Warhol appeared as a recurring character in TV series Vinyl, played by John Cameron Mitchell.
In the episode of The Simpsons "Mom and Pop Art", Warhol appears in Homer's nightmare, throwing soup cans at Homer.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel (1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films.
Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1952 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Throughout the 1950s and early 1960s, Kurosawa directed approximately a film a year, including a number of highly regarded (and often adapted) films, such as Ikiru (1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s, he became much less prolific, though his later workincluding his final two epics, Kagemusha (1980) and Ran (1985)continued to win awards though more often abroad than in Japan.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the past century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats.
From the beginning, Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet quite distinct from it. Kurosawa was extensively involved with every aspect of film production. He was also a gifted screenwriter, and would usually work in close collaboration with his co-writers from the beginning of the development of a film to ensure a high-quality script, which he insisted was the absolute foundation of a good film. He frequently served as editor of his own films and was regarded by his production team as "the greatest editor in the world." Though it was common in the Japanese film industry of that time for established directors to assemble around them a team, or "gumi," with people drawn from the same pool of creative technicians, crew members and actors working from film to film (for example, the director Hiroshi Inagaki, who worked at Toho during the same period as Kurosawa, had such a team), Kurosawa's team, known as the "Kurosawa-gumi" (Kurosawa group)including, for example, the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimurawas remarkable for its loyalty to the director and the consistent quality of its work.
Kurosawa's style is marked by a number of devices and techniques which Kurosawa introduced in his films over the decades. In his films of the 1940s and 1950s, Kurosawa frequently employs the "axial cut", in which the camera moves closer to, or further away from, the subject, not through the use of tracking shots or dissolves, but through a series of matched jump cuts. Another stylistic trait which scholars have pointed out is Kurosawa's tendency to "cut on motion": that is, to edit a sequence of a character or characters in motion so that an action is depicted in two or more separate shots, rather than one uninterrupted shot.
A form of cinematic punctuation very strongly identified with Kurosawa is the wipe. This is an effect created through an optical printer, in which, when a scene ends, a line or bar appears to move across the screen, "wiping" away the image while simultaneously revealing the first image of the subsequent scene. As a transitional device, it is used as a substitute for the straight cut or the dissolve (though Kurosawa often used both of those devices as well). In his mature work, Kurosawa employed the wipe so frequently that it became a kind of signature. For example, one blogger has counted no fewer than 12 instances of the wipe in Drunken Angel. Kurosawa by all accounts always gave great attention to the soundtracks of his films, especially with an emphasis on sound-image counterpoint, in which the music or sound effects would ironically comment upon the image rather than merely reinforcing it. (Teruyo Nogami's memoir gives several such examples from Drunken Angel and Stray Dog.) He was also involved with several of Japan's outstanding contemporary composers, including Fumio Hayasaka (who died in 1955) and the internationally famous Toru Takemitsu.
Kurosawa employed a number of recurring major themes in his films. These include: (a) the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; (b) the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some injustice; (c) the depiction of extremes of weather as both dramatic devices and symbols of human passion; and (d) the recurrence of cycles of inexorable savage violence within history. According to Stephen Prince, the latter theme began with Throne of Blood (1957), and recurred in Kurosawa films of the 1980s. Mr. Prince calls this theme "the countertradition to the committed, heroic mode of Kurosawa's cinema."