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.
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.
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.
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.
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.
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.
