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" I am very happy that Japanese film can cross borders. "
Hirokazu Kore-eda
Am
I Am
Happy
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" I have been told that... time doesn't flow in a straight line in my films. It goes round in a circle. Sometimes people comment that the films remind them of Ozu. Maybe that's right. But in Japan, nobody comments on how time passes in my films. So perhaps that is a different way of thinking. "
Hirokazu Kore-eda
Circle
Thinking
Time
" I would say that 'After the Storm' is much more informed by my personal life than my other movies. "
Hirokazu Kore-eda
Life
Movies
Storm
" When I was 27, I won an honorable mention in a scriptwriting contest and got a television job as an assistant director. "
Hirokazu Kore-eda
Job
Honorable
Director
" My father did not have a lot of security in his life. He did odd jobs. He had a real struggle to make money. He lost a lot of time in his 20s, after the war, because he was sent to a forced-labour camp in Siberia. "
Hirokazu Kore-eda
War
Father
Life
" My mother used to work in a bank in Tokyo. It was a busy district, and after work, she used to go and watch films. "
Hirokazu Kore-eda
Busy
Watch
Work
" I believe that any auteur categorised in terms of an -ist or an -ism wouldn't be able to capture the complex essence of human nature. "
Hirokazu Kore-eda
Believe
Human Nature
I Believe
" There's a difference between people being free and the atmosphere of 'freedom.' "
Hirokazu Kore-eda
People
Being
Difference
" I think a lot of Japanese morals are built around what the dead would think of us. "
Hirokazu Kore-eda
Dead
Around
I Think
" It is righteous to receive state subsidies to make films that criticise the state - I want Japanese people to accept such European values. "
Hirokazu Kore-eda
People
Want
Values
" My mother loved films! She adored Ingrid Bergman, Joan Fontaine, Vivien Leigh. We couldn't afford to go together to the cinema, but she was always watching their movies on TV. "
Hirokazu Kore-eda
Loved
Mother
Movies
" We can see loss as something missing, but that missing space can be filled with something else, and that creates healing. "
Hirokazu Kore-eda
Healing
Else
Loss
" A lot of people, especially Japanese, come to the theater to have a good cry. "
Hirokazu Kore-eda
Japanese
People
Lot
" When I have been told that my films remind people of Ozu, I have never been too convinced. "
Hirokazu Kore-eda
Remind
Been
Films
" With 'Nobody Knows,' I consciously set out to make a fiction film, which is a different approach from 'Distance,' but I still applied a lot of the things I learned from making 'Distance': for example, how to use the camera in relation to the children and how to create the right atmosphere on set. "
Hirokazu Kore-eda
Camera
Create
Distance
" When I choose child actors, I chose them for their personalities. And then I work with their own vocabulary, so I'm not imposing text or dialogue on them: I'm just receiving. "
Hirokazu Kore-eda
Child
Just
Dialogue
" In the eighties, there was a huge shift in the humor of Japanese television. Up until then, the humor was garnered by people who said humorous things, but in the '80s, it was garnered by people who were being laughed at while the audience watches and watches. "
Hirokazu Kore-eda
Television
Watches
Humor
" Directing while overcoming differences of language and culture is a stimulating challenge. "
Hirokazu Kore-eda
Language
Culture
Challenge
" I'm less interested in death itself than in people whose lives are touched by it. "
Hirokazu Kore-eda
Less
People
Interested
" My mother was really against it when I said I wanted to make films. She said that I should be a civil servant because that was safe, and it had security. But my mother was always very proud of my movies and would give videocassettes of them to all the neighbours. "
Hirokazu Kore-eda
Security
She
Mother
" I'm so entranced by what unfolds in front of the camera. It seems wonderfully out of my control. "
Hirokazu Kore-eda
Control
Seems
Front
" I don't really like something serious depicted in a serious way; that's not my style. "
Hirokazu Kore-eda
Something
Style
Way
" Privacy is not really a concept in Japan. "
Hirokazu Kore-eda
Privacy
Really
Japan
" When I was a child, I loved making stories, so I thought maybe I would be a novelist. "
Hirokazu Kore-eda
Thought
Child
Loved
" When I make films, I don't think of any other directors or their work in terms of the rhythm of the editing or the tenor of the performances. "
Hirokazu Kore-eda
Other
Rhythm
Think
" The vividness of children is easier to see when they're completely left to their own devices. "
Hirokazu Kore-eda
See
Children
Left
" Fast cutting, loud music, blood spewing everywhere, and gunshots permeating the scenes does not necessarily make for a shocking movie. "
Hirokazu Kore-eda
Blood
Fast
Loud
" If my films did better at the box office in Japan, it would be easier to get them made. "
Hirokazu Kore-eda
Made
Japan
Easier
" Japanese feel an intimacy with the dead, at least for people up to my generation. "
Hirokazu Kore-eda
Feel
Dead
People
" I never want to be the all-knowing god of the story, manipulating what's to happen or the action. "
Hirokazu Kore-eda
God
Never
Story
" All my mother ever wanted to talk about was what she hated about my father and the times he cheated on her when he was younger. It really irritated me, and I told them they had to sort things out between themselves. Looking back on that, I see that it was really cold of me as a son. "
Hirokazu Kore-eda
Son
Looking Back
Father