A Quote by John Foster
Since my Japanese isn't very good, I had to have an interpreter to communicate with most of the crew.
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I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
I travel a lot. Japanese culture is very ancient and very strong. That's why most people who commission work from Japanese architects expect them to create works that have an element of exoticism, the kind typical of Japanese culture. I don't do that.
Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.
Since I was born I wanted to entertain and communicate. I wanted to communicate so badly ... My sixth-grade math teacher taped my mouth. I'm still out to get her [for that]. It was very traumatizing!
I've had quite a lot of bad experiences with Japanese sweets. I reckon, Japanese...they can do most things really well but sweets, they're a bit dodgy.
For every advance that the Japanese have made since they started their frenzied career of conquest, they have had to pay a very heavy toll in warships, in transports, in planes, and in men. They are feeling the effects of those losses.
The Japanese garden is a very important tool in Japanese architectural design because, not only is a garden traditionally included in any house design, the garden itself also reflects a deeper set of cultural meanings and traditions. Whereas the English garden seeks to make only an aesthetic impression, the Japanese garden is both aesthetic and reflective. The most basic element of any Japanese garden design comes from the realization that every detail has a significant value.
I haven't done it by myself at all. I've been surrounded by a really, really good crew of all ages. I think it's important to have a good age range in the crew so that some of us have experienced that period, or something close to that. But the script, of course, is really inspiring and you just have to trust that. Sometimes on film a glass can be as big as a car, so if the details are right, then they take up as much space on screen as the streets that we didn't have a chance to show as London really has changed since then.
If you're Japanese and you signed up for Pinterest in Japan, you see Japanese ideas, not American ideas that look Japanese - it's a very big difference.
If you've seen 'Spirited Away', 'Spirited Away' is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.
The soul, fortunately, has an interpreter - often an unconscious, but still a truthful interpreter - in the eye.
NASCAR does a good job of trying to keep things equal with new rules. We're not allowed to have computers in our cars to tell the crew what's going on. So the only thing you have is the driver, and the driver-crew chief relationship. That's the most important thing.
I had never spent any time in Asia before, so when I flew over to film 'Dramaworld' in Seoul, the cast and crew and I became very good friends. That was the first time I had an experience like that, which I treasure and hold dearly.
I'm challenged to races. Never a stranger. I've had a good friend of mine who, to be honest, is tiny and, like, should have assumed that I could have beat him, that I'm faster than him, and then crew members, two different crew members. I'm 3 and 0.
It's pretentious to say, but my art is like a little Zen story, a story with a question mark at the end. People can take from it what they need. If somebody says, "Your art is very funny," I say, "You are totally right." If somebody says, "Your art is very sad," I say, "You are totally right." In Japan they say, "Your art is very Japanese, you even look Japanese.Your great-grandfather was most surely a Japanese man." And I say, "You are totally right."
These people looked Japanese, were originally Japanese, were numerous. We had no way of knowing to what extent they had been infiltrated. To their great credit, it seems not to have been very much at all. But I can understand why. And I rather respect Eleanor for standing out against the tide at that point. But it certainly was a tide. And I'm not going to say it was unjustified.
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