Interview: Yugo Sakamoto on Creating a Darker Tone, Action Design and Character Motivations

East Asian cinema is a true ion of mine, and East Asian action cinema has been the pinnacle of the genre for literally decades. The Baby Assassins franchise is easily becoming an all-time classic of the action genre and is easily my favourite action franchise currently. So when I was given the opportunity to ask writer and director Yugo Sakamoto questions, I was overjoyed.

Baby Assassins: Nice Days follows Chisato Sugimoto (Akari Takaishi) and Mahiro Fukagawa (Saori Izawa) as they are in the Miyazaki Prefecture for a hit. However, when trying to eliminate their target, they meet Kaede Fuyumura (Sôsuke Ikematsu), a freelancer also tasked to eliminate the same target. Failing to assassinate the target, Chisato and Mahiro must clean up the mess for failing.

In this exclusive interview, I asked Yugo Sakamoto questions via email before the UK Premiere of Baby Assassins: Nice Days at the Glasgow Film Festival about how he evolved the tone, how he created such a memorable villain and how he approaches action. I also was able to ask questions about Ghost Killer, a film he wrote that is also having its UK Premiere at the Glasgow Film Festival.

This sequel has a much darker tone than its predecessors, which is perfectly showcased in the cold open. How important was it for you to establish a distinct tone with each instalment?

Yugo Sakamoto: With the rise of streaming services, I believe the first “impact” that ties the audience to their seats in a theatre is more important than ever. The atmosphere a villain exudes literally dominates the film, so I put that thought into the way I shot these scenes.

This time around, we are no longer in Tokyo, and we are in Miyazaki Prefecture. Were there any difficulties when transitioning away from the big city?

Yugo Sakamoto: Rather, Miyazaki offered vast tourist spots and many rich, unseen locations, making the shoot both enjoyable and meaningful. In contrast, it even made me wish that filming in Tokyo was easier. Shooting a gunfight at the Miyazaki Prefectural Office, a nationally designated Important Cultural Property, was an incredibly exciting experience.

In this third film, the villain, Kaede Fuyumura, is truly sadistic; we see as he slowly finds pleasure in the violent acts he commits. What was your process for writing this character, and how was it working with Sôsuke Ikematsu to bring this character to life?

Yugo Sakamoto: I aimed to strike a balance where the character is both sorrowful and terrifying, while also ensuring that the audience doesn’t become too sympathetic. Ikematsu-san contributed many ideas in this regards, and we had him perform numerous “eccentric” actions to prevent the audience from over-identifying with him. It was a truly exciting process.

The character of Mahiro Fukagawa has a fascinating arc this time around as she struggles with failure, and in a way, failure is worse than death for her. Where did this storyline originate from, and how was it incorporating this theme into the action?

Yugo Sakamoto: In most films, assassins are given motivations that ordinary people can relate to, such as ”their daughter or wife was killed” or “they were betrayed by their organization.” However, I’ve never been particularly interested in those kinds of character backstories. Instead, I wanted to portray an assassin who is genuinely tormented by the fact that they couldn’t kill their target. In a way, isn’t that a fresher take? It was also a challenge to see if I could create drama without the character having to lose anything.

Speaking of the action right from the beginning, the action is insane, unlike anything I’ve seen before. How did you and Kensuke Sonomura plan out the action for this 3rd instalment, and how involved are you on set with the action?

Yugo Sakamoto: I believe the essence of an action film lies in the cycle of the protagonist changing locations, changing outfits, engaging in action—then repeating the process. To ensure that Director Sonomura didn’t have to create action sequences with the same mood over and over, I prepared a diverse range of situations. It’s like setting up the ingredients and kitchen so that the chef has the freedom to cook as they wish.

Before the final fight, there is a moment between Kaede Fuyumura and Mahiro Fukagawa where they talk about whether they the names of their victims and who was the most fun. I interpreted the scene as a meta-commentary on the action genre that people don’t the names of characters; we just the final fight, for example. Was this intentional, and what do you hope the audience takes away from this scene?

Yugo Sakamoto: This is quite a mysterious scene. Since it’s a highly sophisticated conversation between assassins, I assumed most of the audience wouldn’t fully grasp it. I was aiming for that fine line where they might just barely understand it―or not. What mattered to me was conveying the sence of a world that belongs only to these two characters.

You also wrote Ghost Killer, and I wanted to know where that concept came from and if there were any difficulties keeping it distinct from Baby Assassins?

Yugo Sakamoto: Sakamoto- Ghost Killer is heavily influences by Japanese comics. Stories where ordinary people gain supernatural abilities―like Majin Tantei Nogami Neuro or BLEACH―are among the most beloved by Japanese audience. Since the protagonist, Fumika, is just an ordinary girl, it was challenging to balance how quickly she comes to with both the supernatural events unfolding around her and the extraordinary power she has acquired.

Ghost Killer tackles very serious subject matters like date rape, domestic violence and men being in control of women. Was there any difficulty writing a film that does tackle such serious topics while also being a funny possession action film?

Yugo Sakamoto: The first half portrays a counterpunch to the suffering and pain experienced by women, while the second half explores an unusual friendship born within a dark underworld fantasy. This shift is quite bold, and I was uncertain whether it would work. However, I was confident that blending these two elements would make the film more accessible to a wider audience, which gave me the determination to see it through to the end.

Baby Assassins: Nice Days will make it’s UK Premiere at Glasgow Film Festival, 3rd & 4th March.