, stars as the mother of the story. And the polymath, Oscar-winning composer Ryuichi Sakamoto, who died in March, wrote the film’s score — his final known music. recently sat down with Kore-eda at his offices in Tokyo’s Shibuya district to discuss the making and meanings ofThis is the first time since your that you’ve worked with a screenwriter.
to describe it, so I guess there will be a lot of people coming to the film with Rashomon in mind. But as you just astutely pointed out, when you get to the third chapter, you will probably know that what we wanted to accomplish is something different. And as you just said, it’s about the existence of the children. We see that the single mother, Saori, is completely engaged with bringing up her child. She may feel a little overbearing at times, but she’s a good mother.
Hmm, did it change me? I suppose, of course, working in France and South Korea helped me grow in some way. Working in those situations was about learning how to draw things out without using language. That was fascinating, but also a very big challenge. Coming back to Japan to shoot this film, everything felt so clear to me. There was no doubt on my part during the entire filming.
In regards to what you said about a commentary on social institutions, in many places, but in Japan especially, we see examples of how the individual is sacrificed to protect the organization or institution. I do think the school is an example of that archetype in this story. But what was more interesting to me was the teacher’s personal hobby — of finding typos in newspapers and publications and then mailing them into the publishers.
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