Maborosi | Hirozaku Kore-eda

good evening everyone welcome to the Billy Wilder theater home of the public programs for the UCLA film and television archive I'm the programmer at the archive thank you all for to the latest screening here to Casa Luker da de cinema from the outside in a citywide series dedicated to the work of Japanese master judo Kazuko da da this program began earlier this week with screenings of nobody knows an after life at USC in the downtown independent respectively and before moving what and before it moved westward with our screening last night of still walking I've seen a number of familiar faces that all of these screenings across the city so I'm very happy to see that a number of you have been taking this journey with us with director Cory ADA in person alas this is the last night of his in-person presence here at the screenings although we will be squirt showing one more of his films tomorrow at 7 p.m. aired all which is a fantastic film if you haven't seen it it's kind of unlike I think anything else in his body of works so if you get a chance to see it come back tomorrow night and see that at 7 p.m. tonight of course we are very pleased to be showing his debut fiction feature film about Rosie from 1995 it has been a great honor and privilege to be able to host director Cory ADA at all of these screenings he will not be here tonight for the introduction but he will definitely be here for a Q&A following the film so please stick around for that I do want to say that it takes a number of partners to make a series like this possible so I want to thank them right now first I just want to say that the whole series is being presented by the Anaya Nishat of for globalizing Japanese humanities at UCLA and West State University so please help me give them both a round of applause for making this series possible I want to give a special individual shout out to Professor Michael Emmerich at the anigh initiative for really making this series possible and for making so many of the Japanese programs that we have done here recently at the water possible too so please help me thank professor Emmerich we have another a number of other partners working with us to make this series as the success that I think it has been so I want to thank the Japan Foundation Los Angeles the Academy of Motion Picture Arts and Sciences the USC School of Cinematic Arts and the UCLA Terasaki Center for Japanese studies we're also we've also been very happy to work with acropolis cinema for two of the screenings in this series Acropolis was founded and run it's founded and run by Jordan Kronk and his co artistic director Robert Koehler the screens of afterlife and tonight's screens are both being co-presented with acropolis cinema so to say a few words about acropolis Anna please help me welcome to the stage its founder jordyne crunk [Applause] thanks Paul thank you guys for coming it's great to see such a big crowd normally I'm sitting out there looking up here so this is strange for me so I'll do my best my name is Jordan Kronk I'm a film critic based here in Los Angeles I run acropolis cinema for those who don't know I'm assuming many new people are here and haven't been to an Acropolis screening before we are Los Angeles's newest screening series for experimental undistributed and international films we mostly show newer films but we're now collaborating with some organizations like the archive and gotta start showing some older films we have a or generally we show one film a month at a variety of venues we were a itinerant organization show a lot of films downtown at the Downtown independent for example which is actually where our next few shows are just to run those down real quick on November 7th we're showing the new restoration of Pedro Costa in 1994 film Casa de lava which recently premiered at the New York Film Festival so that'll be the LA premiere of that restoration on November 15th we're collaborating with Los Angeles Film Forum to show a 1979 Venezuelan film called Bulevar a tropical symphony which that's part of their is an ism ISM experimental cinema in Latin America series which is part of the broader Pacific Standard Time Latin American series so we're very honored to be collaborating with them on that as well and then also at the Downtown independent on November 21st and 24th we're showing the new or one of the new Hong sang-soo films called on the beach at night alone and that'll be the only Los Angeles screenings of that film which will be two screenings on a Monday and a Friday if you guys didn't pick up a program when you walked in there are some out in the lobby you can find out all our I've all the screenings listed there but there's also an essay about mr. Cory ADA's films in here that you might be interested in and has our website and email address and everything so you can contact us after the screening my co programmer Koller critic and programmer will be on stage here with Cory ADA to discuss tonight's film Abruzzi and and Caritas films in general I think so we just want to say thanks to Paul