An indelibly delicious documentary, Jiro Dreams of Sushi follows 85-year-old master sushi chef Jiro Ono, owner of the esteemed ten-seat Sukiyabashi Jiro restaurant in Tokyo. From the ins and outs of the tuna auction to the proper way to massage an octopus, the film is a lushly photographed homage to the artisan sushi techniques that earned Jiro an elite three Michelin stars, one of just twenty-six restaurants in all of Japan to receive the honor last year.

This mouthwatering movie makes its New York bow Thursday (April 21) as part of the Tribeca Film Festival. In this exclusive interview, I caught up with director David Gelb to discuss his cinematic celebration of the art of sushi, along with its themes of family, tradition, and the value of hard work.

Tell us about your relationship and history with Japan.

When I was very young my parents took me to Japan on business trips. Even though I was only nine years old the third time I went, I already felt a tangible familiarity and affection to the food and the culture. The toys were definitely cooler. I was as fascinated by a history populated by samurai and warlords as much as the fiction with the giant robots and all that.

What else do you enjoy most about Japanese culture?

My favorite thing about the Japanese culture is the philosophy of specialization and mastery. There is a lot of value and respect for people that devote their lives to a single craft. You don't see this as much in some Western countries.For example, in the USA, many local butchers have been driven out of business by supermarkets. Because of this, the sons of butchers are looking for other jobs to survive, and the skills they and their fathers have developed will be lost. In Japan, however, you'll see more businesses dedicated to excellence before profits. Being a master butcher is a highly respected and potentially lucrative enterprise. Even in Japan, however, the consolidation of big business and globalization is a threat to craftsmen in small shops. According to many Japanese craftsmen that I interviewed, it has become harder to find young people that have the patience to learn a skill fully. In Japan, it takes years to become a master butcher.

What were your goals with this film? Did it turn out the way you originally anticipated, or did anything about it change during the production period?

Originally, this was going to be a much more general film that would feature many sushi chefs all over the world. In my mind it was the [celebrated BBC documentary] Planet Earth of sushi. I shot some short test segments, but then changed course and decided on a more human approach, making it just about Jiro and his family. Everything I wanted to convey about sushi was right here at Jiro's restaurant.

How much time in all did you spend filming? Was it difficult to shoot in Japan and work around scheduling repeat visits to Tokyo?

I shot for the month of February in 2010, then returned to L.A. to work with my editor, Brandon Driscoll-Luttringer. After we spent a few months translating and reviewing the footage, we figured out what the story was about, and I returned to Japan to finish. I had some fantastic help on the ground in Tokyo — my translators Yukako Inoue and Shino Nakamura — to organize everything.  Without them, it would have been extremely difficult.

What were Jiro and his family’s ground rules for making the film? Was there anything that you were forbidden from shooting?

The only rule was not to film the duo of incredibly hardworking and meticulous ladies that are in charge of cleaning and the cash register. It is a shame because one of the amazing things about Sukiyabashi Jiro is that it is probably the cleanest and most organized restaurant in the world. Literally not a speck of dust goes unchecked in the entire restaurant. The bottoms of the tables are just as clean as the tops. Women of that generation are particularly shy of cameras, and I was very careful to respect their wishes not to be filmed.

Logistically speaking, what was the toughest thing about making this film?

All of the problems were purely due to my lackluster language skills. As a director you have to be aware of everything, and I was constantly one step behind. It was frustrating at times, but fortunately both Jiro and my translators are incredibly patient.

As a director, how did having modest skills in the Japanese language impact your work during the filming?

It was very important for me to make an effort in my Japanese skills as a sign of respect to Jiro. My vocabulary has never been great, but the phrases that I have mastered I can say with confidence and proper pronunciation. Every morning, when Jiro would arrive at the restaurant I would shout “Good morning!” really loudly along with the rest of the staff. 

Aside from the brief introduction of the global popularity of sushi at the beginning of the film, were you tempted to add more statistics or any other data to further illustrate sushi’s growth as a world-class cuisine?

It was always my intention to go lighter on the facts and information and focus more on the human element. The themes in the film apply to any art, not just sushi. The story of a son hidden in his father's shadow is identifiable to many people. I'm more interested in making those kinds of connections with the audience rather than shocking them with statistics and motion graphics.

Little is said about Jiro’s parents, although he mentions that he left home when he was nine. What were the circumstances of him leaving his family, and did he ever reconcile with them?

Jiro grew up in the Great Depression, and his family had no money and no way to take care of him. His father was a drunk, and when he was nine he was kicked out of the house to fend for himself. He lived as an apprentice in a restaurant in Hamamatsu and devoted himself to a life of hard work, which he has continued to this day. Sadly, he never did reconcile with his parents before they died. I get the sense that Jiro wanted his children to have a better life than he did. Though his methods are unconventional, in his own way he is really an amazing father.

What did Jiro do before he became a sushi apprentice and moved to Tokyo, and how was he first discovered as gifted chef?

Jiro eventually got a job at Yoshino, which is a legendary Tokyo sushi restaurant. After a while he and a couple of his colleagues defected and started Jiro's restaurant. Some of these chefs that worked with Jiro went on to have very successful careers and became quite famous, including Hachiro Mizutani, who is the second sushi chef to earn three Michelin stars.

