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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
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Hirokazu Kore-eda
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'Like Father, Like Son' gave me the opportunity to show when it is not good with a father.

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

I've been a fan of Yoshida Akimi's manga for a long time; she's one of a few women's manga writers that I always read.

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.

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.

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.

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

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.

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.

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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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.