“Never allow oneself to remain the same – like a river, always renew yourself. I’m always wondering about the paths that would open animation to become a real dramatic art.”
“The way I was brought up was to think of yourself as a person who had an obligation to use your talents in any way you could. Whether you were a woman or not didn't make any difference.”
“Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”
“One of my art teachers put me onto trying to find my own art theory. After many morning walks…an idea hit me that seemed like a complete revelation. It was to compose motion, just as musicians compose sound. [The idea] was to lead me far, far away from wanting to excel in…traditional art.”
“I’m not too bothered about whether my film is Japanese or non-Japanese, I don’t particularly aim for a non-Japanese style […] I myself don’t really fit into Japanese society so maybe that’s just the natural outcome.”
“Nothing in the world can be compared to the human face. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”
“I show true things using fictional techniques but maintaining truthfulness — that's where my approach differs from Ozu. He wanted to make film more aesthetic. I want to make it more real. He aspired toward a cinematic nirvana. When I was his assistant, I was very opposed to him, but now, whilst still not liking his films, I'm much more tolerant. As for me, I'd like to destroy this premise that cinema is fiction.”