You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films. I could always do something else if I got sick of it, like draw manga, or make my own films. I found it pointless sitting in my house not working, though I'd like to go on extended vacations from time to time.

I’d like to see Manhattan underwater. I’d like to see when the human population plummets and there are no more high rises, because nobody’s buying them. I’m excited about that. Money and desire—all that is going to collapse, and wild green grasses are going to take over.

Whenever someone creates something with all of their heart, then that creation is given a soul.

Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.

Children understand intuitively that the world they have been born into is not a blessed world.

Currently computer graphics are used a great deal, but it can be excessive.

I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.