By MCN Editor editor@moviecitynews.com

“Sushi: The Global Catch” Delivers a Powerful and Thought-Provoking Look at Growth of a Global Cuisine, World Premiere This Week at the Seattle International Film Festival

Posted Monday, June 6th, 2011 - Comments Off on “Sushi: The Global Catch” Delivers a Powerful and Thought-Provoking Look at Growth of a Global Cuisine, World Premiere This Week at the Seattle International Film Festival
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SEATTLE, June 6, 2011 — How did sushi become a global cuisine?

What began as a simple but elegant food sold by Tokyo street vendors has developed into a worldwide phenomenon over the past 30 years. Sushi: The Global Catch is a powerful feature-length documentary shot over the course of two years that explores how sushi became a worldwide phenomenon. People from around the world love sushi – from Beijing and Warsaw to high-school football games in Texas. Sushi: The Global Catch asks the question “Can the growth continue without consequence?”

The film’s world premiere will take place on Wednesday, June 8th at 7pm at the Admiral Theater as a part of the 37th Seattle International Film Festival.

Director Mark Hall’s Sushi: The Global Catch captures not only the history and beauty of this popular cuisine but also focuses much- needed attention on the environmental consequences of the overfishing of sushi-grade fish.

The traditions of sushi are discussed in the film by Mamoru Sugiyama, the Michelin-starred chef of Tokyo’s Sushiko founded in 1885 as well as with people at the city’s famed Tsukiji market. The effect of the phenomenal growth of sushi – including the overfishing of sushi- grade fish such as the Bluefin tuna – are discussed by ocean conservation experts such as Mike Sutton and sushi restaurant owner, Casson Trenor.

Also discussed is “sustainable” sushi movement to prevent ecological damage to our oceans. Potential solutions to the environmental problems of sushi are presented, including attempts in Australia to raise the complex Bluefin tuna in captivity, through sustainably focused aquaculture, the DNA testing of fish to track them from fishing boat to restaurant, and an effort to educate sushi-lovers about selecting fish that are not threatened.

Following the premiere, a panel of experts from around the world will discuss the topic of sushi. Slated to participate are several people from the film: Alistair Douglas, representing Australian aquaculture, Casson Trenor, author, Greenpeace campaigner, co-founder of the Tataki sustainable sushi restaurants in San Francisco, producer Aya Mitsuhashi from Tokyo and Austin, Texas-based director Mark Hall.

Visit the film’s website at www.sushitheglobalcatch.com or join its Facebook page at www.facebook.com/sushitheglobalcatch for information on upcoming screenings and events.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

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