Did you insert specific ambiguities within the script that would encourage Kiyoshi to think along specific locational lines?
When I wrote the script, it was my intention to direct the film, so I certainly didn’t insert ambiguities to encourage Kiyoshi Kurosawa. I inserted scenes and built characters that I felt portrayed Japan, and Japanese life, but I did it with the knowledge that the story was going to be on screen, so there had to be a cinematic undertone. To what extent does your screenwriting involve writing directly for a director — to get his creative juices flowing? My first objective when writing is to write for myself, because unless I’m inspired, how can an audience be moved or inspired or drawn into the world before them? For me, it has nothing to do with pleasing a director, and everything to do with pleasing myself and the audience. Were you responsible in any way for the various dei ex machinis near the end of the film? Not at all. The original screenplay that I wrote didn’t ask the audience to trust me here and there, then suspend belief when it was convenient for me. The script I wrote was
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