Jon Voight is an Oscar-winning actor who has been a motion picture star for four decades, beginning in 1969 with his role in the groundbreaking Oscar-winning Best Picture Midnight Cowboy. Voight earned an Academy Award nomination for his performance as Joe Buck in the film, also winning a Golden Globe, a BAFTA Award, and Best Actor Awards from the New York Film Critics Association and the National Society of Film Critics. Voight won an Academy Award for Best Actor for his work in the 1978 drama Coming Home. For his portrayal of a Vietnam veteran who was paralyzed in the war, he also won a Golden Globe Award, as well as Best Actor honors from the Cannes Film Festival, the New York and Los Angeles Film Critics Association, and the National Board of Review. Voight received his third Oscar nomination, for Best Actor, for his performance in Andrei Konchalovsky's thriller Runaway Train. He earned his latest Oscar nomination, in the category of Best Supporting Actor, for his portrayal of Howard Cosell in Michael Mann's biopic Ali, for which he also gained another Golden Globe nomination. In addition, he has garnered Golden Globe nominations for his roles in John Boorman's classic actioner Deliverance, Franco Zeffirelli's The Champ, and Francis Ford Coppola's The Rainmaker. Voight was more recently seen in such films as the blockbuster Transformers, for director Michael Bay; the hit National Treasure and its sequel, National Treasure: Book of Secrets; Glory Road; and Jonathan Demme's remake of The Manchurian Candidate, with Meryl Streep. He also makes a cameo appearance as himself in the hit comedy Tropic Thunder.

It was with great pleasure that I accepted the invitation to be President of this years Tokyo International Film Festival's jury. I have been fortunate to see the art of Cinema grow for many years now. It has become an international language, an exchange of cultures, ideas and mythology. As times and technology change, the essence of story telling remains the same; human stories told from a human perspective. It is the link that binds us all, the universal elements of laughter and tears, comedy and tragedy, the magic that filmmakers tap into when the lights go down, and the movie begins. I am looking forward to seeing the films selected for the festival, but I know I will have great difficulty in having to choose among them. Before that process begins, let me take this moment to congratulate all of the filmmakers who have been accepted to the festival, and wish you all my very best for long and fruitful careers.

As an agent with Creative Management Associates in Los Angeles, Michael Gruskoff represented Robert Redford, Peter Sellers, Albert Finney, Anouk Aimee, Faye Dunaway, and Sydney Pollack among others. Gruskoff expedited the packaging of Easy Rider, which gave him his first taste for producing. He started as Executive Producer on Dennis Hopper’s The Last Movie and followed with, Silent Running. Gruskoff then went on to produce Mel Brooks’ Young Frankenstein, Stanley Donen’s Lucky Lady, Werner Herzog’s Nosferatu, The Vampire, Jean-Jaques Annaud’s Quest for Fire, and My Favorite Year, starring Peter O’Toole. Other films include Rafferty and the Gold Dust Twins, Burning Love, Clint Eastwood’s Pink Cadillac, Article 99, and Prelude to a Kiss. Michael Gruskoff created and taught a class at NYU’s Tisch School of the Arts in adapting classic stage plays into contemporary screenplays. Currently, he is producing Overnight, a romantic comedy.

It is a great honor and a privilege to be asked to be a member of the jury to celebrate the 21st edition of Tokyo International Film Festival. Friends of mine who served on the jury have had a wonderful experience. I am a longtime admirer of Japanese cinema, particularly the films of Nagisa Oshima and Akira Kurosawa. Dersu Uzala, which Jean-Jaques Annaud and I admired was the inspiration for Quest for Fire, which won the Caesar Award as France's best film. I look forward to seeing the films selected for the festival and meeting other filmmakers and industry people from Japan and around the world.

Born in Beijing in 1958，Huo Jianqi entered fine arts department of Beijing Film Academy in1978. After graduation in1982 he became an art designer in Beijing Film Studio, where over ten years had participated in the making of numerous films including September，Horsestealer, Experience of Passion, Dasaba, etc. In 1995, Huo Jianqi directed Postman in the Mountains which was given several prizes such as Best Films of Chinese Film Golden Rooster Awards, Jury Award - Silver Peacock Award at Indian Film Festival, and People's Choice award at the 23rd Montreal World Film Festival. A Love of Bluenss in 2000 got Best Director of Golden Rooster Award in 2001. His film Life Show in 2002 won awards for Best Film Best Actress and Best Photography at the 6th Shanghai International Film Festival. In 2003, he was presented award for Best Film and Best Actor for Nuan at the16th Tokyo International Film Festival. A Time to Love again won Best Actress Award at the Shanghai International Film Festival 2005．

It is my honor to be on the jury for the Tokyo International Film Festival under a refreshing autumn sky in the fruit harvesting season. I am also pleased to be able to view films from various countries at this time of the year which is an occasion to harvest films. My film, Nuan, received the highest award of the festival in the past and I can still see the ceremony in detail. It was an unforgettable and joyful experience as a film maker. I wish every success for the Tokyo International Film Festival which has actively contributed to the progress and interchange of films in Asia and the world.

