Kore-eda Hirokazu Explains Why He Never Films Children Crying – and What Ken Loach and Hou Hsiao-hsien Taught Him

Kore-eda Hirokazu Explains Why He Never Films Children Crying – and What Ken Loach and Hou Hsiao-hsien Taught Him hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 24, 2026 1:40am PT Kore-eda Hirokazu Explains Why He Never Films Children Crying – and What Ken Loach and Hou Hsiao-hsien Taught Him By Naman Ramachandran Plus Icon Naman Ramachandran Latest Vino G. Bastian, Pevita Pearce, Faradina Mufti, Indra Jegel Lead ‘Miracle in Cell No.

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I don’t shoot it,” the Japanese director said at an In Conversation event at the the Singapore International Film Festival on Saturday. “The ideal is that after viewers finish watching, they remember that child’s smile and cry.” Related Stories Taylor Swift Spends Her 100th Week at No.

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Previous recipients include Im Kwon-taek, Garin Nugroho, Jafar Panahi and Deepa Mehta. Popular on Variety Kore-eda said his methods with children have grown more flexible.

Through “Shoplifters” and the films he made abroad, “The Truth” and “Broker,” he did not hand children scripts. Instead, he rewrote dialogue around the personality and vocabulary of the children he met at auditions, so that they only spoke lines they could say with conviction, and then fed them lines on set or described a situation and let them talk freely.

On “Monster,” he gave the young cast scripts, judging that the subject was risky enough that separating the children from their roles was safer. He now decides child by child and film by film, he said.

Two directors shaped that approach. Hou Hsiao-hsien , Kore-eda said, joins in when children are playing in a scene, slips out once the camera is rolling and lets them keep going – a trick Kore-eda now uses himself.

From Ken Loach , he took a lesson about judgment. In Loach’s “Kes,” a boy discovers the bird he has raised dumped in a trash can after his brother kills it, and the young actor’s reaction looks nothing like a performance.

When Kore-eda met Loach about 20 years ago, while he was making “Nobody Knows” and wrestling with similar questions, Loach told him he had only instructed the boy to go and look for the missing bird. Asked how he had weighed the ethics of that, Loach said he understood the risk but was confident that his relationship with the boy could repair any hurt.

Kore-eda said the lesson was that Loach was weighing each shot as he went. “I keep it firmly in mind that judging things that way – it worked on the last shoot so it will work this time, or a method that worked with the last child will work with this one – is the most dangerous thing in d

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