Hirokazu Kore Eda Quotes

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I have never made a film to praise or to criticize something. That kind of filmmaking is nothing but propaganda.

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.

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When making documentaries, the most important thing I learned was to listen, observe gestures and facial expressions.

When I watch an actress say a line, I watch how they deliver the lines with gestures.

There's a difference between people being free and the atmosphere of 'freedom.'

Japanese feel an intimacy with the dead, at least for people up to my generation.

When I am 60 or 70, I am sure I can still continue to make films on families.

When I was a child, I loved making stories, so I thought maybe I would be a novelist.

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.

I think a lot of Japanese morals are built around what the dead would think of us.

Maybe family is an eternal subject for me.

We learn many things from children, always.

In terms of film festivals, Cannes is the greatest launch pad.

We can see loss as something missing, but that missing space can be filled with something else, and that creates healing.

I would say that 'After the Storm' is much more informed by my personal life than my other movies.

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.

I don't really like something serious depicted in a serious way; that's not my style.

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...

When you make a documentary, you have to adapt to what reality imposes upon you.

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.

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