and KJ for allowing us to collaborate and we will talk to you guys after the show thank you very much Thank You Jordan yes so please stick around for the Q&A afterwards with carnie Ada and Robert Koller and our interpreter for tonight is David Neptune who was here last night so without any further ado turn off all of your cell phones and please enjoy Lavar OC welcome Oh chuckles all I know doc Sangeeta I don't see a lot of you out there it makes me very happy thank you well I want to take us back to the to the beginning which this movie in some ways marks for your work as a fiction filmmaker take us back to to a little bit before you made mother OC and when you were making nonfiction films and then what fed into your ideas from Alborosie which is based on a novel by mia mark Otero who also is the novelist basis of muddy river which was a deeply influential film for Cory Adam I never knew a professional Alice no no dear no memory lane exactly it was a long time ago I know more moto moto every time now to move another Mikado it's cool jakotsu commit chicken octet a tribunal says aggregation I do much today Donovan the me nauseous Tonto yet taken a cadet you named the yo-yo cause even more shocked that hold the documentary documentary oh yeah he must stay means you're hot cider vinegar demo somos in Spanish oh no Bank Amiga Scottie Tory title schedule number top you all to you on the h-bomb coconut again 10 you know Tom Kubik I can jet Okanagan oh Messiah other talks like that look at the very much this work I saw so no Kuni nano second each other taru what happen in some conch cochon oh wow eat opossum unit she thought so sorry much there most of us who know Oksana Thursday should I not sure she mustn't know ox a mr. sonoda Saturday now could talk some more she's I yo stay ready to go eat Giangreco got a kannada bhavana so no down no somebody sat so she put on a very cool no require cut the grief walk it CT should I wash this at no he Cronkite and scale off me igano-kun Hana co-producer Corral my another guy Emma Kate Oh documentary Kosovo clue dings through tomorrow almost against happen under ghetto to me and I got you a little astonished so to go back to the very beginning originally when I was doing a lot of nonfiction work I started off in a TV production company as an assistant and I was there for four years and after that time I was finally able to do something of my own when I was 28 years old so and that show the program was called sketchy which translates to but I guess and it was about a woman who lost her husband in basically her husband committed suicide because he was caught in the middle of this trial and caught between two parties and he ended up committing suicide and the subject of this documentary was this this woman and so while I was interviewing her and working with her for about a year her sort of processing and going through the grief work this producer approached me and said well actually before that I had written a book about it as well and so a producer approached me and said maybe we could bring this to the world of fiction and create a film by gaetano shosetsu Canyon aerodrome on static image it sois up to this narrow talk me ma shebanski de pasar con la historia Miyamoto Terry day the toecutter is nay thing I think a catch is you mean Greg Khanna Nico Caserta oblique oh he's onto some kisser contour Eskimo no body mistake Amato Thomas velocity I still need some of Miyamoto Gonzaga Vega Catherine she cannot abuse I could throw cool take it no cannot do from what and a scalable mob Monica so no documentary oh yeah epic emotes no mama da ganna Mugato got a kid with total Terra Cotta call security token e et Rio knock us to the snare chato challenges team you cannot even get isthmus so that kills you thank you Nintendo so we caught up you're gonna cause him with us hunting commission so in college I also wanted to be I wanted to be a writer I wanted to write novels and I really loved Miyamoto tato Miyamoto and his work and muddy river which in was made into a film in 82 by director named Oh buddy and I really love that as well so to turn that into a film I felt pretty nervous to be embarking on such a thing but to go from documentary to the fiction world it kind of it felt like someone was telling me to do this so I started work on this film in 92 and it took about three years to make this film what's what's notable about muddy river is is that kohai Oguri the director that was his debut feature and it's also extraordinary unjustly a little known in in the US and probably internationally as well what was it what was it about Miyamoto's writing his his fiction that that attracted you I could if I could add to me cookies a Coolidge it's what you say no mana Rogo I know Matt - II chapter saw UK hired - mistake at all I know not only be an image to a cameo but not to tell me to pay him docket with the smashed Aikido teens accord or aqua naps now cannot touch told me no doneness on e catalytic attention a walk-on you know is she's anemic at the kanakam story got arias didn't know you gotta in