भावुकता से बचने और पटकथा में उस तरह का हास्य और व्यंग्य लाने के लिए जो कहानी को आगे बढ़ाने के लिए ज़रूरी था, मुझे किरदारों से जितना संभव हो सके खुद को दूर रखना पड़ा, ताकि मैं एक ऐसे मुकाम पर पहुँच सकूँ जहाँ मैं उन्हें निष्पक्ष होकर देख सकूँ।
In order to avoid sentimentality and to be able to write the screenplay with the kind of humor and irony necessary to keep the story moving, I needed to distance myself as much as I could from the characters, to try to get to a point where I could view them objectively.
In order to avoid sentimentality and to be able to write the screenplay with the kind of humor and irony necessary to keep the story moving, I needed to distance myself as much as I could from the characters, to try to get to a point where I could view them objectively.
जहाँ तक वृत्तचित्रों (डॉक्यूमेंट्री) की बात है, मैं पूरी तरह से मानता हूँ कि वे हमारी संस्कृति में एक महत्वपूर्ण भूमिका निभाते हैं। मैं एक साथ वृत्तचित्र और फीचर फिल्में दोनों बनाना पसंद करूँगा, लेकिन अभी तक ऐसा हो नहीं पाया है।
As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened.
As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened.
मैं विदेशी दर्शकों को ध्यान में रखकर फिल्में बनाने में विश्वास नहीं रखता। आप कभी नहीं जान सकते कि अंततः प्रतिक्रिया क्या होगी। जिस समय मैंने 'माबुरोसी' बनाई थी, तब जिन जापानी फिल्मों का विदेशी ध्यान आकर्षित हो रहा था, वे सभी पीरियड ड्रामा थीं और जापानी जीवन के किसी प्रतिनिधि तत्व पर आधारित प्रतीत होती थीं, और मेरी फिल्म एक ऐसी समकालीन फिल्म थी जिसमें एक खास महिला अपने पति की आत्महत्या को समझने की कोशिश कर रही थी।
I don't believe in making movies to cater to a foreign audience. You never know what the reaction is going to be anyhow. At the time I made Maborosi, the Japanese movies getting any foreign attention were all period dramas and seemed to be about some representative element of Japanese life, and my movie was contemporary movie about one specific woman trying to understand her husband's suicide.
I don't believe in making movies to cater to a foreign audience. You never know what the reaction is going to be anyhow. At the time I made Maborosi, the Japanese movies getting any foreign attention were all period dramas and seemed to be about some representative element of Japanese life, and my movie was contemporary movie about one specific woman trying to understand her husband's suicide.
यदि किसी फिल्म को अकादमी पुरस्कार (ऑस्कर) जैसी किसी श्रेणी के लिए नामांकित किया जाता है, तो वह फिल्म जापान में तुरंत लोकप्रिय हो जाती है। पश्चिम में गंभीरता से लिए जाने को लेकर जापानियों के मन में हमेशा से थोड़ा सा हीनभाव रहा है।
If a movie is nominated for, say, an Academy award, that movie will instantly become popular in Japan. There's always been a bit of a complex the Japanese have about being taken seriously in the West.
If a movie is nominated for, say, an Academy award, that movie will instantly become popular in Japan. There's always been a bit of a complex the Japanese have about being taken seriously in the West.
वासेडा के आस-पास के मोहल्ले में तमाम सिनेमाघर हुआ करते थे, इसलिए हर सुबह मैं घर से निकलता और क्लास जाने के बजाय फिल्में देखता था। फिल्मों से उस मुलाकात का अनुभव मेरी सबसे खूबसूरत यादों में से एक है। उससे पहले मैंने कभी निर्देशकों पर ध्यान नहीं दिया था, लेकिन वहाँ मैं ओज़ू, कुरोसावा, नारुसे, त्रुफ़ो, रैनोआ, फेलिनी का एक क्रैश कोर्स कर रहा था। चूँकि मैं स्वभाव से हमेशा से एक अंतर्मुखी व्यक्ति रहा हूँ, इसलिए निर्देशक बनने की तुलना में पटकथा लेखक बनने में मेरी ज़्यादा दिलचस्पी थी।
In the neighborhood around Waseda, there were all these movie theaters, so every morning I left the house and watched movies instead of going to class. The experience of encountering films then is one of my greatest memories. Before that I'd never paid any attention to directors, but there I was taking a crash course in Ozu, Kurosawa, Naruse, Truffaut, Renoir, Fellini. Because I've always been naturally a more introspective person, I was more interested in becoming a screenwriter than a director.
