"This desire to be together in order to not feel alone is an unfortunate symptom, in my opinion. Every person needs to learn from childhood how to be spend time with oneself. That doesn’t mean he should be lonely, but that he shouldn’t grow bored with himself because people who grow bored in their own company seem to me in danger, from a self-esteem point of view."
"I never could do any kind of a morality tale or pretend that I know some truth that I need to deliver. What I feel very strongly about is that what I can do — and what narrative is best at doing — is exploring some universal concept and defining the edges of what the question is. Sometimes that’s the most beneficial thing; let’s just talk about what this question is and how the question works instead of pretending that I as an author have some kind of meaningful answer."
"I believe nostalgia has many appearances and that it’s not just the privilege of adults. An adult can feel nostalgia for a specific time in their lives, but I think children too can have nostalgia. It’s one of mankind’s most shared emotions. It’s one of the things that makes us human, which is what makes it difficult to define. It was when I saw the film Nostalghia by Tarkovsky that I realised that nostalgia is universal. Even though we use it in Japan, the word ‘nostalgia’ is not a Japanese word. The fact that I can understand that film even though I don’t speak a foreign language means that nostalgia is something we all share. When you live, you lose things. It’s a fact of life. So it’s natural for everyone to have nostalgia."
"While you’re thinking and thinking, your brain looks for wording, the surface. What you have to do is keep thinking and working hard and you break through, falling through into the complete darkness. Only then, will you be able to see the light, open your mind, open your heart and see your images…I take it for granted…Sometimes the filmmaker falls into the old trap that they’re very much afraid that the audience will become bored. You should not be defeated by that threat. That’s why the American films are too much in the face, rather than keeping space. We do not have to speed up the tempo to make the audience involved in the film. As long as you really tap into the children’s feelings and try to get the real essence, you will never lose their patience."