Just as in “The Boy and The Beast”, Hosoda uses fantasy sequences and time travel in “Mirai” to flit the little boy up and down his family tree to his own parents’ and grandparents’ childhoods.
And it’s been good and fun for me to have to improvise like this.” When we run out of books from the library we just open our hands as if they were a book and make up a story. “My son never stops asking us to read to him - though it was mostly my wife who does it. That is why I wanted to tell these stories.”įatherhood has also changed Hosoda’s approach to storytelling. “The family has become my subject because it is changing and we don’t know where we are going. “I have made some progress since,” Hosoda laughed. My first child had just been born and it shows someone who does not know how to be a father. Hosoda said the family has become the big theme of his work, particularly since his fantastical “The Boy and the Beast” became a worldwide hit. “Japan may seem like a conservative country but the roles within a couple, and what constitutes a family, are changing.” Today that game no longer works, because the family has changed a lot.” Long ago parents played the role of being the parent.
“If you want children to trust you, you should not lie to them. Maybe that is why it amuses the grown-ups so much,” he said. “If in the film you see the parents saying what they really think in some situations, it is because I did not want to lie to children. Trying not to fight in front of the children is one thing, but we should not lie to them either, Hosoda believes. As will the strains parenthood can put on couples, as the architect father agrees to work from home while the busy executive mother tries to make up for lost time at work.įailing completely to balance the household chores, the father further irritates his wife by pretending to be the perfect new man in front of their admiring neighbours.
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