On his way in filming

In my childhood I did not take any interest to films. I wanted very much to work in Toyota Company and to deal with car designs. But I failed to graduate from the institute and had to leave; actually I was made to leave. I had to perform as a comic. The opportunity to become a director was accidental. And later everything settled and I developed an ardour for television.      

On relation with his movie characters

One cannot say that each personage played by me is myself. When I enter my part, certain distortion happens. It’s impossible to calculate where the part of me is. There is a lot of imagination and layers. 

On profession of direction

When there are interesting topics, I will continue working. When I consider my previous film to be bad, I try to eliminate defects in my next work. When my film gets published I am always disappointed, and I begin to shoot my next film. I mean this is constant dissatisfaction. I got recognition in Russia, but in Japan there has not been due appreciation. I’m even ashamed of. So there is no limit to perfection.    

On creativity sources and teachers

I cannot point out a film director whom I like most of all. I like different works by different masters. I do not recognize anyone’s work fully. For example, I recognize single films by David Lynch, but not his creative work on the whole. I cannot name someone to be my teacher in the full sense of the word. The exception is Akira Kurosava, whom I love very much. But he was not my teacher in technical aspect. He just was very careful to me. I would call him to be my spiritual guru.  

On filming education

All means are good to become a film director. If you have an opportunity (including money) you may start filming at once. What matters is reflecting on why you want to become a film director. I teach at the State University of Japan at the filmmaking faculty. But it’s little that I can really teach, while the audience is not well-trainable. And when I work at a film, I’m a prey to doubts regarding each episode. I have no self-confidence.    

On editing

This is one of the most important stages. If we compare filmmaking to car production, then a shot material is a heap of spare parts. You cannot forget or miss something, as the car wouldn’t go without the steering wheel or other unit. At this stage I feel like a lord. I can transform the shot scenes.

On belief in God

I believe when things are bad with me, and when I’m all right, I begin to lose my feeling of faith.  

On working with actors

The masters like Kurosava and Osima have their own style of working with actors. They could afford shooting where actors ad-libbed fully. I cannot go this way. When I don’t like the playing of an actor, I cut it out from the final variant. Or I may ask the cameraman to turn the camera away. I see how this actor exerts oneself. However, everyone has its own range.   

On possibility of working in Russia

I’m quite willing to shoot something on a condition there is some interesting scenario.

On attitude towards animation, in particular towards anime culture  

There are admirers of this kind of art. There are people who do not understand it. I’m not fond of animation, but I do not consider it not to be worth of attention. 

On cinema as ideology

On one hand, cinematograph is an art; on the other hand, it is a commercial enterprise, as it exists in the world of capitalism. If the filmmaking starts imposing ideas, then we shall come back to fascism.  

On working with producer

Producer spares me of adversities. He gets a lot troubles from me. Indulging me, he has to give in often. When contradictions appear, I do it my own way. It’s all because I’m a poor film director.  

On belonging to culture: west or east

Japan is a country of ancient and richest culture. Unfortunately, now this culture is getting degraded and it is necessary to support it. 

On combination of atrocity and humor

There is always something tragic in comic, and vice versa. One may see something amusing in an act of violence and to look at it from a different aspect. It’s hard to avoid violence nowadays, but it may be tried to be smoothened.   

On permanent team

When I work, I have my own camera crew. We have shot 14 films together. They catch my meaning at once.  

On chance and occasion in life and work

Everything comes differently to people. Some move slowly towards their goals, some have periodically good opportunities. However, it’s no good idea to count only on a good luck. 

On Kitano’s audience

I make films for grateful viewers who say “that was interesting!” after watching it.