page_title: Tora! Tora! Tora!
section_title: Production
hierarchical_section_title: Tora! Tora! Tora! / Production
caption_attribution_description: The Replica Zeros were based on the SNJ/AT-6 with the most noticeable changes being made to the cockpit area. The rear cockpit was decked over and the canopy was reconfigured to resemble the A6M. The engine cowling was also reshaped and a different spinner was added. This Zero was used in the 1969 movie Tora - Tora - Tora. (Scan from film negative)
context_page_description: Tora! Tora! Tora! is a 1970 epic war film that dramatizes the Japanese attack on Pearl Harbor in 1941. The film was produced by Elmo Williams and directed by Richard Fleischer, Toshio Masuda and Kinji Fukasaku, and stars an ensemble cast including Martin Balsam, Joseph Cotten, Sō Yamamura, E. G. Marshall, James Whitmore, Tatsuya Mihashi, Takahiro Tamura, Wesley Addy, and Jason Robards. It was Masuda and Fukasaku's first English-language film, and first non-Japanese film.
  The tora of the title is the two-syllable Japanese codeword used to indicate that complete surprise had been achieved. Japanese being a language with many homophones, it is a coincidence that tora also means "tiger".
context_section_description: Veteran 20th Century Fox executive Darryl F. Zanuck, who had earlier produced The Longest Day (1962), wanted to create an epic that depicted what "really happened on December 7, 1941", with a "revisionist's approach". He believed that the commanders in Hawaii, General Short and Admiral Kimmel, though scapegoated for decades, provided adequate defensive measures for the apparent threats, including relocation of the fighter aircraft at Pearl Harbor to the middle of the base, in response to fears of sabotage from local Japanese. Despite a breakthrough in intelligence, they had received limited warning of the increasing risk of aerial attack. Recognizing that a balanced and objective recounting was necessary, Zanuck developed an American-Japanese co-production, allowing for "a point of view from both nations". He was helped out by his son, Richard D. Zanuck, who was chief executive at Fox during this time.
  Production on Tora! Tora! Tora! took three years to plan and prepare for the eight months of principal photography. The film was created in two separate productions, one based in the United States, directed by Richard Fleischer, and one based in Japan. The Japanese side was initially to be directed by Akira Kurosawa, who worked on script development and pre-production for two years. But after two weeks of shooting, he was replaced by Toshio Masuda and Kinji Fukasaku, who directed the Japanese sections.
  Richard Fleischer said of Akira Kurosawa's role in the project:
  Well, I always thought that even though Kurosawa was a genius at film-making and indeed he was, I sincerely believe that he was miscast for this film, this was not his type of film to make, he never made anything like it and it just wasn't his style. I felt he was not only uncomfortable directing this kind of movie but also he wasn't used to having somebody tell him how he should make his film. He always had complete autonomy, and nobody would dare make a suggestion to Kurosawa about the budget, or shooting schedule, or anything like that. And then here he was, with Darryl Zanuck on his back and Richard Zanuck on him and Elmo Williams and the production managers, and it was all stuff that he never had run into before, because he was always untouchable. I think he was getting more and more nervous and more insecure about how he was going to work on this film. And of course, the press got a hold of a lot of this unrest on the set and they made a lot out of that in Japan, and it was more pressure on him, and he wasn't used to that kind of pressure.
  Larry Forrester and frequent Kurosawa collaborators Hideo Oguni and Ryūzō Kikushima wrote the screenplay, based on books written by Ladislas Farago and Gordon Prange of the University of Maryland, who served as a technical consultant. Numerous technical advisors on both sides, some of whom had participated in the battle and/or planning, were crucial in maintaining the accuracy of the film. Minoru Genda, the man who largely planned and led the attack on Pearl Harbor, was an uncredited technical advisor for the film.
  Four cinematographers were involved in the main photography: Charles F. Wheeler, Sinsaku Himeda, Masamichi Satoh, and Osami Furuya. They were jointly nominated for the Academy Award for Best Cinematography. A number of well-known cameramen also worked on the second units without credit, including Thomas Del Ruth and Rexford Metz. The second unit doing miniature photography was directed by Ray Kellogg, while the second unit doing aerial sequences was directed by Robert Enrietto.
  Noted composer Jerry Goldsmith composed the film score and Robert McCall painted several scenes for various posters of the film.
  The carrier entering Pearl Harbor towards the end of the film was in fact the Iwo Jima-class amphibious assault ship USS Tripoli, returning to port. The "Japanese" aircraft carrier was the anti-submarine carrier USS Yorktown, fitted with a false bow to disguise the catapults. The Japanese A6M Zero fighters, and somewhat longer "Kate" torpedo bombers or "Val" dive bombers were heavily modified Royal Canadian Ai
caption: The North American T-6 Texan stood in for the Mitsubishi A6M Zero as there were no airworthy types at that time. Only Zeros from the carrier Akagi were depicted, identifiable by the single red band on the rear fuselage.
exif: {}