Moreover, it seems that they used some real-life young “pigs” to attract the audience’s attention in the show, although it is unthinkable by today’s standards, and that it caused an uproar as the pigs started running away even out of the theater (Suginami Kokaido/Public Hall) where the show was performed.
Although it was aired safely in time after Toshihiro Iijima had to work overnight to edit the film by trimming off unwanted blooper reels and adding the finished films from the Ultraman episodes that were already completed before the broadcasting, Jissoji, according to one of the books authored by Hiroko Sakurai (Akiko Fuji), went to the telecine company himself to remove his name from the credits as he was ashamed of the result of the stage show.
Jissoji’s act made Takashi Kakoi, TBS producer, so mad that Kakoi angrily asked Jissoji why he had got rid of his own name although Jissoji was in charge of the show. Jissoji seems to have said “Oh, no. I don’t think I deserve such an honor to have my name shown in the credits” or something trying to throw Kakoi off the track.
Sakurai points out in her book that the mess arose because they didn’t spend much time in rehearsing the show while the people including Jissoji were playing mahjiong the night before to let nature take its course about the show as they found it bothersome to rehearse carefully.
Sakurai writes in her book that, although Jissoji explained to her that it was a good time when people were allowed to do such sloppy things, Kakoi seems to have said to her about it, “I was at a loss for words.”
That being said, I like these stories about Jissoji as I believe it should have definitely been a more idyllic time than it is now back then so that people could live more freely with looser restrictions along with the stories about how Eiji Tsuburaya dealt with this extraordinary director as I have referred to it in these serial posts.
Well, while I think it is time to conclude my posts about Director Akio Jissoji with this entry, I don’t know how much helpful they have been to let you learn about the unique director with my limited knowledge and ability I believe fell far short of informing you of what he was really like, hoping my poorly written articles will not mislead you by dishonoring his great achievements as a highly reputed director.
Lastly, I would like to introduce Jissoji’s word about Eiji Tsuburaya that makes me miss the idyllic time while it seems to illustrate how much Eiji cared for the young people who were following him without blocking them from developing:
“Oyaji-san (Big Daddy, Eiji was nicknamed as such) was so kind to me. He let me film anything I liked.”