For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
Page 61: No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of earth as my home. If everyone thought this way, people might notice just how foolish international friction is and the would be put an end to it.
I am not a special person, I am not especially strong; I am not especially gifted. I simply do not like to show my weakness, and I hate to lose, so I am a person who tries hard. That's all there is to me.
During the shooting of a scene the director’s eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the cameras are rolling, I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn’t right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way. I believe this is what the medieval Noh playwright and theorist Zeami meant by ‘watching with a detached gaze.’
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
Although human beings are incapable of talking about themselves with total honesty, it is much harder to avoid the truth while pretending to be other people. They often reveal much about themselves in a very straightforward way. I am certain that I did. There is nothing that says more about its creator than the work itself.
The films an audience really enjoys are the ones that were enjoyable in the making. Yet pleasure in the work can’t be achieved unless you know you have put all of your strength into it and have done your best to make it come alive. A film made in this spirit reveals the hearts of the crew.
I like silent pictures and I always have ... I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film.
Something that you should take particular notice of is the fact that the best scripts have very few explanatory passages. Adding explanation to the descriptive passages of a screenplay is the most dangerous trap you can fall into. It’s easy to explain the psychological state of a character at a particular moment, but it’s very difficult to describe it through the delicate nuances of action and dialogue. Yet it is not impossible.