He was born into a lower-middle-class family in Sendai; his father was a salaryman for Sony and his mother a traditional Japanese housewife who cooked whale and seaweed like a demon. Decisive in Yammy’s early years was his father’s access to Sony prototypes, especially cameras. Our hero learned to point and click soon after learning to walk and as a consequence never fully mastered verbal communication. In an introverted culture, that didn’t matter much, but his written Japanese was also poor. Never mind: his father, all too aware of the depressing consequences of a life spent toeing the line, saw genius in his son’s defects. Sacrificing much, the family moved to Los Angeles, where Yammy’s educational flaws went unnoticed. As soon as possible his father sent him to film school. All was going well until the family took a sightseeing holiday in San Francisco, where Yamahato senior was the only tourist in two decades to manage to get run over by a tram. His mother used the insurance payment to finance the rest of Yammy’s film education but refused to stay a minute longer in America. All alone with his genius and without his mum’s famous seaweed-wrapped whale steaks, nevertheless Yammy had little difficulty in rising in the ranks of Hollywood cameramen.
“You’re terrific,” his favorite director told him. “You have this Asian attention to detail, your ego doesn’t get in the way of business, and you understand perfection in art. You’re gonna go a long way in advertising.”
“I don’t want to go a long way in advertising,” Yammy replied. “I want to make a feature film.”
The director shook his head sadly. He also had once wanted to make feature films. So had the first, second, and third cameramen, the gaffer, the sound engineer, and the dolly grip. “It ain’t easy, kid,” the director said, “and it doesn’t have a whole lot to do with talent.”
Yammy already knew this. If the studios appreciated talent, they wouldn’t make the same old junk year after year, would they? Sure, sometimes even Hollywood did something right, but Yammy wasn’t interested in the American market. He had plans to go home once he’d honed his talents to a razor edge. His heroes of the silver screen included Akira Kurosawa, Teinosuke Kinugasa, Sergei Eisenstein, Vittorio De Sica, Ingmar Bergman, Luis Bufiuel-cinematic geniuses whom most people in Hollywood had never heard of, not even in film school. And he knew there was another, probably insurmountable, social impediment to his success in California. After all, at that particular time he and his team were filming in Colombia for a perfume advertisement that could just as economically and a lot more easily have been filmed on a mountain in Colorado. As Yammy put it in his faxes to his chums at home in Sendai, “Firstly, I do not snort cocaine, secondly I do not use coke, thirdly I do not do snow. Everyone thinks I’m an FBI plant.”
Every night after filming, he and the director went through the same ritual conversation while the director arranged extravagantly long lines of white powder on a marble tabletop.
“It’s about money,” the director said. “To make an independent art-house movie, you need investors who can get hold of as much dough as they need whenever they need it so they don’t have to worry about losing a few tens of millions on a risky venture. D’you know who fits into that category?”
“Yes,” Yammy replied.
“Dealers,” the director said while closing one nostril with a forefinger and bending over the table. “And d’you know who runs the dealers?”
“Yes,” said Yammy.
“And d’you know who runs the mob in LA.?”
“The Bureau,” said Yammy.
When they returned to California, the director decided to give the talented young Japanese his big break. The party was at an obscure and secret mansion located in the desert and well known to everyone who was anyone in the film industry. Yammy remembers women and men with eyes the size of flying saucers staring at a white mountain, in the middle of a banquet table, that even Yammy knew was not a wedding cake. Near-naked women, boys, and dozens of spare bedrooms were available for anyone to use, but most could not take their eyes off the white mountain. Within five minutes everyone except Yammy was enjoying impregnable self-confidence while bumping into furniture and talking nonsense.
“You don’t have to worry about the chief of the LA. Bureau,” the director explained, coming up behind Yammy and missing his step. “See, they have to get their information about who to murder in Colombia and Bolivia from somewhere, and who are they going to get it from if not the mob in LA. who buy the stuff wholesale? Bust them, and their intelligence sources dry up. That’s why the chief is here tonight.” Maybe the director thought he was nodding discreetly as he shook his head like a neighing horse at the short, broad guy on the other side of the table who had just grabbed a handful of the mountain. “This is freedom.”
Next day, depressed, for he had made no use at all of the golden opportunity to further his career by socializing with the mob at the coke orgy, Yammy decided he just didn’t have what it took to make it in L.A. and packed his bags. Back in Sendai with Mama, he called up his one pal in the film industry in Tokyo, who had managed to make a feature film about a psychotic body piercer who murders everything that moves except his pet hamster, which he ends up dying for. The film had flopped, but so what? At least he’d made one feature film in his otherwise meaningless life. Yammy paid him a visit in the Shinbashi area of Tokyo.
“Listen,” his pal said after five bottles of sake, “there’s only one way to make a film these days, and that is to find the kind of investors…” Yammy finished the sentence for him.
Well, farang, I know you’ve guessed the rest, although it happened in Jap Time, which is to say that dear Yammy slumped into alcoholic depression for nearly a decade before he succumbed to the inevitable. To be fair to Yammy, he came very close to running a successful business operation, but like a lot of beginners in my country, he made the fatal error of choosing to buy from the army instead of the police. Worse, he bought his modest ten kilos of smack from Vikom’s archenemy General Zinna, which, to cut a long story short, is why Vikorn had him banged up and had the boys produce a watertight case that will inevitably get Yammy the double injection. (We changed from the bullet last year in recognition of current fashions in the global execution industry; Buddha knows why, nobody ever felt the slug enter the back of the skull. It wasn’t a question of humanity, simply new-wave squeamishness. Personally I would much prefer hot lead in the cerebellum to a slow suck into the big sleep by chemical means. What d’you think, farang?)
So, things were not looking so good for Yammy until five minutes ago. Here’s my heroic visit to him in his cell in Lard Yao (our biggest, holds nine thousand prisoners, built by the Japs as a concentration camp in World War II):
Imagine a long hot ride to a tropical middle-of-nowhere. Suddenly a not-displeasing display of lush vegetation announces the beginning of the penitentiary’s extensive estate. Hold it, though-what is that terrible stench? Oh, that’s the raw sewage vat in which they make difficult prisoners stand up to their necks for hours, sometimes days. Not a great place to drown. Hold your nose, and we’re being patted down by the rock-faced screws and led to the visitors’ room, where we sit on a single wooden seat while they bring in Yammy in cuffs and leg irons: a slim, rather handsome Japanese in his midforties with an attractively receding hairline and the sullen determination of a true artist, in an age when true art is beyond the cultural pale. There’s no seat for him so he has to stand. I am delighted to be the bringer of fantastically good news and feel that I must be well in with the Buddha, since I am the instrument of his salvation. Imagine my consternation, therefore, when, after I have outlined in broad strokes Vikorn’s irresistible business plan, he says, “No.”