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" I grew up without a father. "
Hirokazu Kore-eda
Father
Grew
Up
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" 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
" We learn many things from children, always. "
Hirokazu Kore-eda
Children
Always
Many
" I don't really like something serious depicted in a serious way; that's not my style. "
Hirokazu Kore-eda
Something
Style
Way
" A lot of people, especially Japanese, come to the theater to have a good cry. "
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Japanese
People
Lot
" The vividness of children is easier to see when they're completely left to their own devices. "
Hirokazu Kore-eda
See
Children
Left
" 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
" 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
" 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 making documentaries, the most important thing I learned was to listen, observe gestures and facial expressions. "
Hirokazu Kore-eda
The Most Important
Important
Listen
" 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
" You only get back what you are prepared to put in. "
Hirokazu Kore-eda
Get
Back
Prepared
" Directing while overcoming differences of language and culture is a stimulating challenge. "
Hirokazu Kore-eda
Language
Culture
Challenge
" 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
" 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
" There's a difference between people being free and the atmosphere of 'freedom.' "
Hirokazu Kore-eda
People
Being
Difference
" 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
" 'Like Father, Like Son' gave me the opportunity to show when it is not good with a father. "
Hirokazu Kore-eda
Show
Opportunity
Me
" Japanese society doesn't have a god - no absolute presence. "
Hirokazu Kore-eda
God
Japanese
Presence
" The children in 'Nobody Knows' had a resonance with me. The children are projections of myself. "
Hirokazu Kore-eda
Me
Myself
Had
" 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
" When I was a child, I loved making stories, so I thought maybe I would be a novelist. "
Hirokazu Kore-eda
Thought
Child
Loved
" Privacy is not really a concept in Japan. "
Hirokazu Kore-eda
Privacy
Really
Japan
" I am hopeful that films can connect people who are in conflict in a separated world. "
Hirokazu Kore-eda
World
Conflict
Connect
" I am very happy that Japanese film can cross borders. "
Hirokazu Kore-eda
Am
I Am
Happy
" 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
" 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
" I think a lot of Japanese morals are built around what the dead would think of us. "
Hirokazu Kore-eda
Dead
Around
I Think
" Yes, a family is interesting. You can get a lot of drama in the conflicts there. It's like the sea. It seems calm, but inside there is conflict. "
Hirokazu Kore-eda
Calm
Sea
Interesting
" 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
" 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