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" 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
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" Hardly anyone says anything real in the courtroom. Almost everything is decided ahead of time, and the truth is found behind the scenes. "
Hirokazu Kore-eda
Truth Is
Truth
Time
" Reflecting on the past, where the film industry became united with 'national interest' and 'national policy,' I tend to think that keeping a clear distance from government authority is the right thing to do. "
Hirokazu Kore-eda
Think
Past
Government
" We learn many things from children, always. "
Hirokazu Kore-eda
Children
Always
Many
" As the Japanese family gets more and more atomized, grandparents don't live with the nuclear family, so parents of children can't consult with their own parents about how to raise their children and rely on that to help raise them. "
Hirokazu Kore-eda
Family
Help
Live
" It's definitely good to have a hit from time to time, though not too often. If you have a few hits in a row, people start to think every film you make will be a hit, which is a big mistake. "
Hirokazu Kore-eda
Think
You
Good
" 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
" You only get back what you are prepared to put in. "
Hirokazu Kore-eda
Get
Back
Prepared
" The Japanese don't have a specific religion, but a spirituality. A cap, shoes, and a table have a spirituality. When you eat an apple, you don't say you eat it: you say, 'I am receiving it.' Kind of like you are thanking the food. "
Hirokazu Kore-eda
Shoes
You
Food
" 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
" 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
" 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 particularly relate to the films of Mikio Naruse and Shinichi Kamoshita, a person whose work I watched very much as a child, a director of family dramas for television. "
Hirokazu Kore-eda
Work
Child
Family
" There was a time when I thought Kim Novak was the sexiest woman in the world. "
Hirokazu Kore-eda
World
Thought
Sexiest
" When I watch an actress say a line, I watch how they deliver the lines with gestures. "
Hirokazu Kore-eda
Actress
Watch
Line
" 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 making documentaries, the most important thing I learned was to listen, observe gestures and facial expressions. "
Hirokazu Kore-eda
The Most Important
Important
Listen
" Directing while overcoming differences of language and culture is a stimulating challenge. "
Hirokazu Kore-eda
Language
Culture
Challenge
" I wanted to make 'Nobody Knows,' a kind of summation of the experiences I gained from making my first three films, the good ones as well as the bad ones. "
Hirokazu Kore-eda
Nobody
First
Bad
" Sometimes when you watch children, you feel that they show emotions that you, as an adult, can relate to. "
Hirokazu Kore-eda
You
Feel
Sometimes
" 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
" Japanese society doesn't have a god - no absolute presence. "
Hirokazu Kore-eda
God
Japanese
Presence
" I am hopeful that films can connect people who are in conflict in a separated world. "
Hirokazu Kore-eda
World
Conflict
Connect
" 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
" I am very happy that Japanese film can cross borders. "
Hirokazu Kore-eda
Am
I Am
Happy
" A film is not a vehicle to accuse, or to relay a specific message. If we reduce a film to this, we lose all hope for cinema to ignite a richer conversation. "
Hirokazu Kore-eda
Hope
Lose
Cinema
" We used to have prawn tempura: that was my mother's favourite dish. But she had to go out to work instead of my father, so she couldn't find the time to cook nice meals. So we ate more modern food: a lot of frozen and instant food. But I never complained about it to my mother. "
Hirokazu Kore-eda
Time
Father
Food
" I watch 'Electronic Boy' faithfully every week - not because I like the show but because I'm interested in where the smartest T.V. producers and directors are going, what direction they are headed in. "
Hirokazu Kore-eda
Like
Direction
Boy
" My grandfather had Alzheimer's. He would eat everything and anything that was around; then he wouldn't remember that he ate it and would demand to be fed again. "
Hirokazu Kore-eda
Eat
Everything
Grandfather
" 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
" 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