Without the support of some very fine folk, TokyoScope almost certainly would have been a scratchy, silent 8mm affair projected on a bedsheet somewhere. Super-sized serving of thanks and appreciation are in order:
Editor and ringside trainer Alvin Lu imparted valuable lesson after valuable lesson and was a great friend every step of the way. Designer Izumi Evers brought immense talent and experience to this project, often doing triple shifts as a translator, coordinator, and benshi narrator. Happy Ujihashi’s constant stream of illustrations delighted, inspired, and supplied the strength to go on. Viva la Showakan! Praise be also to Tomohiro Machiyama, trusted friend and founding editor of Eiga Hi-Ho magazine, who selflessly provided information and analysis, supplied films, and helped open doors on countless occasions. And major indebtedness to TokyoScope’s crack team of translators, who include Andy Nakatani (who gave his time often, freely, and always in good humor), Akemi Wegmuller, Yuji Oniki, and Zachary Braverman.
Lots of other people, contributors, friends, folks who helped one way or another: Kinji Fukasaku, Takashi Miike, Kiyoshi Kurosawa, Risaku Kiridoshi, TDC Fujiki, J-Taro Sugisaki, Mahiro Maeda, Kiichiro Yanashita, Aki Kameda, Toshiko Adilman, Taro Goto, Anne McKnight, Jason Thompson, Carl Horn, Chuck Stephens, David Weisman, Robert Houston, Jim and Gibran Evans, Mark Walkow, Trish Ledoux, Laura Heins, Roy Wood, August Ragone, Femke Wolting and the Rotterdam International Film Festival, Chris D. and the American Cinematheque, Mona Nagai and the Pacific Film Archive, my father, the makers of Deva Absenta, and everyone at Tidepoint Pictures and Viz Communications.
And a final outpouring of deep gratitude in the general direction of Hyoe Narita, Seiji Horibuchi, and especially Satoru Fuji for the desk, the computer, and the chance to write a book about crazy Japanese movies.