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Mamoru Hosoda

So London is a city that has high standards in what art is. And to think that there was an exhibit showing my work…is an honor.

We always barely make it. No matter what the circumstance, it's always tight… “(laugh)” Or rather, “(sob)”

[Translator's note: He really did say, “parentheses laugh” “parentheses cry”]

Although…then, what if we don't make the deadlines? That wouldn't be good ;

[Translator's note: He really did ask me to include a kaomoji]

I think animators are actors. So I think of myself as casting animators to do the jobs that fit them. So it's not like I always have the same people doing the same job, but instead I adjust to the content of the film. For this film, the animation supervision is done by Hiroyuki Aoyama and Ayako Hata. They have different last names, but they are actually married. And because they are married, they were able to depict what they did in Mirai.

Your films are often referred to as “family films.” Do you worry at all about being typecast as a filmmaker? What kind of themes would you say you're most interesting in exploring?

For me, I am most interested in depicting the change of children. The change and growth of children. The children is the focus. But when you portray children, consequentially you depict the people around them, which is their family. Perhaps that is why people think of my films as “family films.”

So the next film will probably use more, and maybe eventually my films will be full CG someday.

This film, Mirai, has a 4 year-old as the protagonist, and that was a challenge, and I know that therefore Mirai will open up the Mirai (future).