associate Nancy oh no no DVD story guitar you tremble have the state piranha ito misaki cotton I not oh god no Hawaii in our once again a cook furthermore some oh so you gotta eat too you know how to stop it it will pick it up Kakaako so not soft a can I not come up that support so much so um I think from with the original I think the grief work is everything and in the original novel there's a lot of monologues of her kind of talking to her husband or or speaking about her husband and so in in this film as well I think at the very end you see that there's a letter in a pen and that sort of thing so in the final shot in the exactly and so contrary to what the novel is like I wanted to make sure that I to in a way honor it not follow it to a tee and so I decided to take out all of those monologues and so that was something that attracted me to the subject but I also knew that I couldn't follow that format and and really the the the film in a lot of ways is so focused on on amiko that we're quite aware of Mikiko assuming the actress who plays Yumiko her presence and her her moods the she shifts from really are joyous presence he's really quite happy in many many scenes and the sadness takes over as time goes on especially when she moves to to the coastal village to the fishing village what as a new director then not having directed actors before what was your approach with her to elicit such a rich performance these reactions I know component under on an abuse agasshi Monday even not quite erudite of a creamy that's in the same a metallic a demo Kannamma hydrocodone today I know well they told you to stuff on to income but the hakka pass until it's corrode I start summary on the schedule a millionaire now it's titanium already I know you Kodaka chopped tomato so G that I did delicacy now the well first of all I'd like to say that this is my debut film and it's really embarrassing I saw just a little bit of it just now and I almost just went home without doing this Q&A I gave it a hundred percent at the time but seeing it now there's so much that I want to fix so I just wanted to put that out there first yeah Muniz you're gonna mind I know that ki staccato and indeed oh I know [Music] no moto I shown you but it's not you is on the other koga about Matias meta dance kid oh yeah okay what kind of nodded towards Mirage Fujiki mode today but you don't not use decimal Joe Sangha has rated on Italian partisans in the air tightness or standard a three-day non Inca to you some they were nice to touch me I Hodges me Tanaka day she know your machine some money hunters hope you may not wanna know stotras help oh my goodness I started mascara no coming up on a mistake she's know a moccasin song God almost laureate the show cars to be done sooner so the hajimete did snow Amazon oedema so dismissal hi mother so commodity so this is 25 years ago so I'm not sure how much I can say from memory but originally it was actually a different actress who was slated to be in this film and but we couldn't get the funding for the film and for various reasons she dropped out and so I I said that I wanted to use a inexperienced actress and a person by the name of Ashiya no Yama recommended Sumi in this film and that's where it started - cause you have to look me in the bottom on the schedule come on acoustic tail blow they joke about you go look at all so much avocado you're Nikita's root ing taco and I can't stop - nah - when you got it she's mastered a waka gym so that assume can you produce honey cannot really tight Danis you stay so calm mood awfully nice untucked ago started to move in G taco tokenizing staccato and I've studied the kunde God's good pyramid a focus on up okay my dicta mask at all would you two stop oh no I mean she and I can't get out of an emo today today oh sorry to run up do you know the Machine a photo collage on history tunic on Joe Hogan whoa there's an indeed oh you're cute au revoir okay did I can Joe or papaya to describe I come up with the connector Hogan's gonna knock the collagen I could put up t don't get it up there is no food so Connie operatically scary toca so or the inhibited in a Minato toca so you're monogamous your own Trojan boots oh nice to know konso conky's i said oh you're not so you suck him in short I show no conservative start down out there somebody call doc no in-studio god no action ing do committed Amano she she night I can you know I don't like a fool you monitor her native so when I first met her she had read the script and she had actually lost her father to illness and so she could sort of understand and relate to the feeling of this character and she had never acted before and the moment that she left I said to my producer that's she's the one and so it was me who had never directed and her who had never acted before the two of us together looking back on it now that's quite an adventure we went on but with a lot of trust and sort of a co creative atmosphere we it and we made something great and I think and it really wasn't about straight acting it was more like placing her in different