Nureki Chimuo Archive

2008.9.1 濡木痴夢男のおしゃべり芝居 第五十二回 Nureki Chimuo’s Talking Theater Chapter 52 ZOU氏の撮影現場で At ZOU’s filming location I worked with Muruzou for the first time in a while. It was a video shoot. According to an email I received from him later, it had been over twenty years since we last worked together. We hadn’t met during that time. Since we’re in the same industry, we’d occasionally hear rumors about each other’s activities. But because we worked in different places, we never met directly. We entered Studio I in Kikusaka in Hongo. “It’s been a while. Glad to see we’re both doing well,” we exchanged greetings. “What are we doing today? Let me see the script,” I asked right away. He said that since it wasn’t a drama, there was no script. “We’re leaving today’s entire process up to you, Nureki-san. Do whatever you like. We won’t say a word. Just do as you see fit. We’ll simply follow it with our cameras,” ZOU-san said, his words carrying considerable passion. (Since his name is rather difficult to write, and though it might be rude, I’ll refer to him affectionately as ZOU-san in this text.) The model is Miss T.M. I’d already tied her up for a magazine shoot, so we were acquainted. More than just acquainted, we understand each other well. She’s a good model with rich expressiveness. Above all, she knows “SM.”

Miss T.M. has someone with her, a manager or attendant of sorts, Naka Akira-san. (Later, this Naka-san would also end up tying Miss T.M., but I hadn’t been told about that at all. When I found out that was the plan, I was stunned.) When I was first told, “I’ll leave everything to you,” my mind started working, imagining how to structure the "beginning, development, turning point, and conclusion” of today’s shoot. For the climax, what kind of bondage and poses would build the excitement? And then, to build even more excitement towards the end, what kind of rope work would be stimulating? When I began using the first rope, guiding the model’s arms behind her back, this “beginning, development, turning point, conclusion” sequence was already fully formed in my mind. In documentary footage like this, especially when the subject has experienced my rope work before, like Miss T.M., it’s particularly easy to construct that image. No matter how unexpected or fluctuating the model’s reactions become during the shoot, I utilize those changes to craft an even more effective narrative arc for the ropes. It is precisely when I use a sensitive model’s reactions to build toward a more intense, highly arousing, and emotionally impactful final scene that I, as a bondage artist, experience the greatest pleasure. The pleasure and ecstasy at that moment are beyond compare. It’s almost a state of intoxication. The pleasure level is far greater when I see the climax build to an unexpectedly stimulating, emotionally charged bondage scene than when I insert my own penis into the genitals of a young, beautiful model, rub against her, and ejaculate. In the bondage documentary footage entrusted to me, I have always crafted the final scene in this manner. (For example, most of the Kinbiken videos are like this.) The “introduction, development, turning point, conclusion” structure I envisioned had some blank time inserted midday, but even so, ZOU-san’s words, “Please do as you wish, Nureki-san. Do whatever you want, freely,” were deeply appreciated. I was delighted. It was an exceptionally rare request from a director, once you’d almost never see on the set of an SM video in the AV industry.

I spoke to ZOU-san in a flattering tone. “But since I tie quickly, if you think tying more slowly would make filming easier, please don’t hesitate to say so. I’ll tie it clearly and slowly at your preferred pace.” Smiling at the cameraman too, I said it almost like flattery. Besides Director ZOU, the cameraman, his assistant, the lighting guy, his assistant, the still photographer, and the young ADs were waiting, just like during a regular AV shoot. “I’ll tie slowly and clearly,” I said. At my words, ZOU-san waved one hand wide in front of his face and spoke in a slightly stronger tone. “Ahh, please don’t think about that at all. There are six or seven staff members here, but please imagine no one is present. Get into the mindset that it’s just you and the model, alone in a private room, engaging in bondage play. Do whatever you like freely. Forget about the filming.” For me, these words were increasingly welcome. But no matter how much he asked me to forget it was a shoot, lighting fixtures illuminating me and the model lined the space around us, and various black cords stretching from power sources remained within my field of vision. I’ve tied up over five thousand women so far, but all those experiences were on sets for commercial bondage videos, videos made to be sold. Asking me not to be conscious of the camera was simply unreasonable. Superficial, formulaic SM videos are no longer welcomed among enthusiasts. I wanted to create videos for enthusiasts, focused solely on Nureki’s ropes. For me, nothing could be more welcome. Under the lights, I began binding Miss T.M., fully clothed, with her hands behind her back, applying firm pressure. As time passed and the shoot progressed, she became bound more tightly and rigorously by my ropes. Her reactions were good. Having already experienced my ropes, her body was more sensitive than during the previous shoot. I could feel it through my fingers.

