Scott is invested in Japanese filmmakers’ potential.
Ridley Scott, as a Kurosawa fan, has adapted many of the themes from the Japanese director. Some may even argue, one of his latest films is an homage to Kurosawa. But we’re getting ahead of ourselves. For now, it is important to know that Akira Kurosawa was a huge influence in Scott’s creative vision. And, what better way of showing that, than examining some of his films once again.
Gladiator and the Ronin
Gladiator’s protagonist, Maximus
At first glance, there isn’t anything that Ridley Scott’s Gladiator and Kurosawa’s filmography have in common. But, the key lies in the little details. To begin our comparisons, we must look at the genre first: historical fiction. You’ll be hard-pressed to find a film in this genre that hasn’t, in one way or another, been influenced by Kurosawa. After all, he was a revolutionary director when it came to historical accuracy and realistic integrity. Scott incorporated these elements into Gladiator, as well as burrowing the epic scale of Kurosawa’s latter films, most notably RAN. However, it goes beyond that.
Ridley Scott, as a filmmaker, took many lessons from Kurosawa that aren’t immediately apparent. He not only sought out to tell a historical tale, but a gripping and emotionally charged story. So, when looking at Kurosawa’s film, he took the thematic depth, the striking visuals and the excellently established character archetypes.
Akira Kurosawa’s Yojimbo
To illustrate this, look no further than Gladiator’s protagonist: Maximus, the Roman Ronin. At first, what motivates Maximus is revenge. From a general to an enslaved gladiator, he wants to reach the one that took everything for him. He may not technically be lost, or forced to wander, but he is spiritually doing so. In other words, he is just like a Ronin. Similar to Kurosawa’s Yojimbo, Maximus is an excellent warrior following his own code of ethics. His skills are, on themselves, a burden: a constant reminder of what was taking from him. And, just like Yojimbo, who stumbled onto purpose while wandering, Maximus finds meaning by becoming a symbol to the Roman people. And, in case there was any doubt about that, Gladiator 2 revolves around the symbol Maximus became. Just like a Ronin, he was the unlikely hero that city needed.
The Last Duel and Rashomon
Like many directors before him, The Last Duel is Ridley Scott’s attempt to reinterpret Kurosawa’s Rashomon. For those unaware, Rashomon shows three widely different testimonies surrounding a rape/muder. By the end, it isn’t clear what has truly happened, as each character seems to be willing to lie for their own gain. Is up to us, the viewers, to arrive at our own conclusions. In many ways, it is similar to a legal drama, except instead of a court and a jury, we’re sent to 11th century Japan.
Ridley Scott, in turn, takes this narrative structure to medieval France. As a matter of fact, the plot is almost identical, with three testimonies surrounding a rape. We listen to the husband of the raped woman, the accused perpetrator, and the victim, in that order. However, this is where the similarities end, as Scott’s intent is widely different from that of Kurosawa.
Akira Kurosawa’s Rashomon
Rashomon’s main theme is trust, or, to be specific, the ability to trust other people. What is terrifying for those retelling the story, our narrators in the film, is not the rape nor the murder. Rather, it is that people are willing to hide the truth to benefit themselves. Scott, on the other hand, has a different approach. His goal is not to criticise misguided individuality, instead, it is to shine a light on gender issues. For us viewers, the victim’s testimony is presented as the truth, and by the end there is no doubt about it. The film, therefore, wants us to focus on her status as a woman in medieval Europe, and the challenges and struggles she faces because of it.
This is what we’ve come to expect from Ridley Scott’s Japan. Not copying, but an endless source of inspiration in finding his own voice.
Mono No Aware
Last but not least in the line of Ridley Scott’s Japanese influences is the concept of Mono No Aware. This Japanese phrase could be translated to “the pathos of things”, or “the impermanence of things.” To be exact, Mono No Aware refers to a state of being in which one is keenly aware that things won’t last forever. It is all about engaging in the beauty and sadness that entails knowing such a thing. Enjoy it while it lasts, but also mourn it when it’s gone, as those moments deserve to be remembered fondly.
As you might imagine, this Japanese concept is all over Ridley Scott’s filmography. It is, for starters, integral to many of the plots of his movies. To illustrate this, we could return to some of the previously mentioned examples: Gladiator and Blade Runner.