Photography was just a hobby...I had to do something “serious” for a living; I entered Veterinary University in Uruguay. It was early 1969, we were all going crazy looking for the great changes. “Revolution” was around the corner. Then, let’s give a break in this conservative life ... I packed my camera and went to neighbor Brasil to “see the World,” hitch hiking, sleeping where possible.
In one of the small towns I arrived, I met Ruy, a very nice “Nisei” (my first oriental friend.) He was studying Film. Whau!!!! Is that a profession? Yes, then: why not? Rushed back home, filed in some papers and moved to Brasil, 4 years of film school...and here we are. Thanks Ruy. You were right: you can.
Filmography: City of God, The Constant Gardner, BLINDNESS

Making film is my passion. It’s hard work, no need to say it. Long days, 12, 14 hours for 2, may be 3 minutes of film. And after 3 month of filming you are exhausted, you need a rest. So what do you when you want that rest? Take a holiday by the beach?
No, that’s boring, no fun.
Then try going to a Festival and watch lots of films. That’s the best! It’s seeing what others have been doing, their hard work, their stories, their passion.
Thanks Tokyo Film Festival, I’m thrilled, pleased, honored.
I’ll do my best in judging my colleagues films.

Actress. Eldest daughter of Kazuo Dan, a writer. She made her debut in a Toei movie, Brutal Tales of Chivalry 9. She was a regular participant in a game show, "Renso Game" (a word association game), on television for 15 years where she became very popular with viewers. She appeared in many films and dramas in Japan, such as Tora's Pure Love, "Nihon no Omokage," "Kura," and Yamazakura, whilst actively involved in dramas that were co-produced with the U.K. and the U.S. as well as stage productions in Australia. She received the 17th Japan Academy Award for Outstanding Performance by an Actress in a Supporting Role. Her essays have also been popular lately; her "Aa Ieba Kou Kuu" became a best seller and won the 15th Kodansha Essay Award. She is passionate about kimonos, and has written "Dan Ryu Kimono Michi," having visited production regions across Japan. She regards kimono as her life work, and she writes a series for a magazine, "Kimono Salon." In November, "Dan Fumi no Chanoyu Hajime" was published based on her experience in the world of the tea ceremony. Currently she hosts "Shin Nichiyo Bijutsukan" on the NHK educational channel, as well as appearing in "Himekuri Manyoshu" as a regular on NHK High Vision channel where she recites and talks about poetry.

I feel both wonderfully surprised and nervous to be given an important task. Although I have some worries regarding the role I have been given, I intend to fulfill the task with responsibility , and to draw on all my courage , excitement and joy which films have given to me to fulfill my role. I hope to encounter some wonderful movies which will continue to shine in people's minds for decades to come. A superb piece moves the jury members, leaving them lost for words – I am dreaming of such an occasion.

Born in Osaka, Japan in April 1934, he graduated from English Literature Department, Faculty of Letters, Tokyo University in 1958. Then he joined Toei Company Ltd. where he was assigned to Movie Studios in Kyoto as a script writer. He made his debut with Yagyu Bugeicho series by New Toei, where he wrote many scripts of period films afterwards. When he became freelance, he continued on the theme of chivalry and factual movies, such as Nippon no Don and Mamushi no Kyodai series as well as Jingi naki Tatakai series which he took over from his esteemed senior, Kazuo Kasahara. He also wrote Never Give Up, Day of Resurrection, Kiryuin Hanako no Shogai, The Geisha, Oar, Haru no Kane, Kura, Gokudo No Onna-tachi series, etc., and worked mainly with Kinji Fukasaku, Hideo Gosha, Yasuo Furuhata, Sadao Nakajima, and Koreyoshi Kurahara. More recently, he has written a script for Cha Cha, which was released at the end of 2007. He received Japan Academy Award for Screenplay of the Year in 1984, and Makino Shozo Award in 1996. He secretly takes pride in fact that he may merit an entry in the Guinness Book of Record if his TV works are included in many numbers of productions.

When a film is completed, it is evaluated first of by all those involved. Then it is about, whether it was a hit or not, completely indifferent to the initial evaluation. If it is praised, anyone would feel good, and if it is vilified, anyone would feel annoyed. That’s why it is important to hold onto one’s own evaluation standard for both your own work as well as for that of others. No one will argue that the most important thing is the storyline of the film. But, filmmaking is delicate and tricky, as although in my profession, the storyline depends mainly on the scenario, the film itself can transform into something completely different along the way depending on an incredibly wide range of factors. In either case, films which excite and move the audience are almost always interesting, regardless of the genre. Film makers and technicians from worldwide bring the fruits of their toil to the film festival. It is not possible to make comments in an offhanded way. However, my intentions are to be audacious enough to pick out the gems and to introduce them to a wider audience.