The eroticism in her expression deepened. Even without seeing her face, I could sense her expression through the elasticity of her body accepting the ropes. If this were truly private rope play, just for enjoyment, without cameras or lights, one rope would be enough. But this is a show for which I am paid. In my head, I calculate the length of video tape, imagining the passage of time and the progression of context, gradually adding more ropes. Now, I must write about her erotic, agonized form writhing in the ropes’ embrace here, and her uniquely masochistic reactions, perhaps a bit exaggerated, to make it suitable for promotional material. But over the past several decades, I’ve written countless pieces for various magazines that served as promotional material. Readers must surely be sick and tired of that kind of introduction, guide, or promotional writing by now. So this time, I’ll write a little differently than before. I don’t think it will turn into the typical promotional piece I’ve written before. Director ZOU, I apologize in advance. Recently, I’ve grown tired of writing descriptions like: “A beautiful model was bound and tormented, crying out ‘hii’ and ‘haa,’” or “She writhed in ecstasy, dripping lustful honey from her crotch.” First off, these days, there are no longer any dull-witted enthusiasts who would be fooled by promotional copy stacked with such exaggerated, predictable, hollow phrases. I believe Director ZOU’s work will sell well enough without needing to be dressed up with such catchphrases. I’ll write what follows to help it sell. So, Director ZOU, if my pen slips midway and I write something that might offend you, please don’t be angry. After telling me, “I’m leaving everything to you, so do whatever you like, freely and as you please,” Director ZOU sat down about three meters away from me and her, holding a small digital camera steady with both hands.

(Ah, he’s determined to be the still photographer today) I nodded. Please take lots of great photos and use them effectively for the packaging and other promotional stuff, I silently prayed, my hands never stopping as I continued to bind her. If the sales of this “Bondage Documentary” starring me don’t go well, I’ll be in trouble too. It concerns my honor. (Honor? Honestly, it’s not worth the tip of my little finger. But I live by deceiving myself into believing it exists. If I didn’t deceive myself, someone like me couldn’t possibly survive.) ZOU-san seems to be pressing the shutter while holding back, mindful of the staff and me. It almost looks like he’s holding back. He’s always been a shy, reserved person. (Don’t hold back! Get closer, be bold, aim for great angles, and just keep shooting!) As I lift her skirt and tie the thong rope over her panties, I silently urge ZOU-san in my mind. The perfect angle. That’s it. In bondage photography (and video, of course), the angle is the most crucial element. The quality of bondage photos is determined by the subtle differences in angle. Right. I remember now. Over a decade ago, there was a certain “bondage photographer” whose sole job was shooting gravure spreads for magazines. He declared with absolute confidence, “I’m a bondage photographer.” He said it plainly, without a hint of embarrassment, so I suppose that’s why he was called a “bondage photographer.” I didn’t think so, though. He had me tie up the models, then made them stand, sit, or lie down, taking massive quantities of “bondage photos” every single time. This was over a decade ago, so I thought, “Taking so many photos every time must be a huge expense in film costs,” though perhaps digital cameras were already common back then.

