When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.

Beautifully-acted and precisely observed, ILO ILO is an amazing debut, full of heart and intelligence.

The most mysterious feminine factor, the existence that we men, we don't know. It's woman. It's feminine. That's what the sword is about. That's the symbolic meaning of the sword.

Emotions serve characters' purposes. That is their motivation.

I think doing period piece is easier, because after a certain distance, everybody is equal, I think. The relative contemporary is harder. I think that's the way it is.

It was nerve-wracking [to unleash 'Life of Pi' to the world]. The first show to the journalists, that was the first one, so I was very uptight. Then I felt okay about the reception because we did a press conference with good and friendly questions, although people looked serious. So really, after the show you went to - the premiere - that reception tells me I think the movie worked, so that was a relief. I started to feel deflated.