現場錄了一下，大概整理如下：

Interviewer: In this film, the child actor plays such an important role. I heard you were ready to audition hundreds or even thousands of kids, but Fuki was the first who really stood out?
采訪者： 在這部電影中，小演員的角色非常關鍵。聽說您原本準備面試成百上千的孩子，但 Fuki 是第一個讓您眼前一亮的人？

Director: Yes. The moment she came to the audition, I felt she was the one. I asked what she could do, and she said she could imitate animals. I asked her to imitate a cat, but she replied, “No, I recommend a horse.” On the very same day, I wrote the “horse imitation” scene into the script.
導演： 是的。她一來試鏡，我就覺得對了。我問她會什麼，她說會模仿動物。我讓她學貓，她卻說：“不，我推薦馬。”當天我就把“模仿馬”的情節寫進了劇本。

Interviewer: And the racetrack scene came from that as well?
采訪者： 賽馬場的場景也是因此而來的嗎？

Director: Exactly. While scouting for locations, we came across the racecourse, and I immediately thought, “This is it.”
導演： 對。當時我們在找外景，偶然來到賽馬場，我立刻覺得——就是這裡了。

Interviewer: The film feels very autobiographical. Fuki seems like a projection of yourself as a child. How did you approach directing a version of yourself?
采訪者： 這部電影帶有很強的自傳色彩。Fuki 似乎是您童年的投射。您是如何執導這樣一個帶有自我映射的角色的？

Director: Although the story is fictional, it’s deeply inspired by the emotions I experienced as a child. In that sense, Fuki is an extension of myself. But because the actor is so wonderful, she brought her own spirit to the role, not just my experience.
導演： 雖然故事是虛構的，但它深深受到我童年情感的啟發。Fuki 既是角色，也是我的延伸。不過演員本身非常優秀，她為角色注入了我之外的靈魂。

Interviewer: And the title 《雷諾阿》 —where did that come from?
采訪者： 那麼片名《雷諾阿》的由來呢？

Director: I wanted a title not directly related to the film’s core message. I enjoy the gap between naming it after a French painter, while the story is about a kid in 1980s Japan. Later, some audiences even compared the film to Impressionist paintings—small fragments coming together to create a bigger picture.
導演： 我想要一個和電影核心信息無關的标題。我喜歡這種落差：片名來自法國畫家，而故事講的是80年代日本的一個孩子。後來觀衆還說，這部電影像印象派繪畫——由一個個小片段拼湊成整體。

Interviewer: Your previous film Plan 75 《歲月自珍》was about grief and loneliness among the elderly. This time, you portray a very lonely family. Why is loneliness so central to your work?
采訪者： 您的上一部作品《歲月自珍》探讨了老年人的孤獨與哀傷。這次，您又描繪了一個孤獨的家庭。為什麼“孤獨”如此核心？

Director: All my life, whenever I felt sad, I would watch films, and they always comforted me. So when I make films, I want to give that same comfort to people who might be feeling sad or lonely.
導演： 從小到大，每當我感到難過時，我都會去看電影，而電影總能安慰我。所以我希望我的電影也能給予觀衆同樣的慰藉。

Interviewer: There’s a detail in the film—the ribbon on the window. Could you talk about its meaning?
采訪者： 片中有一個細節——窗戶上的絲帶。它的意義是什麼？

Director: Fuki tied the ribbon because she went to the hospital every day. She wanted to see from outside where her father was. As the story progresses, the ribbon changes shape, symbolizing the father’s gradual approach toward death.
導演： Fuki 每天去醫院都會把絲帶綁在窗戶上，這樣她就能從外面看到父親的位置。随着劇情推進，絲帶逐漸變形，也象征着父親一步步走向死亡。

Interviewer: Speaking of animals, did you really spend time with the horse?
采訪者： 說到動物，您真的和那匹馬相處過嗎？

Director: It was a racehorse, not one trained for film. The environment was quite hazardous, so we always kept a safe distance.
導演： 那是一匹賽馬，而不是拍攝用的“電影馬”，環境其實挺危險的，所以我們始終保持安全距離。

Interviewer: How do you approach your writing process? Was 《雷阿諾》 written differently from 《歲月自珍》?
采訪者： 您的寫作過程是怎樣的？《雷諾阿》和《歲月自珍》相比有什麼不同？

Director: With Plan 75, I had a very clear concept and could articulate my ideas well. But for this film, I wanted to capture emotions that can’t easily be put into words. So I started by writing down key scenes I wanted to include, and then built the script around them.
導演： 《歲月自珍》時，我對主題和概念都很清晰。但這部電影，我想捕捉那些無法完全說清的情緒。我先寫下幾個關鍵場景，再逐步搭建劇本。

Interviewer: Did you really believe in supernatural powers as a child?
采訪者： 您小時候真的相信過超自然力量嗎？

Director: Yes, I did. But I think that belief was a form of escapism for me as a child.
導演： 是的，我小時候真的相信過。但我覺得那其實是童年時期的一種逃避方式。

Interviewer: How was it working with actor Lily Franky?
采訪者： 您和演員 Lily Franky 的合作如何？

Director: He’s a wonderful actor. Even just sitting or standing, he can fill the frame with presence. To me, he feels like a modern version of a classic stage actor.
導演： 他非常出色。即便隻是站着或坐着，他的存在本身就能撐起一場戲。在我看來，他就像是現代版的古典演員。

Interviewer: I loved the bridge scene with the rain. Was that planned?
采訪者： 我特别喜歡橋上那場雨戲。那是設計好的麼？

Director: Not at all. The script didn’t include rain, but it happened to pour on the only day we could shoot. It turned into a beautiful, unexpected moment.
導演： 完全不是。本來劇本裡沒有雨。但那天隻能拍，結果下了大雨。意外地成了一個極美的場景。

Interviewer: The film includes many objects from the 1980s—Walkmans, VHS tapes, broadcast TV. Why was it important to include these?
采訪者： 您不斷在片中加入80年代的實物媒介——随身聽、錄像帶、電視，這是為什麼？

Director: Because there was no internet then. TV and phone calls were the main ways people connected. Hearing someone’s voice on the phone gave a strong sense of presence, which is missing today. I wanted to recreate that atmosphere.
導演： 因為那時沒有互聯網。電視、電話是人們連接的主要方式。能聽到對方的聲音，那種“人的存在感”非常強烈，而如今已不複存在。我想重建那種氛圍。

Interviewer: Lastly, about the painting—what role does it play?
采訪者： 最後想問一下，關于畫作的部分。

Director: As a child, I even asked my parents to buy me a replica of that painting. In the 1980s, it was common to see Western paintings reproduced in Japanese homes, often in ornate frames. To me, it symbolized Japan’s admiration for Western culture and its desire to catch up. That’s why I used it as a key element of the story.
導演： 我小時候真的請求父母買過那幅畫的複制品。80年代，日本家庭裡常見這樣的西方名畫複制品，往往裝在華麗的畫框裡。我覺得這象征着日本對西方文化的仰望與追趕，所以我把它作為故事中的關鍵符号。

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