Top 65 Quotes About Takashi
#1. His (Lloyd Kaufman) string of low-budget, lowbrow horror comedies stretching back to the '80s has been cited as influence by Peter Jackson, the Farrelly Brothers, Quentin Tarantino, Takashi Miike, and Guillermo Del Toro, just to cite a few prominent examples.
Lou Lumenick
#2. Even my pathological love of Japan and its beauties, glories and eccentricities is sorely tested by 'The Grudge 2,' from Takashi Shimizu, a movie so bewildering and impenetrable that I believe it siphoned off a good 40 IQ points.
Stephen Hunter
#3. [Takashi] Murakami, do you think he is spiritual? He is more like de-spiritualized. De-spiritualized might be the most contemporary aspect of the human mind.
Hiroshi Sugimoto
#4. Our lives are of great worth if we accept with good grace the situation Providence places us in, and go on living lovingly.
Takashi Nagai
#5. Japanese people accept that art and commerce will be blended; and, in fact, they are surprised by the rigid and pretentious Western hierarchy of 'high art.'
Takashi Murakami
#6. And when the moment came, even then Genji would be fortunate. He would die without fear, drenched in his own heart's blood, in the embrace of a beautiful woman, and she would weep for him.
What samurai could hope for more?
Takashi Matsuoka
#7. Filmmaking is not a balancing act, although some directors think it is. I don't believe in it. I like ups and downs. They're the best way to translate my feelings to the screen.
Takashi Miike
#8. Dawn couldn't come soon enough. He had to get her out of his life as quickly as
possible. It was becoming the most important thing - more important than breathing, living. He needed to get away from her, fast. Because he didn't want to let her go.
Anne Stuart
#10. I don't mind ratings boards. As a viewer, you have the right not to see a film.
Takashi Miike
#11. The word "to grieve" or "lament" in Japanese is actually made up of two different kanji characters - "sadness" and "resentment.
Takashi Hiraide
#12. I'm always very interested in breeding. Raising cacti is breeding. My lotus plant collection is breeding. The insects are breeding.
Takashi Murakami
#13. When you're dealing with Hollywood people, it creates a tight, tense atmosphere through the whole thing. And I don't like to work in that kind of atmosphere. I like to make my movies in a kind of relaxed atmosphere.
Takashi Miike
#14. The noble-minded do not thrust others aside in order to make their way in the world. But then they themselves are ultimately thrust aside by the advancing tide.
Takashi Hiraide
#15. Summer Hawthorne was simply more trouble than she was worth. At least as far as anyone with any sense would realize.
Unfortunately, Taka's common sense seemed to have deserted him in the last few days.
Anne Stuart
#17. He imagined fate as a goddess, capricious and fickle, or as a river, which could flood at any moment
Takashi Hiraide
#18. Chibi is a friend with whom I share an understanding, and who just happens to have taken on the form of a cat
Takashi Hiraide
#19. I can't single out one thing that influenced me. My generation was influenced greatly by the manga that came out during our childhood.
Takashi Miike
#20. At some moments, you feel attracted to someone of the same sex, even if it's not sexual. You just want to be like him.
Takashi Miike
#21. 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.
Takashi Murakami
#22. Galleries in the West have probably been looking for exoticism. That's the reason my paintings initially sold well, I think. And then once they started selling, people said my works were very detailed. They may have represented something Japanese to them.
Takashi Murakami
#23. I don't know if I would call it therapy, but filmmaking is really the only thing I know how to do.For me, making movies is a way to bring on change for myself, and I really enjoy that part.
Takashi Miike
#25. We want to see the newest things. That is because we want to see the future, even if only momentarily. It is the moment in which, even if we don't completely understand what we have glimpsed, we are nonetheless touched by it. This is what we have come to call art.
Takashi Murakami
#26. I'm very sad to be compared with Warhol and The Factory, because I have no drugs, you know. We have no drug culture in Japan! Maybe it's because our attitude toward labor is totally different.
Takashi Murakami
#27. In terms of making TV drama, not everything has to make sense. In cinema, you usually strive for reality and a natural environment, but in TV, it's more acceptable to do something crazy and break with naturalism.
Takashi Miike
#28. The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.
Takashi Murakami
#29. Betrayal was the name of the game - to get what he'd have, to use every weapon in his arsenal
Anne Stuart
#30. New York City is still the art capital - every time I'm in New York, I'm thinking about competition.
Takashi Murakami
#31. It's not really important to make skillful movies. I think expressing yourself really well, skill-wise, is not as important. I want it to be sort of raw and rough but new and fun to watch.
Takashi Miike
#32. I believe that every director's films reflect their lifestyle.
Takashi Miike
#33. In Japan, I focus mostly on sending messages through Twitter, trying to spread my minority way of thinking.
Takashi Murakami
#34. You can't really change somebody completely, deep inside your nature. But I think what I did was admit to myself what kind of a person I was, and sort of get into the idea that that's who I was. And I think preserving that part of myself really helps me make movies.
Takashi Miike
#35. My parents came from the Kyushu Island in the Southern part of Japan to find work in Tokyo. So we could only afford to live downtown, in a low-income area. It was just by the river, and whenever a typhoon came around, we were under water up to, like, here. That's the kind of place we lived in.
