With [screenwriter Kogo] Noda and me, we see alike about staying up late and drinking, and things like that. That is the most important thing.
Yasujiro Ozu (via communicants)
The more life is what it is - ordinary, simple - without pronouncing “god,” the more I see the presence of God in that. I don’t know how to quite explain that. I don’t want to shoot something in which God would be too transparent. So you see, my first films are a bit naive, too simple. It is very hard to make a film, so I did it with great simplicity. The further I go on in work, the more I see difficulty in my work, the more careful I am to do something without too much ideology. Because if it is at the beginning, it wouldn’t be at the end. I want to make people who see the film feel the presence of God in ordinary life, like “Une Femme Douce” in front of death. I think back to the five minutes before she is going to kill herself. There is something there ideological. That death is there and mystery is there, as in “Mouchette,” the way she kills herself, you can feel there is something, which, of course, I don’t want to show or talk about. But there is a presence of something which I call God, but I don’t want to show it too much. I prefer to make people feel it.