Shinya Tsukamoto on A Snake of June (2002):
"I always felt that if I were to make an erotic film, I would use the image of skin covered with water drops. When it gets humid and hot in Japan a lot of girls start wearing miniskirts, which provokes some men to start stalking them. There is this kind of erotic atmosphere in the air around that time of the year. Also, I always think of the correlation between the decline of physicality and the modern concrete city. We live in such cities and little by little we lose this physicality that is a basic part of humanity. But if water enters into that correlation, this stimulates the growth of weeds and plants between the concrete, which in turn attract insects, and brings life into this concrete world. New life is born and whether you like it or not, this confronts you with the physicality inside yourself.
I wasn't sure whether this kind of correlation would be a suitable subject to explore in cinema, though. But that feeling changed when I saw Tsai Ming-Liang's film Vive L'Amour. I felt it was about the same kind of subject, the loneliness of people who live in a city. It made me realise that I could adapt my idea into a film."
โ Shinya Tsukamoto, interviewed by Kuriko Sato, MidnightEye (October 23, 2002)
God, I wish I were Tony Leung Chiu-wai. I don't care if I would have to be as short as 5'7" now that I'm 6'0". I don't care if I would have to whisper inside a tree's butthole or star in cheesy films made by Wong Kar-wai or be a cuck. I just want to be h https://t.co/caXXQWiKJX