Shioli Kutsuna

“But I really wanted to put in an Asian character, and if I'm going to use an Asian actor, I wanted them to be Japanese because, well, um, I'm Japanese.”

“Um, on another note, with the current technology, we can't shoot hair. So all we can do is take reference shots, and we later punch in one hair at a time.”

“We do it once like an air hug, where you hug from a distance. And then we do it again without the helmet.”

“Well, compared to like Clint Eastwood, I might be more stubborn. There are some people who will do 30 takes. James Cameron does over 30. […] Well, I think the first two or three takes are the best ones.”

“And you put all your thoughts into it, but there's a limit to what you can create on your own. The characters start lacking features. I think I only know about 20 to 30 different personalities.”

“In my case, I think about the world setting, then create the story. The character settings are pretty vague at first. The details aren't refined yet.”

“You can also see the background and where the enemy is located. It doesn't exist in the studio, but it appears on the screen.”

“I need to check whether I can love this person or not, whether or not I can work together with them.”

“But it's meaningless if you lose your own colour in the process, so you have to find a place for yourself among the symphony but bring out the Japanese part of yourself too. Like, you can hear a Japanese flute from within the symphony.”