When I met Akira Kurosawa in Japan, one question he asked me was, "How did you actually make the children act the way they do? I do have children in my films but I find that I reduce and reduce their presence until I have to get rid of them because there's no way that I can direct them." My own thought is that one is very grand, like an emperor on a horse, and it's very hard for a child to relate to that. In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them.

There's nothing in Chinese culture that is an equivalent of the geisha. It's so different, so special to Japan.

Japan's biggest problems are conservatism and cowardice.

Opening new stores outside of Japan is important, but training our employees is even more important.

There is fear as to whether Japan, reduced to such a predicament, could ever manage to pay reparations to certain designated Allied Powers without shifting the burden upon the other Allied Powers.

I speak of the old Japan, because out of the ashes of the old Japan there has risen a new Japan.

Almost a century has passed since Japan first entered the world community by concluding a treaty of amity with the United States of America in 1854.

Relatively speaking, Japan looks the least uncertain market in regard to politics and the economy.

There was a possibility that the negotiations would come to a deadlock if Japan did not pay.

Many years ago, we were only able to build boxes. Today, architects from all over the world are working with us - Zaha Hadid from London, Gerkan, Marg and Partner from Hamburg, Kengo Kuma from Japan. We brought design and digitalization from abroad to China.