I have absolutely no knowledge about cameras. Not just cameras, I’m just mechanically challenged, basically. When I was on a shoot with that photographer, I found myself deeply thinking, “So, it’s not really a “bondage photo” unless it shows a woman tied up…” It’s not just the “form” of the bound woman. Unless the photos express the bound woman’s sorrow, trembling, or fear, joy, or emotion, that unique, indescribable mood, they don’t become “bondage photography.” I’m taught this lesson deeply every single time. That’s why, deep down in my heart, I am profoundly grateful to this photographer I had the privilege of working with over a decade ago. Having long inhabited this industry, I’ve worked with about fifty distinctive photographers to date, but it was this man who taught me, thoroughly, deeply, and profoundly, “Bondage photography isn’t about the superficial form of the bound woman, it’s about capturing her heart.” In a way, he is my benefactor. Bondage photography is not something the general public readily enjoys viewing. To be blunt, the overwhelming majority find it distasteful. It is something only seen by passionate enthusiasts in that particular field. While ordinary people who aren’t enthusiasts might occasionally stumble upon it out of curiosity, ninety percent of the time, it’s enthusiasts who pay money to buy and view it. We are, you might say, the professionals. The sellers. If we want enthusiasts to pay (pardon the crude phrasing, but it’s the truth), we must create bondage photography that makes enthusiasts think, “I’ll pay to see this! I want it!” If we don’t create those kinds of photos, we (well, maybe just me) can’t survive. That means (getting back to the angle discussion here) we must first aim for the angle that matches the enthusiast’s heart, the angle they want to see, and then press the shutter. I’ll write a bit more detail about that photographer I had the pleasure of working with over a decade ago, who taught me so many things firsthand and concretely. I will refer to that person as B-san in the following explanation.

B-san had me bind the model with her hands behind her back and sit her in the position he specified. Since it was the first time, the model was still fully clothed. The location was an old, large Japanese-style building about seven or eight minutes’ walk along the tracks from JR Meguro Station. It had a spacious garden with lush trees and stone lanterns. Originally a prestigious traditional restaurant, it was now a studio with old-fashioned storehouses. B-san used only this studio, saying it was easy to shoot in. It had Japanese-style rooms, of course, and even Western-style rooms. The bound model sat on the tatami mat with her legs slightly thrown out to the left, striking a pose full of emotion. Her chin tucked in, slightly leaning forward, the natural pose and expression were irresistibly good to my eyes. She was already feeling the ropes. Standing about three or four meters away from her, near the wall, I watched and couldn’t help but mutter, “Ah, what a great atmosphere. So good. So full of feeling.” Unlike video, this was still photography, so no sound was recorded. Making voices or sounds was allowed. “Huh? What? That position is good? Okay, okay, then I’ll go over there and shoot.” B-san said, and with camera in hand, approached my position. I instinctively moved away from B-san, not wanting to get in the way. B-san took my spot instead and faced the model, “I see, good, good. Alright, alright, keep it up. Now, here, tilt your chin a little more to the left. Lower your right shoulder about three centimeters. Twist it as you lower it. That’s it, alright, alright. But this lacks sex appeal. Hey, G (G is B-san’s assistant), lift up the hem of her skirt and show her knees. That’s it, lift it more. Lift it a little more. Lift it up to around her thighs. No, if you lift it that high, should we show her panties? Lift her skirt until her panties peek out. Good, good. You, wiggle your hips a bit. Stick your butt out. Oh, good, good. Finally, some sex appeal. Okay, shoot, shoot, now!” That’s how he gives instructions. In reality, he’s even more detailed, instructing down to the shape of the fingers behind her back.

