Koreeda Hirokazu Quotes & Sayings

A lot of what happens in the world is full-on crazy and doesn't get reported on. — Shane Smith

Since the advent of the Internet - more recently compounded by blogging - everyone can be a published voice. Any cowardly, anonymous anger-monger can have an audience of thousands. That doesn't make them a journalist any more than my throwing an onion and a few carrots into a pot of boiling water makes me Julia Child. — Lynda Resnick

The biggest considerations I had were practical: how do you move such a large number of actors around a small space? So, for example, if I have to have the mother bring a pot of tea from the kitchen to the living room and serve it to the others, how do I, on a practical level, get everyone into the frame? Any decisions I made about the camera angles or movement came out of necessity, versus any sort of stylistic choice. — Hirokazu Koreeda

Films need people more than stories.
Landscapes also harbor emotions.
Music can blow like the wind through a scene. — Hirokazu Koreeda

But I do like to have peace and quiet for a good hour. — Bryan Ferry

I did want to become a novelist, but the program at Waseda was pretty intense in terms of language requirements - two hours of English and four hours of Chinese. I thought, what do I need this for? So I stopped going to class. — Hirokazu Koreeda

If you don't get the ending you desire ... have faith in the magic of new beginnings. — Rita Zahara

As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened. — Hirokazu Koreeda

Then what's the problem?" He was getting irritated now. "Are you scared, V? Scared that fucking me might turn into something more?" Taunting her, he continued, "Scared that I might just be able to get past that impenetrable outer shell? — Nicole Edwards

If a movie is nominated for, say, an Academy award, that movie will instantly become popular in Japan. There's always been a bit of a complex the Japanese have about being taken seriously in the West. — Hirokazu Koreeda

One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change. — Hirokazu Koreeda

But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all. — Hirokazu Koreeda

I don't believe in making movies to cater to a foreign audience. You never know what the reaction is going to be anyhow. At the time I made Maborosi, the Japanese movies getting any foreign attention were all period dramas and seemed to be about some representative element of Japanese life, and my movie was contemporary movie about one specific woman trying to understand her husband's suicide. — Hirokazu Koreeda

The contemporary Japanese directors who are well-known in the West - say, Kiyoshi Kurosawa, Takeshi Kitano, Naomi Kawase - are mostly unknown to Japanese, particularly of the younger generation. — Hirokazu Koreeda

In the neighborhood around Waseda, there were all these movie theaters, so every morning I left the house and watched movies instead of going to class. The experience of encountering films then is one of my greatest memories. Before that I'd never paid any attention to directors, but there I was taking a crash course in Ozu, Kurosawa, Naruse, Truffaut, Renoir, Fellini. Because I've always been naturally a more introspective person, I was more interested in becoming a screenwriter than a director. — Hirokazu Koreeda

In order to avoid sentimentality and to be able to write the screenplay with the kind of humor and irony necessary to keep the story moving, I needed to distance myself as much as I could from the characters, to try to get to a point where I could view them objectively. — Hirokazu Koreeda