A Quote by Hirokazu Kore-eda
I have never made a film to praise or to criticize something. That kind of filmmaking is nothing but propaganda.
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A war film can be propaganda and they're very valuable as propaganda, as we realized in Britain in the Second World War. Film as propaganda is a very valuable tool. It can also demonize, which is the dangerous side of a war film as propaganda. But there are war films that are not propaganda. It's just saying 'This is what it's like.' For 99 percent of us we don't know what it's like. We have no idea. So to reveal that to the audience is powerful.
There is nothing else that so kills the ambitions of a person as criticisms from superiors. I never criticize anyone...If I like anything, I am hearty in my approbation and lavish in my praise.
'Gandhi' was a well-made film but surely not my best. It had flaws, which I understand two-and-a-half decades after I directed it. I will never call it a propaganda film for the Indian Congress, but it could have been made better had I concentrated on certain minute details.
If they want to criticize me, I don't care; I don't mind. But they must criticize me fairly. Usually, the criticism is not fair. Or the praise, even the praise sometimes is not fair.
You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.
I hate political films that have one particular message that they're trying to convey. I think propaganda is very dangerous, and it's very easy for anything to slip into it. I also think that propaganda is something that defies the identity of cinema. I hate propaganda in cinema, even if it was promoting the political stance that I myself am allied with. I always say that the responsibility of a film is first and foremost: To be a film. It's not a manifesto, it's not an op-ed.
Nothing is more annoying in the ordinary intercourse of life than this irritable patriotism of the Americans. A foreigner will gladly agree to praise much in their country, but he would like to be allowed to criticize something, and that he is absolutely refused.
With filmmaking in general, I have never absorbed the traditional knowledge of film history or filmmaking. It has always been just pick up the camera and go figure it out.
Anything in any way beautiful derives its beauty from itself and asks nothing beyond itself. Praise is no part of it, for nothing is made worse or better by praise.
Filmmaking creates a sort of - trust, maybe. It has led me to a group of people I feel good with. We have something in common because of film, when otherwise we might have nothing.
Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.
Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.
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.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I don't want you to praise me...Some praise me because I am a colored girl, and I don't want that kind of praise. I had rather you would point out my defects, for that will teach me something.
There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.
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