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" I'm less interested in death itself than in people whose lives are touched by it. "
Hirokazu Kore-eda
Less
People
Interested
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" Japanese feel an intimacy with the dead, at least for people up to my generation. "
Hirokazu Kore-eda
Feel
Dead
People
" A lot of people, especially Japanese, come to the theater to have a good cry. "
Hirokazu Kore-eda
Japanese
People
Lot
" 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
" I don't really like something serious depicted in a serious way; that's not my style. "
Hirokazu Kore-eda
Something
Style
Way
" 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
" We learn many things from children, always. "
Hirokazu Kore-eda
Children
Always
Many
" 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
" When I am 60 or 70, I am sure I can still continue to make films on families. "
Hirokazu Kore-eda
Make
I Am
Continue
" 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
" 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
" 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
" There's a difference between people being free and the atmosphere of 'freedom.' "
Hirokazu Kore-eda
People
Being
Difference
" 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
" 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
" When I have been told that my films remind people of Ozu, I have never been too convinced. "
Hirokazu Kore-eda
Remind
Been
Films
" The vividness of children is easier to see when they're completely left to their own devices. "
Hirokazu Kore-eda
See
Children
Left
" Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia. "
Hirokazu Kore-eda
Tokyo
Wonderful
Most
" When you make a documentary, you have to adapt to what reality imposes upon you. "
Hirokazu Kore-eda
Adapt
Reality
Documentary
" The children in 'Nobody Knows' had a resonance with me. The children are projections of myself. "
Hirokazu Kore-eda
Me
Myself
Had
" 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
" 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
" 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
" 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 think a lot of Japanese morals are built around what the dead would think of us. "
Hirokazu Kore-eda
Dead
Around
I Think
" 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
" 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
" You only get back what you are prepared to put in. "
Hirokazu Kore-eda
Get
Back
Prepared
" 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
" I am very happy that Japanese film can cross borders. "
Hirokazu Kore-eda
Am
I Am
Happy
" When I watch an actress say a line, I watch how they deliver the lines with gestures. "
Hirokazu Kore-eda
Actress
Watch
Line