Biography

During the war I lived in the spirit that I would die for the emperor because the emperor was a god. When after the war, when it was announced the emperor was no longer a god, he was just a human being, it was a great shock to me and I felt that all the gods who had lived in Japan had all become mortal rather than being gods. Of course, this threw me into great despair. But then it led me to have a curiosity about dealing with this type of theme afterwards -- that perhaps people become gods, gods may crash down and become people. So that kind of fluidity is something that became of interest to me as a 15-year-old boy.

In actual life, of course, we live and have experiences, have certain emotions. But I think movies have shown depths of emotions and kinds of emotion that we might not normally come across in our own lives. So we are emotionally educated by seeing films. And some of our emotions might be much more heightened than they are in real life.

One thing I can say is either to look at films very carefully, watch a lot of films, or don't see any films at all. Just imagine!

I was already fourteen when Japan lost the war, so it was a very tragic event for me that the U.S. forces occupied Japan. The scenario for that film was written by a poet who was six years younger than I am and for people in that age group, seeing the American occupying forces -- jeeps, tasting delicious Hershey's chocolate bars melting in their mouths -- that was all indications that there would be a wonderful bright future ahead for them. But I was thinking at that time that we were going to face some dark times in the future. So there is a mixture of that kind of optimism as well as despair and sadness that were the reactions to the end of the war.

The theater cannot be just showing reality. It must show some reality but it also must include fiction in order to be able to reach the audience. Truth lies in the very thin layer, a layer like skin, that lies between fiction and reality.