What about his relationship with his wife? The only time we see her is in an old photograph.

Jiro's wife holds it down at home and manages his social life. I would have loved for her to be in the film, but she is apparently quite shy and preferred to stay behind the scenes.

While it’s acknowledged that Jiro is a workaholic and highly demanding, were there any other criticisms of him that you encountered in the making of the film?

Jiro's perfectionism is amazing for the customer, but can be brutal for his staff. Any shortcomings he may have are byproducts of his quest for perfection.

Jiro is shown to be an authoritative figure around his sons. In what ways did he show his love to them?

Jiro is a warm father. He can be very stern at work, but in a relaxed setting he is affectionate and is always cracking jokes with his sons.

The relationship between the father, his sons and the younger apprentices appears cordial. Were there ever any touchy moments or heated arguments during the filming?

In the restaurant Jiro is the undisputed dictator, and he is equally loved and feared by his subjects. There are no arguments.

Even after all his achievements, why do you think Jiro is so hard on himself in his obsession for improvement?

Jiro's ambition is a fundamental part of him. He can't let it go, and that’s why he is still working. He can't stop now.

What did you end up leaving out of the final cut?

We left out a lot of sushi information. Every single ingredient has a story and a dedicated master, and unfortunately we couldn't include everything. We could fill a DVD box set with what was left out of the movie, and hopefully we will when it comes time to release a Blu-ray edition.

The film’s HD photography and shallow focus shots of Jiro’s sushi are absolutely mouthwatering. Which ones were your personal favorites to eat?

The eel, sea urchin, and egg are my favorites. The shrimp is the most beautiful. Shooting the sushi was my favorite part.

Lots of foodies visit Tokyo’s Tsukiji fish market for some of the freshest sushi on earth. How would you compare Jiro’s creations with what one can eat there?

In every market there is good stuff and bad stuff. When you eat at Jiro's you are eating the absolute best that Tsukiji has to offer, prepared by the most refined technique in the world. Jiro's goal is to create sushi in which the rice and the fish are perfectly balanced, and you can taste the best that the fish has to offer.

In the film, it’s said that Sukiyabashi Jiro’s prices start at $300. Can you reveal how much the omakase (chef’s tasting menu) goes for?

Jiro only serves an omakase course, and that starts at $300.

Out of curiosity, who were the other patrons who joined food writer Masuhiro Yamamoto for the full course meal toward the end of the film?

These are friends of Yamamoto's who graciously volunteered to come to the restaurant and be filmed.

The classical and orchestral score that threads the film is a perfect counterpoint to what’s on screen. How did this idea come to you?

The tone of the music was one of the first things I thought of, way before shooting began. It’s hard to explain it beyond that it just feels right. The repetition and elevating layers of the modern orchestral pieces we are using by Max Richter and Philip Glass is very fitting for Jiro's work ethic.

What was the most surprising or inspiring thing you learned about Jiro and the sushi trade?

I am inspired most by his work ethic and his motivation. Jiro will never stop trying to top himself, even now in his late 80s. My grandparents are in their 80s and they are about to publish yet another book, all the while writing and rewriting up until the last moment before the deadline, trying to improve their work. I find that very inspiring, and that's how I want to live my life.

What did Jiro and his sons think of the finished film?

They are happy with it. Jiro's son Yoshikazu came to Berlin to support the world premiere at Berlinale. The very fact that he traveled all the way to Germany after having already seen the film meant a great deal to me.

Which restaurants in New York and L.A. would you recommend for unforgettable sushi?

These are my personal favorites:

For New York, Sushi Yasuda: Incredible food and impeccable service. The restaurant is absolutely beautiful, and the omakase is a revelation. I've never seen such variety outside of Japan, and each piece is unique and delicious. I haven't been since chef Yasuda returned to Japan on his own quest for perfection, but I hear that the quality is still top notch.

Niko: I've never been here, but I hear that it is great, and the chef [Hiro Sawatari] is an apprentice of Yasuda's.

For L.A., Sushi Nozawa: The godfather of the California omakase. His style is very unique.

Hirozen Gourmet: They serve many rare fish that Jiro serves in his omakase, including halfbeak (sayori) and gizzard shad (kohada).

Sushi Karen: Dollar for dollar, this is probably the best deal in the world. It proves that you can have delicious sushi and also pay your rent. Great for birthday parties.

What are your hopes for the Tribeca Film Festival, and what would you like to do for your next project?

I hope that the film is seen by as many people as possible. I am still undecided about my next project, but it will probably have a script.

Jiro Dreams of Sushi screens Thursday, April 21 at SVA Theater 2 Beatrice at 5:30 p.m.; Friday, April 22 at AMC Loews Village 7 - 2 at 4:00 p.m.; Monday, April 25 at Clearview Cinemas Chelsea 7 at 6:00 p.m.; and Friday, April 29 at Clearview Cinemas Chelsea 4 at 8:30 p.m. Tickets are $16 and $8 for select screenings. For more information and to purchase tickets, go to www.tribecafilm.com/filmguide/jiro_dreams_of_sushi-film36081.html. Visit the film’s homepage at http://jiromovie.com.

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