In the neighborhood around Waseda, there were all these movie theaters, so every morning I left the house and watched movies instead of going to class. The experience of encountering films then is one of my greatest memories. Before that I'd never paid any attention to directors, but there I was taking a crash course in Ozu, Kurosawa, Naruse, Truffaut, Renoir, Fellini. Because I've always been naturally a more introspective person, I was more interested in becoming a screenwriter than a director.
पश्चिम में जो समकालीन जापानी निर्देशक जाने-माने हैं - जैसे किियोशी कुरोसावा, ताकेशी कितानो, नाओमी कावासे - वे जापानियों के लिए, खासकर की युवा पीढ़ी के लिए, ज्यादातर अनजान हैं।
The contemporary Japanese directors who are well-known in the West - say, Kiyoshi Kurosawa, Takeshi Kitano, Naomi Kawase - are mostly unknown to Japanese, particularly of the younger generation.
The contemporary Japanese directors who are well-known in the West - say, Kiyoshi Kurosawa, Takeshi Kitano, Naomi Kawase - are mostly unknown to Japanese, particularly of the younger generation.
मेरे सामने सबसे बड़ी चिंताएँ व्यावहारिक थीं: आप इतने सारे कलाकारों को एक छोटी सी जगह में कैसे घुमाते हैं? इसलिए, उदाहरण के लिए, यदि मुझे माँ से रसोईघर से चाय की केतली लिविंग रूम में मंगवानी है और दूसरों को परोसवानी है, तो मैं व्यावहारिक स्तर पर हर किसी को फ्रेम में कैसे लाऊँ? कैमरे के एंगल या मूवमेंट के बारे में मैंने जो भी फैसले लिए, वे किसी शैलीगत पसंद के बजाय मजबूरी से उपजे थे।
The biggest considerations I had were practical: how do you move such a large number of actors around a small space? So, for example, if I have to have the mother bring a pot of tea from the kitchen to the living room and serve it to the others, how do I, on a practical level, get everyone into the frame? Any decisions I made about the camera angles or movement came out of necessity, versus any sort of stylistic choice.
The biggest considerations I had were practical: how do you move such a large number of actors around a small space? So, for example, if I have to have the mother bring a pot of tea from the kitchen to the living room and serve it to the others, how do I, on a practical level, get everyone into the frame? Any decisions I made about the camera angles or movement came out of necessity, versus any sort of stylistic choice.
मैं वास्तव में एक उपन्यासकार बनना चाहता था, लेकिन भाषा की ज़रूरतों के मामले में वासेडा का पाठ्यक्रम काफी कठिन था - दो घंटे अंग्रेज़ी और चार घंटे चीनी। मैंने सोचा, मुझे इसकी क्या ज़रूरत है? इसलिए मैंने क्लास जाना बंद कर दिया।
I did want to become a novelist, but the program at Waseda was pretty intense in terms of language requirements - two hours of English and four hours of Chinese. I thought, what do I need this for? So I stopped going to class.
I did want to become a novelist, but the program at Waseda was pretty intense in terms of language requirements - two hours of English and four hours of Chinese. I thought, what do I need this for? So I stopped going to class.
लेकिन तब विदेशी समीक्षकों ने तुरंत इसकी तुलना हाइकु, नोह थिएटर और ओज़ू जैसे निर्देशकों से करनी शुरू कर दी, मानो वह फिल्म एक तरह से जापान का प्रतिनिधित्व करती हो - जो कि, खैर, मेरा मकसद नहीं था। इसी तरह, 'आफ्टर लाइफ' के साथ, मैंने जानबूझकर एक ऐसी फिल्म बनाने का बीड़ा उठाया जो उस विदेशी धारणा से बिल्कुल अलग थी जो मैं सोचता था कि लोग जापान के बारे में रखते होंगे, और मैंने सोचा कि गैर-जापानी लोगों को यह बिल्कुल भी दिलचस्प नहीं लगेगी।
But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all.
But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all.
जापान में सिनेमा की मौजूदा स्थिति के सबसे समस्याग्रस्त पहलुओं में से एक यह है कि सिनेमाघरों में चलने वाली फिल्में बड़े पैमाने पर फिल्म स्टूडियो द्वारा नहीं बल्कि प्रसारण कंपनियों द्वारा बनाई जा रही हैं। वे या तो लोकप्रिय टेलीविजन नाटकों का विस्तार हैं या मंगा या एनीमे के रूपांतरण हैं। युवा जापानी लोगों को अच्छी फिल्मों से बिल्कुल भी रूबरू नहीं कराया जा रहा है। इस स्थिति को बदलने की ज़रूरत है।
One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.
One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.