Takashi Murakami
#36. I'm always looking for ways to connect myself with American people and that American feeling. I'm trying to pick up on the feeling of places, like the Los Angeles feeling or the New York feeling ... Los Angeles is much better for me that way.
Takashi Murakami
#37. Unfortunately, it's not that it's not impossible for us to develop Final Fantasy 7 for mobile. It's that currently, space will be an issue. Phones won't be able to contain the space it takes. It's over a gigabyte. People are probably going to have to wait a few years.
Takashi Tokita
#38. By late autumn the yard would grow thick with fallen leaves, causing the landlady to heave many deep sighs.
Takashi Hiraide
#39. Every medium has its own kind of freedom. I don't want to just cross from one to the next. I want to enjoy the freedom each one has. Sometimes, you can do something for TV that you can't do in the cinema.
Takashi Miike
#40. For me, trying to expand the energy to make one movie in Hollywood would be the equivalent in terms of energy to making 10 movies in Japan.
Takashi Miike
#41. Bigger-budgeted films have more restrictions and less freedom to create. Because of this, I try to find freedom in the people I work with. I often work in ways I don't want to. It's more about controlling the situation. Lower-budget films are freer.
Takashi Miike
#42. The cat's manner of rejection was like cold, white light.
Takashi Hiraide
#43. Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think.
Takashi Murakami
#44. If you're trying to be realistic and bring real life to the screen, you are going to have different elements. That's what I'm trying to do. As I make the movie, different elements come in naturally.
Takashi Miike
#45. You can't really make something or make a movie and feel all through the process that it's a painful thing. It's not possible to do that.
Takashi Miike
#46. I wonder where it all comes from--this need to go to the place where the body has been laid to rest. It's the need to reconfirm how precious someone was and how irreplaceable, and the desire to reconnect with them on a different plane.
Takashi Hiraide
#47. I would like to live to 120, because conceptually, people can survive to 120. Every 20 years, it changes. So maybe, in the next 20 years people can go to space. I don't know what the next revolution will be. I want to watch.
Takashi Murakami
#48. Then she told me about a philosopher who said that observation is at its core an expression of love which doesn't get caught up in sentiment.
Takashi Hiraide
#49. People say that Nagasaki is famous for persecution and devastation, for it has known much in it's history. But Nagasaki is not the only place that has experienced both persecution and destruction The reason Nagasaki is famous, is because it is rebuilt, because it has always survived.
Takashi Nagai
#50. On the times when I used to make movies that were with a lower budget, nobody was expecting it to be a hit, and nobody was paying attention to what I was doing, and it was a free type of creative process. So, one way to reset myself is to go back to that kind of moviemaking.
Takashi Miike
#51. Looking back on it now, I'd say one's thirties are a cruel age. At this point, I think of them as a time I whiled away unaware of the tide that can suddenly pull you out, beyond the shallows, into the sea of hardship, and even death.
Takashi Hiraide
#52. As a filmmaker, you've got to have a nose for what's going on culturally. You have to feel it. It doesn't have to be manga or music, but you need some kind of antenna. That's very important.
Takashi Miike
#53. My aesthetic sense was formed at a young age by what surrounded me: the narrow residential spaces of Japan and the mental escapes from those spaces that took the forms of manga and anime.
Takashi Murakami
#54. I try to take interest in whatever comes my way. Another aspect of this is [that] if at the beginning it seems like something I don't want to do, I ask myself why I don't want to do this and why I feel this way. It's perhaps rooted in the fact that I'm trying to avoid something.
Takashi Miike
#55. In Japan, violence isn't as controversial as it is in the West. Pornography is more restricted, but it's not hard to make a crazy, extremely violent film.
Takashi Miike
#56. I've been making movies for a long time. The Japanese way of making movies has become second nature to me. To get away from that, I really try to surround myself with younger staff and approach making movies not like a veteran of the industry but always as a beginner and a rookie.
Takashi Miike
#58. And if I'm running away from something, I try to make myself face it and overcome that initial fear. As a director, I don't think it's possible to make a movie that you really don't want to make.
Takashi Miike
#59. I believe that when people try to live their life at the fullest, there's a certain laughter that comes out of it. The more they try to live their life seriously, the funnier it is. It happens all the time in our real life.
Takashi Miike
#60. Rather than a big figure, I guess you could say I'm more of an influential minority symbol.
Takashi Murakami
#61. When you are completely satisfied with what you have made, you're pretty much done as a director. So when that happens, that'll sort of be the end.
Takashi Miike
#62. I've been immersed in manga since I was a kid. I grew up with this culture. So I started to think about how to compare manga to contemporary art.
Takashi Murakami
#63. In Japan, I am famous in certain special circles - mainly as someone who is trying to break down and enlighten the conventions of Japanese art.
Takashi Murakami
#64. There's a photographer who says cat lovers always believe their own cat is better looking than anyone else's. According to her, they've all got blinders on.
Takashi Hiraide
#65. I feel like creating things without getting too hung up on little details, and paying more attention to the importance to the concept itself, is the way to move forward.
Takashi Tokita
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