A Quote by Shigeru Miyamoto

I'm very impressed that there are so many fans - not just in Japan, but here in America - that are fond of the work that I've done. I'm actually kind of embarrassed by it all.
Wrestling in Japan, obviously, the fans are a little bit different - very quiet, very respectful in New Japan - but here in the WWE, these fans are going nuts.
I think actually what I'm going to do when I'm done and take my next vacation, is I'm going to go over and start unions in Japan. I'm going to unionize Japan. Because the way they work those crews is so criminal. There's no overtime, so they can just keep going.
I'll just say that America - us included - has a long way to go to catch up with the animated work being done in a handful of countries, namely Japan.
Maybe Japan itself is a little similar in that a lot of young people seem to have a little knowledge but not too much depth. I guess my perception of the art specialists in America or in Europe is that the art people are kind of mainly just the art people and that community is self-contained. But in Japan, it mixes with fashion and other things. I'm sure that many authentic art dealers or insiders didn't like the way that we presented our show in this very pop-y, accessible manner - just showing parts of our collections and selling prints and collaborative products.
So many times after a catastrophe like 9/11, Estonia in Sweden, the Holocaust or whatever, we are so fond of lifting up the hero examples, but actually 99 percent of survivors have done something that they feel very guilty about.
I can identify with Riho because I was the talent that didn't speak the language in Japan. I'm very excited for the fans to kind of build a relationship with her because it's going to take work from both sides to understand one another.
I really love Japan, and I liked living there very much, and there are so many terrific things about Japan. However, I do think what's amazing is that Japan really prides itself on being monoracial. It doesn't have the same kind of idea as in the U.K. or Canada or the United States, in which the idea of diversity is a strength.
I've done Last Samurai in Japan, in LA, in New Zealand. Even in Japan it is very hard to shoot, because there's been so many changes. Only around a temple can we shoot.
I tend to be known for different things. I mean, there are a lot of comics or sci-fi fans out there who sort of think of me doing that kind of work, but there are just as many people who like the CD covers I've done, or the children's books I've done. So different people like different things.
And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.
Everybody understands a slap in the face. In Japan, Belgium, or America, a punch is a punch. Comedy will be different in Europe or America or Japan, so my movies are very international.
I actually feel like the phrase 'big in Japan' is not appropriate for me. The reason is that there are more people who sympathize with my practice in America than there are domestically in Japan.
In Japan the fight is very cultural. The fans are very quiet the day of the fight. I was in a stadium fighting with 87,000 people and I could hear my sister talking to me. That's different than America.
The fans in Connecticut are just one of a kind. Not to take away from the fans of any other sport in any other country, but the fans in Connecticut are just diehard fans that you don't get very often and you don't see very often.
I spent a lot of time in Japan. To me, I felt like my career was kind of marooned out there. I didn't realize the extent of the reach that New Japan had in America and around the world.
I love to meet the fans. I just get embarrassed with those who weep. I don't know what to do or what to say. It's a very embarrassing situation.
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