Hirokazu Kore-eda Quotes

The first record I spent five years writing and it was an amalgamation of all the things that happened in my life from the time I was fifteen to the time I was twenty.

A lot of my work comes from my life experiences.

What I write is very personal, but not autobiographical. It's more 'thematically personal' - what's up in my life in terms of themes at the moment.

As I experience life and go through things, that's what I write about.

The story of 'Lasers' is my story. I didn't have to look too far to get subject matter for this record; it was stuff that was happening to me.

I've always drawn on bits and pieces of my own life.

You are always drawing from your personal life and using your imagination to fill in the blanks.

My films are always a reflection of where I am in my life.

I have long begged off the question of my albums reflecting where I am 'at' personally. There is more inaccuracy in that approach than accuracy.

My act has always reflected what's going on in my life.

I always write my music based on what is going on in my life at the time.

My lyrics are my diary - you're hearing every detail of my life.

It's such a private thing - 'my process' - I can just say that the work that I do is like therapy between me and the character.

I think most memoirs, though they purport to be about this particular time or this person you met, are really about the effect that person or time had on you.

One of the hardest things I've encountered whilst working on 'Pippin' is the consistent irony, as a reflection from the core material of the show, within my own life.

I always like to write where I'm at in real life into whatever I'm working on.

With every role that I do, I always see a little bit of me, a little bit of art and life.

That's the advantage of being a writer: No matter what happens, as long as you survive it, it goes into the work.

Live life before making movies, because you cannot make films about life, without having lived one.

For me, filmmaking is not exactly a career. I was never in it for Hollywood or anything. My films are markers of where I am in life, where I am in my head. So that's what I'm working on, and I try to keep things in proportion - life and filmmaking. One feeds into the other.

The joy of doing the TV or something like 'Sacrifice' isn't really the process of doing it; the joy is going through this real-life experience.

'The Missing Picture' is about my story and my parents. Before this film, I never said 'I' in a film, so it is very personal.

I decided with 'Savage Season' to use a lot of things in my life as the basis.

I see myself as an explorer more than a storyteller. A great storyteller, in control of her craft, must be the same person when she finishes telling a story as she was at the start. But I want to be transformed by my filmmaking, by the journey I take.

Your music essentially reflects everything you do, everything you've been through, in the deepest part of you.