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.

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.

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.

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.

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.

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.

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.