Kure Yuichi

Kure Yuichi
Image of Kure Yuichi as Minister of Film, circa 2033
Minister of Film
Incumbent
Assumed office March 14th, 1997
Deputy	Koda Kiyoko
Preceded by	Role Established
Personal details
Born	(1964-05-10)May 10, 1964 (age 70, as of early 2034) Omiskan, Neo-Korea
Political party	National Development Party 1968-Present
Domestic partner	Ando Azumi
Children	Kure Takayuki (aged 32)
Alma mater	Omiskan College of National Art (graduation circa 1988)
Occupation	Government Minister Film Director Film Editor
Known for	Lotus Media Plan, Directorial work

Kure Yuichi (Yuichi Kure) is a Neo-Korean film director, film editor and government minister, notable for his Lotus Media Plan, which reoriented Neo-Korean film production to focus on media which could appeal to audiences abroad, in a bid to increase the cultural sway of the Neo-Korean State. Kure began his career as a "Guerilla Filmmaker" covering the destruction of nature caused by the programs of industrialization, with his films (all shot on 16mm camera roll) gaining positive notoriety among both the exile population abroad and those who had a dislike of the ongoing industrialization.

Kure would join the government as a result, ironically, of this anti-state work, with his perceived capability to reach the hearts of the populace believed to be directly applicable to the foreign market as well, a notion that would prove not entirely incorrect. His works after joining the government would receive high reviews domestically, and fairly decent ones abroad as well, while the generation of filmmakers he brought with him would jumpstart the until-then somewhat stagnant state of film in Neo-Korea. It is for this reason that he has occasionally described himself as the "Father of Modern Cinema" in the context of Neo-Korea, although many have disagreed with this self-aggrandizement, and the place of his works in the overall advancement of the film industry as a whole.

Kure's most popular work abroad remains one of his earliest, his Aru Ni~Tsu no Repōto (One-Day Report), acting as an adaptation of Aka Renai Heya in the form of a story covering a day in the life of a bureaucrat working upon a minor industrialization program in Jungg'o.

Early Life

Influences

Kure would begin reading the works of Matusmoto Kyou, finding them distinctly appealing (and having a great like of the fact that the themes were ultimately optimistic), incorporating it into many of his own films later in life.

Personal Life

Kure maintains a romantic relationship with animator Ando Azumi, who he met while in the Omiskan College of National Art, although they would only form a relationship in the aftermath. The couple have had one son, and in a highly unusual choice among the Neo-Korean populace, chose to raise him themselves, citing concerns over the capabilities of the Creche system after a scandal which had recently occurred. They would both continue to work during this period, with Kure doing his best to spend what limited time he had free from governmental work to spend time with his son. Kure stated that he, to some degree, regretted raising Takayuki outside of the creche system, coming to believe that it stifled his oppertunities for interaction with other children.

Takayuki cites these years as "difficult, but crucial", stating that the struggle of his parents to make time for him encouraged him to achieve a position where he would have the time for his own children. He stated that this was his reason behind refusing to pursue a directorial, or media-related role, in general, instead going into service in the Neo-Korean Ground Forces.

Filmography

Year	Film	Editor	Runtime	Note(s)
1982	Chikyū no Nageki (Earth's Lament)	Kure Yuichi	25 Minutes	First artistic project, made immediately before entering conscription at the age of 18. A timelapse of the destruction of a village near the Jungg'o border intercut with an interview he carried out with a former inhabitant.
1985	Ningyō Kōka Tesuto (Doll Effect Test)	Kure Yuichi	40 Minutes	Attempt at utilizing a Teru Teru Bōzu as an artistic tool, in this case carrying out a small story between four specific dolls. Would not be received well, but would encourage later work.
1987	Sora no Nageki (Sky's Lament)	Kure Yuichi	55 Minutes	Attempted expansion of Chikyū no Nageki (Earth's Lament), covering air pollution and his own personal dislike of air travel
1988	Watashinonamaeha Nandesuka? (What is my name?)	Kure Yuichi	30 Minutes	Final project for his college class, receiving little attention (and poor grades) but attracting the attention of animator Ando Azuimi due to its connections to Semakunaru Horror themes.
1989	Chīsana Kamigami no Kakusareta Seikatsu (The Hidden Lives of Little Gods)	Ando Azuimi	45 Minutes	First collaborative work with his future partner. Another attempted utilization of the Teru Teru Bōzu as a storytelling tool, standing in this case for the Jag-Eun Sin/"Little Gods". Would be the first of his works to proliferate to a large extent outside of the exile/dissident community, getting a positive reception at the First Convention on Religious Organization in Mizube no Machi.
1992	Madoka's Narrowing	Ando Azuimi	30 Minutes	Short attempt at a hybrid film, once again using the Teru Teru Bōzu as a storytelling tool- in this case using them to contrast with the animated world (and main character, one Madoka Uemura), whom notices as the puppets (in a deliberately ironic fashion) act in an puppeteer-like role over her daily life, and the lives of all those around her, causing her to go mad and seek their destruction. The achievement of such causes the film to end suddenly, contributing to its short runtime.
1994	Aru Ni~Tsu no Repōto (One-Day Report)	Kure Yuichi	85 Minutes	Feature-length adaptation of Aka Renai Heya in the form of a tale about a bureacrat involved in the nascent industrialization of Jungg'o, and his final work shot before he began work with the government. First of his works to become popular in a major sense.
2000	Sekai no Yobigoe (The Call of the World)	Kure Yuichi	115 Minutes	First widely-distributed feature length film, covering the events of Hanada Kaori's Chikyū no Monogatari (Earth Story), through the same lens of the bureaucrat from his One-Day Report. Watchers were divided over the happy ending to that story, but the film's legacy has been reviewed as its positive traits have come to the fore.
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