environments and the different scenery sort of adding to the emotion of moments and so the the way that the light sort of beams through a scene or the sound of the waves sparks emotion that sort of concept was something that was there from the beginning for me so it wasn't really about you know how how was I able to direct her really well or something like that I'm not trying to run from the question but that's that's what I would say I would that though you you asked Mikiko to to not think about you Makos loss the character of humic oh but to think about her own loss for the purposes of scenes and that ties in just now with what you mentioned about her own family tragedy so this seemed to be key to to her performance so call me to mythic you will not guess most megiddo I I I think so I did I did say that and I'm not sure if that was the right thing but that's what happened but that's also not not a common directors trick wouldn't say it's so much a trick but it's certainly a technique that directors will ask actors to draw upon their own personal experiences for a character the the there's a there's a fascinating set of threads that run through the movie and I think the one that viewers in her first viewing really notices the bicycle and I'm wondering was that was that was it and I original idea in your part was that in the novel was where exactly that come from because it's a beautifully sustained image that runs all the way through from beginning to the end of the film and actually covers basically three generations of characters okay so cool I know no soonduk potential all I know thank you not she bout to chato Tokyo 708 oh my mask at all are you against ignoring my stuff the three castes so Tata G Kurdish the detainees at was intentional barren all day even to Canada medicinal kioku non Akane oh honey toaster with the surrogate Oki recall codicil to Karachi dearest OC mother didn't say oh stop the no kimochi of toast a thank gosh they could field while the kinetochore doc Pomus in second you better go in the side table almost flew up from day I think it's hard to remember exactly I've forgotten a lot but the the stolen bike that was painted green I think is kind of a slightly shocking a little moment that happens and that was in the original novel but planting that sort of as a seed in her mind the sound of the bicycle and that sort of thing that motif is is something that I think that I came up with and employed in the script and I mean you find so many different variations on it all the way through to the end when little boy is learning to ride the bike at the at the very end and and I think in that way too just to add to it although we think of this bike so often as a memory of death the memory of Ikuo at the end it becomes almost a symbol of life going on so this Amiga kawaru so done so yeah na kanojo No so no good if I don't know your knee okay to cut the cotton guy tataki me so no GT Nisha - Ramona no Mei yoga I know kind of neurotic of the marketer Cara Hyundai make it up I'm sorry I wrote about the table are you ending any standard on us the whole the it's really about her grief work and how she sort of opens up from from that and so you know the bicycle sort of needed to hurt her image of the bicycle needed to change for her to basically move on and so I think I think that's what I was trying to do with the end I'm not sure if I've done a good job of it but that's what I was trying to do I think yeah well the Venice Film Festival jury certainly thought at work giving giving you the best director prize as Ed's we've seen some of the more recent films this week and certainly moving on through to still walking you know the viewer can see continuity and themes and and and concerns in in the movies especially the way that memories of death the way death in life haunts characters haunts families families continue living but there's a memory of death as well as the the reality of it and that's even in their newest your newest film the third murder this is a wonderful crime movie premiered this year that that is a that seems very personal to you that concern wonder if you talk about that because I think it's something that runs through so many of your movies she needs a telescope and the member and the West much conduct a wonderful day after I vertebra me you could cook you cannot cut me cuckoo - Oh guys had really not there no I should know any this on the memory to kind of death do not know cruelty even did Joe Young got on schedule double I know she saw no monetary gain Saku Saku God okay guru Minato he's never know mulatto ma I know you who are in this cat all dislocated arm on overall sake no choosing me she got study food ie garland same name each key they run the rocket on its own I in Toledo soon any Sun so when you're in is she shot domey Ohana she - no no I was talking about the Saudis Russia our literacy study much a diary to llamo Hadi re-watched seen that you no kioku to you Noah you need no shima almost a bit scatter - Johanna - Stassi Danica's who you go tomorrow to usual my karate Akane no college