I would say that 'After the Storm' is much more informed by my personal life than my other movies. — Hirokazu Kore-eda Informed Copy Share Image
When I was a child, I loved making stories, so I thought maybe I would be a novelist. — Hirokazu Kore-eda Child Copy Share Image
The children in 'Nobody Knows' had a resonance with me. The children are projections of myself. — Hirokazu Kore-eda Children Copy Share Image
Sometimes when you watch children, you feel that they show emotions that you, as an adult, can relate to. — Hirokazu Kore-eda Children Copy Share Image
I am hopeful that films can connect people who are in conflict in a separated world. — Hirokazu Kore-eda Cinema Copy Share Image
If my films did better at the box office in Japan, it would be easier to get them made. — Hirokazu Kore-eda Better Copy Share Image
When I have been told that my films remind people of Ozu, I have never been too convinced. — Hirokazu Kore-eda Been Copy Share Image
When I am 60 or 70, I am sure I can still continue to make films on families. — Hirokazu Kore-eda Cinema Copy Share Image
I believe that any auteur categorised in terms of an -ist or an -ism wouldn't be able to capture the complex essence… — Hirokazu Kore-eda Believe Copy Share Image
I wanted to make 'Nobody Knows,' a kind of summation of the experiences I gained from making my first three films, the… — Hirokazu Kore-eda Bad Copy Share Image
I watch 'Electronic Boy' faithfully every week - not because I like the show but because I'm interested in where the smartest… — Hirokazu Kore-eda Direction Copy Share Image
When I make films, I don't think of any other directors or their work in terms of the rhythm of the editing… — Hirokazu Kore-eda Cinema Copy Share Image
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 Copy Share Image
It's definitely good to have a hit from time to time, though not too often. If you have a few hits in… — Hirokazu Kore-eda Big mistake Copy Share Image
My mother used to work in a bank in Tokyo. It was a busy district, and after work, she used to go… — Hirokazu Kore-eda Bank Copy Share Image
When I choose child actors, I chose them for their personalities. And then I work with their own vocabulary, so I'm not… — Hirokazu Kore-eda Actor Copy Share Image
We used to have prawn tempura: that was my mother's favourite dish. But she had to go out to work instead of… — Hirokazu Kore-eda Find Copy Share Image
I have been told that... time doesn't flow in a straight line in my films. It goes round in a circle. Sometimes… — Hirokazu Kore-eda Circle Copy Share Image
As the Japanese family gets more and more atomized, grandparents don't live with the nuclear family, so parents of children can't consult… — Hirokazu Kore-eda Children Copy Share Image
In the eighties, there was a huge shift in the humor of Japanese television. Up until then, the humor was garnered by… — Hirokazu Kore-eda Eighties Copy Share Image
With 'Nobody Knows,' I consciously set out to make a fiction film, which is a different approach from 'Distance,' but I still… — Hirokazu Kore-eda Children Copy Share Image
All my mother ever wanted to talk about was what she hated about my father and the times he cheated on her… — Hirokazu Kore-eda Cold Copy Share Image
When you make a documentary, you have to adapt to what reality imposes upon you. — Hirokazu Kore-eda Adapt Copy Share Image
I think a lot of Japanese morals are built around what the dead would think of us. — Hirokazu Kore-eda Around Copy Share Image
There was a time when I thought Kim Novak was the sexiest woman in the world. — Hirokazu Kore-eda Sexiest Copy Share Image
'Like Father, Like Son' gave me the opportunity to show when it is not good with a father. — Hirokazu Kore-eda Father Copy Share Image
I never want to be the all-knowing god of the story, manipulating what's to happen or the action. — Hirokazu Kore-eda Action Copy Share Image
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 Director Copy Share Image
My father did not have a lot of security in his life. He did odd jobs. He had a real struggle to… — Hirokazu Kore-eda Cybersecurity Copy Share Image
I particularly relate to the films of Mikio Naruse and Shinichi Kamoshita, a person whose work I watched very much as a… — Hirokazu Kore-eda Cinema Copy Share Image
My mother loved films! She adored Ingrid Bergman, Joan Fontaine, Vivien Leigh. We couldn't afford to go together to the cinema, but… — Hirokazu Kore-eda Cinema Copy Share Image
It is righteous to receive state subsidies to make films that criticise the state - I want Japanese people to accept such… — Hirokazu Kore-eda Accept Copy Share Image
A lot of people, especially Japanese, come to the theater to have a good cry. — Hirokazu Kore-eda Come Copy Share Image
Japanese feel an intimacy with the dead, at least for people up to my generation. — Hirokazu Kore-eda Dead Copy Share Image
I'm less interested in death itself than in people whose lives are touched by it. — Hirokazu Kore-eda Death Copy Share Image
