It's True That The Best

This [the Earthquake] Was A Very Big Influence On Me, And The Issue Of Life And Death From Then On Does Recur In My Films.

You've Noticed That Same Joke Told By Two Different People, Once Works, And The Other Time Doesn't, Simply Because How The Person Edits It. The Silences, The Pauses, What They Neglect, What They Emphasize - All Of This Matters.

When I Met Akira Kurosawa In Japan, One Question He Asked Me Was, "how Did You Actually Make The Children Act The Way They Do? I Do Have Children In My Films But I Find That I Reduce And Reduce Their Presence Until I Have To Get Rid Of Them Because There's No Way That I Can Direct Them." My Own Thought Is That One Is Very Grand, Like An Emperor On A Horse, And It's Very Hard For A Child To Relate To That. In Order To Be Able To Cooperate With A Child, You Have To Come Down To Below Their Level In Order To Communicate With Them.

We Are Nothing But A Link Between Our Culture And What We Can Actually Produce.

I Don't Generally Derive My Stories From Novels. I Try To Turn Into Film Things I Have Felt Or Experienced.