'Like Father, Like Son' gave me the opportunity to show when it is not good with a father.
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I have never made a film to praise or to criticize something. That kind of filmmaking is nothing but propaganda.
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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.
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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.
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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.
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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.
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When you make a documentary, you have to adapt to what reality imposes upon you.
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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.
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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.