The character profiles and a message from the original screenwriter are accessible to us without the need of a translator. It's quite an impressive list of names that have been associated with this project in the past, all leading up to Koyama.
And reading this run-down only makes me more disappointed that I'll never have the chance to see him live on stage.
KEIICHIRO KOYAMA as Makio Yamasaki
Calls himself a 'multi-media planner.' Glib and cunning, at first glance he simply seems to be the kind of unsavory person who easily falls for flattery, but in actuality he's totally sure of himself, arrogant, vain, and pompous. Though he's a smooth talker, he can be sarcastic and he's conceited enough to consider himself a real go-getter. While he appears to have a good, solid relationship with his wife, Haruko, he suffers from an inferiority complex as her husband due to their different social standings. He's attracted to the young Asuka and makes passes at her, but it's not simply a physical attraction: at heart, he really wants to be there for her, to be someone she can look up to.
MAHO NONAMI as Haruku Yamasaki
Novelist. A best- selling novelist blessed with both brains and beauty, Haruko is a true celebrity. She first met Makio at a publisher's party, where his persistent approach wore down her initial resistance and she later married him. One of her novels is soon to be made into a movie, but lately she's the one becoming known as a real go-getter, mainly for her essays and her standing as a woman who is both a professional writer and a homemaker.
KUMI IMURA as Asuka Saeki
Internet idol who aims to be an actress. She's basically hardworking and positive in her way of thinking, but she's only just arrived in Tokyo and has yet to find an agent. She doesn't know what to do in order to realize her dream, so she's become slightly apathetic lately. That's why it was easy for her to link up with Makio through an Internet social dating site, though she's still not exactly sure of their relationship. She doesn't have particularly deep feelings for Makio.
HOW PHONE BOOTH CAME TO BE
by Larry Cohen (Screenwriter)
Back in the 1970's, I had my first of many creative meetings with the Master of Suspense, Alfred Hitchcock at the St Regis Hotel in New York. Knowing that he'd filmed an entire movie in a lifeboat, I suggested he try something even more confining: a thriller entirely set in a telephone booth. He responsed instantly to the idea but try as we may over the years, neither of us could figure out how to make it work.
It wasn't until after Hitch's death that it came to me to use an element from one of the other features I'd written and directed to create the key element - the threat that kept our lead from hanging up or leaving the booth. From my film 'GOD TOLD ME TO,' I borrowed the concept of the sniper with the telescopic sight. Once this fell into place, it took me less than two weeks to write a script that had be gestating for over thirty years.
The screenplay was sold quickly to 20th Century Fox as a vehicle for Nicholas Cage - but once it was acquired, Fox decided they could do better with Mel Gibson, who showed interest in both starring and directing. I worked with Mel at his offices at Warner Bros. for a full week. My sincere thanks to Mel Gibson for his generous help. But suddenly, Fox decided it would be far less costly to go with Will Smith.
For a while it appeared the Hughes Brothers would direct but suddenly, Jim Carrey announced he wanted to star in the project with Joel Schumacher directing. But Jim Carrey backed out just as quickly when he heard that Schumacher and Fox had decided to shoot the entire movie on a two week schedule. Four film crews would cover the action simultaneously as if it was a real news event. Schumacher's protege, Colin Farrell, finally came aboard to play the lead and the New York setting was recreated on several downtown Los Angeles streets which were closed off to the public.
The result was a hit movie that became Number 1 at the box office and received excellent reviews. Many critics commented that 'PHONE BOOTH' would make a terrific stage play and now that has come to pass. Setting the play in Tokyo works perfectly because, like New York, it is so densely populated. I have hopes that a successful production in Tokyo will eventually lead to a remake of the film with a Japanese cast. Recently, a Hong Kong remake of my film, 'CELLULAR' was completed with an all Chinese cast.
Of all the reviews we received on 'PHONE BOOTH' one of the most interesting commented that it would have made a fabulous radio drama back in the 1940's with Orson Welles as the sniper, who is played so well in the movie by Kiefer Sutherland.
I have hopes that 'PHONE BOOTH' will be performed on stage in many countries and have a continued life of its own. I also hope that Mr Hitchcock is looking down with amusement on the project for which he gave me so much encouragement...
And I'd like to dedicate this production to him.