A small restaurant at a Tokyo subway station doesn't exactly invoke images of high cuisine, but food connoisseurs have been flocking to one in particular for years to experience what is considered the finest sushi in the world. Sukibayashi Jiro is the 3-Michelin starred restaurant owned an operated by Jiro Ono, considered a national treasure in Japan for his lifelong dedication to preparing the finest sushi ever tasted. The small, ten seat restaurant has become so popular that one must make reservations months in advance, with celebrities coming from around the globe just to be seen eating there. At the age of 85, and likely nearing the end of his time perfecting the work he loves to the fiber of his being, Jiro must also prepare his sons to take over and keep the high quality tradition alive, a process which is deeply respectful but often tense.
In the midst of all this is documentary film maker, David Gelb, a USC film grad who has previously worked on short movies featuring some big stars(including Robert Downey Jr.). I had a chance to talk with him about Jiro Dreams of Sushi, his experience capturing the daily routine of a master artist like Jiro, navigating some of the family's personal issues, and how he avoided eating every bit of that beautifully prepared sushi!
What made you decide to do a documentary on sushi? Does it come from a love of it?
Gelb: I've loved sushi since I was 2 years old, and I've loved making videos since I was eight. This is the perfect combination of my two interests. As Jiro says, you have to love your job.
Had you always heard of Jiro Ono before this? Had you been to his restaurant?
DG: I only heard of him when I started researching this project. Considering how famous he is in Japan and in the culinary, I was surprised that I had never heard of him. Hopefully this documentary will change that and bring Jiro the global recognition he deserves. I ate there on my first research trip for the film and I thought the sushi was incredible. Best rice I ever had.
There are a few times in the film where others say it's "uncomfortable" to eat at Jiro's restaurant with him watching. Did you have any anxiety about filming there? What was your first impression of him?
DG: I was very anxious when I ate there. Jiro serving you a piece of sushi is like Michael Jordan passing you a basketball. You don't want to drop it.
Were you fluent in Japanese culture when you started this film?
DG: I've loved Japanese culture for as long as I can remember, so I'm pretty familiar. My language skills need work but I have good pronunciation.One of the things I love about the film is that, beyond just showing Jiro's dedication to his craft, you show that it really is a painstaking process making such high quality sushi everyday. Had you been aware of just how precise it all had to be before you started?
DG: I knew that there was a lot of work involved, but I didn't realize just how much work. The menu may seem simple, but every type of fish has a rigorous preparation process, and they are serving at least 20 different types of sushi a day. It's a lot of work.
Do you think when Jiro finally passes the torch that sushi can remain as popular as it is in Japan? Will the standards remain as high?
DG: Sushi shows no signs of fading in its popularity. However, for sushi as an art form, there is an uphill battle. Overfishing, and environmental problems and disasters have caused shortages of both fish and customers on the high end. It's not an easy business model and there is a lot of competition for customers willing to pay the cost for pure sushi like Jiro serves.
How in the world did you make the food look so good? How did you not gain a hundred pounds during the shoot? I'd never have been able to keep my hands off of the food!
DG: The sushi looks good no matter what - my job was simply to capture it from a compelling perspective. I achieved that with focus and placement. The sushi is the star. Every time he places a piece on the bar it magically settles into place.
Much like Jiro's sushi itself, your film is a perfect combination of ingredients that make for a satisfying whole. One that is noticeable throughout is the orchestral soundtrack. What made you decide on that approach?
DG: Yamamoto-san, the food writer who appears in the film, describes Jiro as a conductor and his apprentices the orchestra. As a team they work together to create what Yamamoto describes as a sushi concerto, all under Jiro's direction. The classical music just feels right, and I think this is the reason.
This was your feature film debut, but have you decided on what your next project will be? What other subjects do you have a similar passion for?
DG: I'm not sure what the future holds, but I do know that my next film will be something completely different.