career in ecology mundo mo kawaranai tiene todo so so funny he must've landed a shot Gavin II just I know can we walk under there in this film and in afterlife I think there's definitely themes that are similar and so when I started going to film festivals I was often introduced as you know even in it would be printed above my my photograph death and memory you know and I felt a little bit uneasy with that but about half of my work has been based on original novels that exist and half are not and for some reason with the films that are based on those that have original novel are are in fact mostly that this that type of theme and it was the same with our little sister which was a film about four girls who are sort of brought together by their father's death and then it's not exactly related directly to my own life that's not necessarily what my life is like so I'm not really sure why I go there I'd actually like to ask someone why that is I know Japan I can get it oh so no motto or did that get me done the schedule who knows how keen to hurry she's Annika tarakoga Terry Hana Saddam on the CEO Lee Soo Jin Koga Ciccone no toes dead she shot oh no no knock out the kanojo vegetable mode Jin se toca you don't know come right in scoffs oh no so I was keen on directing today I lost it or you know Korea today the steerable Ginga to know more igano to seen I know she got an energy to even up de Minas genius an idol so koto de mundo y Matt Damon okra banana educated to Nazca danke so no see Chateau is home ziege bakumatsu desicion Gino Kamisama Montana I know de kamisama no karate Nisha right a cool she shot me ready to conquer goodness can I do my disco I was shown a yoko kanno so you saw your kimochi in addition conducted an epic no achieve and we know she shall be related shishani higashikata she's a got catechetical case the photo I got a quite mono Devon I see how no conducted no interview Torito no no cool Seco what the chica has murder he's an actor I don't know say no not anymore she have commodity did go here so still kanji teens honey Duncan I gotta call me tech crew say she need Sato she totally called Terry Terry Terry Upton's Tara she attractive okay so you wanna bashed it email if I dunno what not so you can connect it to us or even Akane it's a little eunuch isthmus thinking a little bit more about this I feel like a lot of these films themselves and and the characters are about sort of speaking to the dead and so she's you know thinking about the dead through through the course of this film and so it's the same in still walking in some ways they're they're all aware of the brother that that died they they kind of a compare the present moment to the actual present moment and if he were alive and they and so in Japan I feel that it's not really about a belief in God necessarily but a belief in the dead and how the dead watch us and that's something that I feel directly that they are watching and so it's like they are speaking to us all the time and so but it's not a scary thing it's and and it's not that they disappear when people die it's a maybe it's sort of different sense from a Western way of thinking about life and death but the way I see it death doesn't begin at the end of life it's that life and death run parallel at all times and they reflect each other so I live that way and I think that translates to my films as well that's beautiful well I want to open it up to our questions from the audience sure there's quite a few we can start over here in the middle on the aisle right here it is a beautiful film so you said watching it now you wanted to fix a lot of things what's the biggest thing you change now if you could come on away Sakata Omata Judeo got a lot so Google has it the kids how I directed the kids I would have seeing how they move in the scenes I definitely would have allowed for a lot more freedom now yeah yeah so no one separate Mysterio by July Ananda vana oh yeah it's my team I know all be taking me II totally get on up so did not fancy London a cool most caution no college debut Sakurai sure I don't want to see Mero Nagas Nagasaki katachi talk like a Totoro no kotoba talk called her irate or no Khun Kaew do you know yeah yeah them politically right there there let me tell it okay Keegan okay night the world island sir day but most most cause she's so cute that's good well apart what because medieval combat of us babies active I felt like most of the shots every shot seemed to be very thoughtfully and beautifully composed and that it just seemed like it was overdone and so I can't do much about it now that was my debut film but and I thought that the the ebbing the ebb and flow of scenes there wasn't much of a break and then a lot of intense focus and that sort of Evan flow so I would have done that more but I did my best it was it's my first time I seen this movie and I really loved it and I want one thing I notice is that the other people only wear black at for the first half of movie and people start to have different colors when one you know in the village and especially for you cool