I try to take interest in whatever comes my way. Another aspect of this is [that] if at the beginning it seems like something I don't want to do, I ask myself why I don't want to do this and why I feel this way. It's perhaps rooted in the fact that I'm trying to avoid something.

If you're trying to be realistic and bring real life to the screen, you are going to have different elements. That's what I'm trying to do. As I make the movie, different elements come in naturally.

Every medium has its own kind of freedom. I don't want to just cross from one to the next. I want to enjoy the freedom each one has. Sometimes, you can do something for TV that you can't do in the cinema.

When you are completely satisfied with what you have made, you're pretty much done as a director. So when that happens, that'll sort of be the end.

In terms of making TV drama, not everything has to make sense. In cinema, you usually strive for reality and a natural environment, but in TV, it's more acceptable to do something crazy and break with naturalism.

As a filmmaker, you've got to have a nose for what's going on culturally. You have to feel it. It doesn't have to be manga or music, but you need some kind of antenna. That's very important.

You can't really change somebody completely, deep inside your nature. But I think what I did was admit to myself what kind of a person I was, and sort of get into the idea that that's who I was. And I think preserving that part of myself really helps me make movies.