You were listening to The Next Best Picture podcast, and these are Daniel Howitz interviews with the director for living, Oliver Hermanis, and the film's writer, Kazuo Ishiguro.

Mr. Williams, a little on the frosty side, perhaps.

Not too much fun and laughter.

Brother like church.

What is it up it's more wonder I didn't notice what I was becoming

dad you're right if I need to be alive

for one day but But I realize it.

I don't know how.

Ishiguro, thank you so much.

It's such an honor to chat with you today.

You described Ikiru as having a profound effect on you growing up.

Tell me more about that.

What was that profound effect that it had on you?

Hello, by the way.

It's really nice to meet you, Daniel. A more obvious level, it was because I was a Japanese kid growing up in England, and it was actually very unusual for me to see any Japanese movies. In fact, it was very difficult for me to see any Japanese anything back in those days. And so when a Japanese movie would come on TV, I would watch it, even if it didn't look like the kind of movie I would like.

And on the surface, Ikulu wasn't the kind of movie, you know, I thought I would like when I was 10 years old, 11 years old.

But I watched it and it had an enormous impact on me.

And as I was growing up, all the way through my growing up and went through my

student years, it's a movie that I watched whenever I could. If it was shown on TV and when I was

older, I could go to Art House Cinemas. I would seek it out and I'll watch it. And I think part of

the reason was that from the age of 11 until I was 18, every day I used to travel to school by train.

And I would travel in with those commuters into London, those office workers.

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