Hiroyuki Sanada Quotes

None of us knows how long he shall live or when his time will come. But soon, all that will be left of our brief lives is the pride our children feel when they speak our names.

I've been wearing kimono for several years, and armor.

When i've done camera test, after we've shot and I've seen the monitor with the glasses (wearing a Kimono) and looking by myself in 3D. Oh my god. Especially for a Samurai film. I've never seen that. It's kind of a culture shock.

Keanu Reeves learned a lot, respecting the culture. I was surprised when I first met him. He knew a lot already and he learned a lot. And also he learned Japanese. It's incredible. On the set, switching between the Japanese and English, even for us, is very hard. It's complicated. But the first time Keanu spoke in Japanese it was a very important scene between us, and more than the dialogue's meaning, I was moved. His energy for the film, completely perfect Japanese pronunciation. It was moving, surprising, respecting.

When I was eight or nine years old, I saw the TV version of 47 Ronin, played by Toshiro Mifune. He played Oishi. That was my first experience. I watched every week with my brother. "Who plays Oishi tonight? Who will play Kira tonight?" And we fought every week.

It's a Samurai story [47 ronin], so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.

A lot of country making films in English, but in Japan we are very shy to speak English.

It's very difficult to introduce the world to our culture.

I believe, the Japanese film industry must be open.

I saw a lot of 47 Ronin on the TV, in the films, and I've done Chushingura Gaiden Yotsuya Kaidan [Crest of Betrayal, 1994] directed by Kinji Fukasaku.

I was a child actor, so when I started filming when I was five years old, it was a long time ago.

This is almost the most famous story The last samurai - Samurai story - in Japan.

I've done Last Samurai in Japan, in LA, in New Zealand. Even in Japan it is very hard to shoot, because there's been so many changes. Only around a temple can we shoot.

This is a good thing, mixing culture to make something new, something no one has ever seen. This is kind of a new history.

I've done a lot of Samurai film in Japan, and sometimes done the choreography by myself.

47 Ronin is a very special movie for me. Not only a Samurai thing. Not only a Hollywood fantasy. It has a very special mixture between Japanese traditional culture and Western culture for the costume, set, story. Everything. I believe it will be a very special film that no one has ever seen.

It was a black and white film [at first]. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting.

I was very comfortable on the set of Lost. I was so nervous when I went on to the set because I had just watched all the Lost episodes. I was, like, a fan. A big fan.

Especially for this film [ 47 ronin] there's a nice mixture between western and eastern. So Ronin wearing the boots, like Western style. It's a nice mixture.

Action is just one of my skills.

The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.

I am glad to be here to create a new history in our industry. I'm very proud of this.

I think it's very hard to direct foreign language actors, but Carl Rinsch found a great way. A special super visional way.

Carl Rinsch has a good balance between the visual and the drama and action, so I thought if he's going to direct, we can make a new, epic film. My fear was gone when I met him.