I like that that the the girl another woman she she the only two times she wears not black is when it is toward the end the one is like a dark red dress and and then the last seen wearing a white shirt and blue blue skirt so in that design and what's the well it seems like what's the meaning of that and and why not not only date you but like all the people wear black at the beginning and I showed here is video 9 DNA it all got you don't know nosotros tsukitachi de Connery so yeah kono machi the kono enough cooking I doubt that kumara to come say Megiddo Connery Utah taking me to show cash theorem this you don't know yeah Kurama no Tokido the Kuna a three word I know mean I mean I touch the autocracy a mosquito he showed costume design hydrated camera Michiko sample his own eco setting up awesome designer a mistake kanojo to Madonna kanojo told a bukavu could die schema I know designers on total the critic oh no oh oh no oh oh just an otaku near and donaga hopped a pencil come on Yoko Kanno Eden of cocktail Wow no no no kitty Hasegawa no finishing you gotta mow hopped up there the bukit shot oh no you show no imaged Ocasio toaster ah another the monocyte right there another very tight what other so sweet oh god no oh no she must use can a canary ye so no kanojo god so no does it come on I know you know Akane kind of yoga I know I know you know captain while mother was a domestic at all hand you can break a detention City sets much degree master none of the cornerstone Bachus Altima Muslim Homs you can't go home discuss about the nineties vitality no you're absolutely correct and in your observation and this film it's not it's not about realism because you know you might say oh you know in that small time no one would be dressed that way or that kind of thing but the colors did symbolize something and they were intentional for example there's no patterns the costume designer for this film her name was Michiko Tamara and she is a very unique character she wrote I really loved her she left the script when I first met with her she had all these pieces of fabric taped to different parts of the script for different moments and through the entire script and when I started to explain what I wanted for the film she said quiet you know you don't need to say anything I know exactly what you want and so so I trusted her she said you know she had moments where dark symbolized something and red symbolized something and that sort of thing I don't really remember what they symbolize now but but she spent three hours explaining what she had planned for the entire film and during those three hours I probably spoke for only about five minutes so she was a pretty she was a real character but she was also a really great great artist talk to me most of Canada like the noir what does she know yo no se que vão sweetie she then calls Antony congratula I'd like to attend a dancer another thing that she said was by the way all of my costumes I'm designing with the intention that this is all natural lighting so don't use any lights okay I know both natural right obeys and he connected secondly they got Okada Jeremy to come on Korra was a mystical symbol got natural dye to Devin itís so I prefer natural lighting so that's kind of how this film was designed and so I don't think she would watch the film and have a problem with it but it's not all natural lighting somewhere in the back way up there make them Mike or Mike so on director I'm a story artist for feature film I really like your film I note and start to watch a film like a couple years ago from my work there's always the question that traveling because all I do is kind of meet the audience X expectation and I have to you know count a lot of audience ability understanding the film and when I watch a film I got a feeling that from the film I start to feel a little bit odd why the character I made a choice stuff like that and throughout the film and towards the end I start to understand it a little bit but not quite I'm somewhat satisfied leaving feeling very complex so I'm wondering when you are coming up with ideas during story process do you count audience view expectation their ability to understanding is that a part of your concern if so is that part of your inspiration or is that part of your struggle or restriction that's my question I don't think about that other more I know I'm kinda into navasana side so I study already data moderate or super yonder at all hey Tony Tim come by night dark sugar Toto I don't know so you come by Connecticut a mono material they feel kinda basically this is anecdotal use I thought I noticed a tribute to dr. ah Kodaka Terranova Derek our story anemic at it's great do you should book same pioneer at a summit or initiative in the sky go I know boogity you started sorry okay so Lana somos en panne you're at Inova storage stochasticity box in testimony market at sciutto don't andando scuitto when Amory Takara Teredo muy Cara omega2 esta mujer miss a teratoma train engineer Tom Izzo Serena Cano botch antimony see yami-san demo ye she vetoed miec you know