Brendan Fraser reflects on a childhood spent constantly in motion, the son of a foreign tourism official. His family’s frequent relocations – to the Netherlands, Switzerland, and beyond – instilled in him a remarkable sense of self-assurance. He learned to reinvent himself with each new city, finding comfort in his own skin no matter the surroundings.
Now 57, Fraser exudes that same comfortable ease. While many still recognize him as the adventurous Rick O’Connell from *The Mummy* series – a role he’s revisiting soon – his career has always been defined by its breadth. He’s currently experiencing a new wave of recognition with *Rental Family*, a film that immersed him in the vibrant culture of Tokyo for four months, a truly transformative experience.
Fraser describes a uniquely Japanese custom: the lingering farewell. He explains that when parting ways, a Japanese person will often remain, watching until the last possible moment they can still see you. This quiet politeness, coupled with the extraordinary quality of Japanese cuisine, left a lasting impression. He enthusiastically recommends the tamago sando sandwich from 7-Eleven, a tip echoing the praise of the late Anthony Bourdain.
*Rental Family* resonates with the spirit of Sofia Coppola’s *Lost in Translation*, portraying a Westerner navigating the complexities of life in Tokyo. Fraser plays Phillip, an American actor who finds an unusual opportunity: renting himself out as a surrogate family member to those in need – a father figure, a funeral attendee, a comforting presence.
This concept isn’t fiction. Director Hikari drew inspiration from real “rental family” companies that have emerged in Japan, a response to a growing sense of isolation. She points to the phenomenon of “Mr. Do Nothing,” a man hired simply to sit and eat with someone, offering silent companionship. This service speaks to a deeper societal need, with statistics revealing that 40% of people in Japan experience loneliness.
Hikari believes the film taps into a universal longing for connection. “Sometimes, all we need is somebody to look us in the eye and remind that we exist,” she observes. The film’s bittersweet tone offers a poignant reflection on modern disconnection, punctuated by moments of unexpected humor, like Phillip’s appearance in a delightfully absurd Japanese TV commercial.
Fraser recalls a time when actors could discreetly earn extra income through Japanese commercials, a practice once common among Hollywood stars like Arnold Schwarzenegger. He shares a story of his own early attempt, a simple photograph wearing blue jeans for a Japanese company.
The career resurgence sparked by his Oscar-winning performance in *The Whale* was pivotal. Fraser emphasizes that the film directly led to his involvement in *Rental Family*. He acknowledges the current uncertainty within the film industry, questioning whether audiences will continue to embrace the communal experience of cinema.
Hikari immediately recognized Fraser as the perfect Phillip after seeing him at a Q&A for *The Whale*. She was drawn to his inherent kindness and naiveté, qualities she felt were essential for the role. Their initial coffee meeting blossomed into hours of conversation, revealing a shared artistic sensibility.
Fraser describes *Rental Family* as a truly special film, one that stands apart from the ordinary. He praises Hikari’s direction, calling the film a “love letter to Tokyo” and a poignant exploration of loneliness, sealed with a “cherry blossom kiss.” He’s now looking forward to his next role, portraying Dwight D. Eisenhower in an upcoming D-Day drama.