Wise enthusiasts will likely already understand. The masochistic emotion I couldn’t help but admire, thinking, “How nice! What a great atmosphere!,” has been almost entirely lost due to B-san’s meticulous instructions. By faithfully following the photographer’s instructions, the model loses her own unique, precious emotions and becomes merely a human form bound by ropes. She becomes a soulless shell. (Naturally, there must be enthusiasts who prefer photos where the model is just a soulless shell wrapped in ropes. There is a specific way to shoot such photos, but I’ll discuss that later.) Though bound tightly behind her back, giving a seemingly brutal appearance at first glance, as she strikes poses according to B-san’s commands, the very “heart” of the woman, what enthusiasts most desire to see, is lost. While the photographer focused solely on arranging the model’s poses, the natural beauty of her masochism, which had seeped from her entire being, had vanished somewhere far away. As a model hired for money, it’s only natural that she obeys the photographer’s instructions. Therefore, she bears no blame whatsoever. Huh? What was I trying to write? As usual, I’ve gone off on a tangent again. I began writing this sentence because I felt that to boost sales of the videos produced by ZOU-san, the quality of the still photos used for packaging and other promotional materials is crucial. I wanted him to create truly captivating, masterpiece bondage photos that would appeal to the discerning eye of enthusiasts. Therefore, this text continues. Incidentally, I haven’t seen it myself, but I hear ZOU’s DVD work has already been edited and is on sale. Everyone, please try and find and buy it. And then send me your impressions.

The following comments were submitted by Mika Suzume and are reproduced here with her permission. Comment from Mika Suzume Thoughts on the 52nd Talking Theater September 5, 2008 00:22 Sensei, this is Mika. I thoroughly enjoyed reading this latest “Talking Theater” as well. In the part about B-san, you shared this observation, “While faithfully following the cameraman’s instructions, the model loses her own unique, precious emotions and becomes merely a human form bound by ropes.” Sensei, I felt this part captured the precarious, ephemeral nature of SM, and precisely why it’s so fascinating and challenging. What is precarious and ephemeral, you ask? It’s the very essence of SM. The SM-like posture you sensed in the model vanished when B-san’s instructions came in, transforming into a different kind of posture. I think this is precisely because it is such a fragile, delicate thing. SM, as you also mentioned using the word “play,” involves presenting expressions of pain, sorrow, or embarrassment, that kind of presence, in a way that’s not real but virtual. I think of it as a kind of “pretend” or “acting.” In this way, while it might be misleading to call it a lie, the element of pretense is incredibly important in SM. Yet, the heart cannot feel something that is false. Even Hollywood’s lavish visuals, created with incredible CG and enormous budgets, become pitiful films if they lack something the heart can empathize with. The more money poured into them, the more pitiful they become compared to cheaper films.

Thus, even with enormous investment, visuals without heart are simply boring. Similarly, in SM, if the heart isn’t reflected, no matter how elaborate the bondage or how beautiful the person being filmed, it’s worthless, just like a dull Hollywood movie. I believe that the “performance” of SM only truly comes alive when the model genuinely portrays expressions of pain, sorrow, or embarrassment as her real feelings. As I said, in “acting” those expressions of pain, sorrow, or embarrassment aren’t entirely genuine. They’re slightly “acted,” not lies, but not entirely true either… ugh… what am I even saying. I wonder if this makes sense. It’s hard to express, but it’s a subtle demeanor, not a lie, yet certainly not genuine suffering or sorrow. That precarious, ephemeral demeanor is what I consider the essence of SM. This performance of pain, sorrow, and shame vanishes at the slightest disturbance. When that subtle reflection of the M’s heart is captured, that’s the kind of bondage photo that makes me think, “I’d pay money to see this! I want it!” However, in my opinion, it’s also true that discerning such photos is difficult. Even photos where the subject looks like a formal doll, if taken from a skillful angle, can often be mistaken for the real thing. In fact, at live events, even an SM show that doesn’t feel particularly SM-like can look incredibly SM-esque when shown in photos. So, it seems difficult to tell 100% what’s real and what’s fake just from a photo. But, perhaps the reason lies in the fact that at a live show, you can clearly see the lies as lies. Maybe it’s because the camera lens just can’t quite capture those subtle shifts in the heart. However, I also believe that if these fakes run rampant, the world of SM risks becoming utterly trite.

Thank you, Mika Suzume-san. Please feel free to share your thoughts and impressions after reading it.