using the more you see that economic Parrikar story mean Qatari gotta do it - Fausta mas uno a gobo I know suck you wanna sister documentary no - da da da da da tunak sorry touch say this cat it's good to us tell me why stop stop each night or you must act at all even though most remote through inácio stony cut up the caste or at tomorrow Tom nur though you feel Johanna start you could start a car dr. Anna's hajimeta War Admiral kabocha you could start a car the auto iPod digital they unacceptable congratu nice car this whatever cometh from the times when I was working for a TV production company I was told to make films for one specific person and in mind and so basically what I was told by one of my co-workers our mentors at this TV production company was that don't think about such a big target like an audience or the general public or something like that because then the the art is going to be diminished but if you just choose one single person it could be your grandmother it could be an old friend or your wife or someone and speak directly to them then that's going to be the best thing to do so in the case of this film I made it specifically for to to speak directly to the woman I made the documentary about who lost her husband to a suicide and then there's one more thing which is that to tell a story that's entertaining I do think about where to start the story for it to to bring the point home and be entertaining and how to tell the story and that sort of thing but that's about as far as it goes we have time for one more question go down to the front here we go thank you very much can I get like ask two questions you can ask two questions in one or two questions quickly okay yeah I'm trying to be quick so the first one is like very specific to this film so at the beginning of the film it was like the girls grandma was always like going out of like she was like I'm returning to my home like I'm going back to my homeland so I'm just wondering it's only like five minutes though so I'm just like wondering the significance of this part and also I think it might be related to because the woman's second half husband who went to Osaka but he also like went back to his homeland for his beloved one which is his first wife so I want wonder was that connection between these two like characters so no meeting again second episode another autumn oh I know to convert a cup to you today - imma watch an episode one day I know she's in canonical Ghana welcome on our couch tall guy Oh signal Cotto Oh Yoshi can still tell about what about my sky denying a little oh sorry not started toget Austin is a subtle definitely so you cool I know we'll be the constant Naga non Cassano me no Mukesh Carini he related smell go to arrange and I got till now got no cattle okay so you cool donate food to Nana can spiral a decimal so no Coco no Jumanji de la condición Akane I don't do yoga to turn against a Kuno Soviet hero to Sanjaya now a nobody episode obelisk the that was both the points that you brought up are in the original novel the old lady the grandma in the beginning leaving I think was to sort of show that that when she was a little girl she experienced losing someone for really no reason and that sort of leaves this thorn in her heart and so when her her new husband talks about the light that sort of beckons people and and people can just get sort of pulled toward that light that's sort of touching on that fear that she's had ever since she was a child and that's the mob ROC well thanks very much query Assam for your your visit here to Los Angeles for your cinema thank you David for your terrific translation and Thank You audience one more one more Kumar thing man worth it yeah I know the pocono sake know what I see Nemo x2 na kita doc a mistake da-da-da-da-da-da my stop Antonio no contacts and eat eat eat eat Tony I don't abuse a casita oxidase Miroku on me mara humming quite a few more edgy way through told ya the monsoon a memo in Sachsenhausen beers - Mysterio motto freedom adopter and SK Dominic imma filmed a Jewish dinner aggregator Noah not gonna dictate smart ossobuco down in nan desuka Bangkok a lotta meter cuckoo Dima Oh Joey any touch up there yeah no no no super ostomy Donna hey got da so then I not the cause you can sit on up till now cool kids that Terry knew is that Terry Moore kumite got an epiphany some time for this stop stop first of all um thank you so much for those of you who invited me here and showed so many of my movies I really appreciate it and this has been a great experience there's so many of you here today and to show my debut film is really honestly an embarrassing thing I was quite worried but seeing it projected on film I feel like film is really just great hi the new film that I've shot is also on film but not many theaters project film anymore so that's too bad but the seeing it today here with all the scratches and the noise and everything I think adds to it and I felt like you know oh that I felt I remembered the joy of watching film and I really felt that so thank you all very much [Applause]