Maximus’ family in Gladiator
In Gladiator, there’s Maximus’ family, whose memory haunts and comforts him throughout his journey. In remembering them, Maximus finds pain, but also the willingness to keep moving. Similarly, the gladiator fights and their ultimate purpose could be read as Mono No Aware. After all, these deadly fights lead to reasons to live.
Blade Runner, on the other hand, has the replicants, whose lifespan is said to be short, evoking immediately the feeling of impermanence. Moreover, there’s the previously mentioned setting, which is both beautiful and decaying, creating a sense that the world is constantly slipping through our fingers. And, of course, we couldn’t forget the last monologue of the film, in which replicant Roy Batty says: All those moments will be lost in time, like tears in rain.
Visual impermanence
Main antagonist of Blade Runner, Roy Batty
Beyond the plot, it must also be added that Scott is able to communicate this sense of impermanence visually with his films. This is best shown through the visual motifs he utilizes, like the rain falling, the dust blowing or a sunset. When used by Scott, these motifs become both beautiful and melancholic. The site of an intimate scene with implications of a gigantic scale. We can find these visual metaphors in films Blade Runner, Black Rain, Prometheus and so on.
Dust clouds on Ridley Scott’s Prometheus
To wrap this section up, let’s address something we believe Ridley Scott is aware of: the impermanence of films. He, as a director, creates engaging and immersive worlds, which he knows are going to end with the movie’s runtime. Approximately two hours to enjoy this universe, before it ceases to exist. It’s the bittersweet reality of the medium. Nevertheless, he continues making these films because there’s beauty in their ephemeral nature. Once a chapter is over, another one must begin. But it is not a depressing cycle, as there will always be a beautiful sight awaiting.
This is also Ridley Scott’s Japan: a path forward. A way of understanding his life and work as pieces of art, where beauty can be found in every corner.
Addressing Orientalism
Billlboard with Geisha in Blade Runner
There’s no way to finish this article without addressing the topic of Orientalism. This is a broad academic subject with thousands of papers written on it, so here’s the brief version. Orientalism refers to the depiction of the Eastern World by the West, in which it is portrayed in an exotic manner. This depiction, in turn, ends up being patronising and ultimately serves to distance the West and the East even further. The depicted subject becomes a caricature, whose real-life problems can now be easily ignored.
What specifically concerns us regarding Ridley Scott is the concept of Techno Orientalism. Here, the allure and exoticism of Eastern cultures is mixed with the promises of futuristic technology. As you might’ve guessed, this is a perspective that has been used to examine Blade Runner, especially in the wake of cyberpunk stories following its footsteps.
It is obvious that Ridley Scott’s Japan goes beyond the surface level. He actively engages with Japanese culture, cinema and philosophy when approaching film. In the case of Blade Runner, it could be argued that the film is suffering from its own success. As more and more writers try to replicate the film’s aesthetic, without knowing why Scott chose Japan in the first place, they perpetuate a stereotype. This, in turn, can end up obscuring Scott’s original intentions.
This isn’t, by no means, the final say on this topic. One could argue that, even if Blade Runner inspired no one, the work itself should still be held up to scrutiny. However, that’s a judgment you have to make.
Final Words
Dōtonbori Street, as filmed in Black Rain
In conclusion, Ridley Scott’s Japan is an endless source of inspiration, both for films and for life. It’s a place that consistently lets his creativity fly, helping him create evocative worlds and nuance narratives. Moreover, it is a place that gives him a philosophy to live for. A way of understanding life and his life as something both impermanent and beautiful.
Ridley Scott, like all of us, has changed and will continue to change. Maybe, just maybe, he feels far removed from the person that once directed the films we’ve discussed. Nevertheless, the beauty of film, the beauty of its impermanence, it’s that it can capture someone’s creative vision at that moment in time. These moments, though short, will paradoxically last forever. And this is the case of Ridley Scott’s Japan: it will remain with us through his films.
Now all we can do is wait and see what Ridley Scott is up to next. And, while we’re at it, let’s hope he glances at Japan once again. Who knows? Maybe the next big spark of inspiration comes from the country that has already given him so much.
Join Our Newsletter
Sign up for the latest news & offers
