When I Think Of Tokyo Story, Yeah,

A Book, At The Same Time, Also Has To Do With What I Call A Buzz In The Head. It's A Certain Kind Of Music That I Start Hearing. It's The Music Of The Language, But It's Also The Music Of The Story. I Have To Live With That Music For A While Before I Can Put Any Words On The Page. I Think That's Because I Have To Get My Body As Much As My Mind Accustomed To The Music Of Writing That Particular Book. It Really Is A Mysterious Feeling.

When I Start, I Have A Feeling For The Characters, And Maybe The Shape Of The Story. Sometimes I Might Even Have The Last Sentence In Mind. But, No Book I've Ever Written Has Ever Ended The Way I Thought It Would. Characters Disappear, Others Come Forward. Once You Start Writing, Everything Changes.

Everyone Reads A Different Book. That's What's Interesting. Everyone Sees A Different Film, As Well. We Bring Our Past Lives To Whatever Work Of Art We're Experiencing At That Moment, And That's What Makes It Interesting. It's Not Mathematics. There Are Different Answers For Different People.

Generally, I Don't Want To Do Things. I Feel Lazy And Unmotivated. It's Only When An Idea Grabs Hold Of Me And I Can't Get Rid Of It, When I Try Not To Think About It And Yet It's Ambushing Me All The Time. I'm Thrown Up Against A Wall. The Idea Is Saying To Me, "you Have To Pay Attention To Me Because I Am Going To Be The Future Of Your Life For The Next Year Or Two Or Five." Then I Submit. I Get Into It. It's Something That Becomes So Necessary To Me That I Can't Live Without Doing That Project.

Actually, Screenplays Were Much More Detailed Than What I Did In The Book In The Book I Had To Invent A Style For Communicating What The Sensation Of Looking At A Film Would Be, Whereas The Screenplays I Wrote In Paris Were Actual Blueprints For How To Do The Film, With Every Gesture, Every Little Movement Noted In Exhaustive Detail.