现场录了一下，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? 采访者(cǎi fǎng zhě)： 在这部电影🎬中，小演员的角色非常(fēi cháng)关键。听说您原本准备面试成百上千的(de)孩子👶，但 Fuki 是第一个让您眼前一亮的(de)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. 导演： 是的。她一来试镜，我(wǒ)就觉得对了。我问她会(huì)什么，她说会模仿动物。我让(ràng)她学猫，她却说：“不，我推荐马(mǎ)。”当天我就把“模仿马”的情节(qíng jié)写进了剧本。

Interviewer: And the racetrack scene came from that as well? 采访者： 赛马场的场景也(yě)是因此而来的吗？

Director: Exactly. While scouting for locations, we came across the racecourse, and I immediately thought, “This is it.” 导演： 对。当时(dāng shí)我们在找外景，偶然来到赛马场，我(wǒ)立刻觉得——就是这里了。

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? 采访者： 这部电影🎬(diàn yǐng)带有很强的自传色彩。Fuki 似乎是您(nín)童年的投射。您是如何执导这样(zhè yàng)一个带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. 导演(dǎo yǎn)： 虽然故事是虚构的，但它深深(shēn shēn)受到我童年情感的启发。Fuki 既是(shì)角色，也是我的延伸。不过演员(yǎn yuán)本身非常优秀，她为角色注入了(le)我之外的灵魂。

Interviewer: And the title 《雷诺阿》 —where did that come from? 采访者： 那么片名(piàn míng)《雷诺阿》的由来呢？

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. 导演： 我想要(xiǎng yào)一个和电影🎬核心信息无关的标题(biāo tí)。我喜欢这种落差：片名来自法国画家(huà jiā)，而故事讲的是80年代日本的(de)一个孩子👶。后来观众还说，这部电影🎬(diàn yǐng)像印象派绘画——由一个个小片段拼凑(pīn còu)成整体。

Interviewer: Your previous film Plan 75 《岁月自珍》was about grief and loneliness among the elderly. This time, you portray a very lonely family. Why is loneliness so central to your work? 采访者： 您的上(shàng)一部作品《岁月自珍》探讨了老年人的(de)孤独与哀伤。这次，您又描绘了(le)一个孤独的家庭。为什么“孤独”如此核心(hé xīn)？

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. 导演： 从小到大，每当我感到难过时，我(wǒ)都会去看电影🎬，而电影🎬总能(zǒng néng)安慰我。所以我希望我的电影🎬(diàn yǐng)也能给予观众同样的慰藉。

Interviewer: There’s a detail in the film—the ribbon on the window. Could you talk about its meaning? 采访者(cǎi fǎng zhě)： 片中有一个细节——窗户上的丝带(sī dài)。它的意义是什么？

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. 导演： Fuki 每天去(qù)医院都会把丝带绑在窗户(chuāng hù)上，这样她就能从外面看到(kàn dào)父亲的位置。随着剧情推进，丝带逐渐(zhú jiàn)变形，也象征着父亲一步步走向死亡(sǐ wáng)。

Interviewer: Speaking of animals, did you really spend time with the horse? 采访者： 说到动物，您真的和那匹马(nà pǐ mǎ)相处过吗？

Director: It was a racehorse, not one trained for film. The environment was quite hazardous, so we always kept a safe distance. 导演： 那是一匹赛马(sài mǎ)，而不是拍摄用的“电影🎬马”，环境(huán jìng)其实挺危险的，所以我们始终保持安全(ān quán)距离。

Interviewer: How do you approach your writing process? Was 《雷阿诺》 written differently from 《岁月自珍》? 采访者： 您的(de)写作过程是怎样的？《雷诺阿》和《岁月(suì yuè)自珍》相比有什么不同？

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. 导演： 《岁月自珍(zì zhēn)》时，我对主题和概念都很(hěn)清晰。但这部电影🎬，我想捕捉那些(nà xiē)无法完全说清的情绪。我先写下(xiě xià)几个关键场景，再逐步搭建剧本。

Interviewer: Did you really believe in supernatural powers as a child? 采访者(cǎi fǎng zhě)： 您小时候真的相信过超自然力量吗(ma)？

Director: Yes, I did. But I think that belief was a form of escapism for me as a child. 导演： 是的，我小时候真的相信过(guò)。但我觉得那其实是童年时期的(de)一种逃避方式。

Interviewer: How was it working with actor Lily Franky? 采访者： 您和演员 Lily Franky 的(de)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. 导演： 他非常出色。即便只是(zhǐ shì)站着或坐着，他的存在(cún zài)本身就能撑起一场戏。在我看来，他(tā)就像是现代版的古典演员。

Interviewer: I loved the bridge scene with the rain. Was that planned? 采访者： 我(wǒ)特别喜欢桥上那场雨戏。那是(shì)设计好的么？

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. 导演： 完全不是。本来(běn lái)剧本里没有雨。但那天只能拍(pāi)，结果下了大雨。意外地成了一个(yí gè)极美的场景。

Interviewer: The film includes many objects from the 1980s—Walkmans, VHS tapes, broadcast TV. Why was it important to include these? 采访者： 您不断在片中(piàn zhōng)加入80年代的实物媒介——随身听、录像带、电视📺(diàn shì)，这是为什么？

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. 导演： 因为那时没有互联网。电视📺(diàn shì)、电话是人们连接的主要方式。能(néng)听到对方的声音，那种“人的存在(cún zài)感”非常强烈，而如今已不复存在。我(wǒ)想重建那种氛围。

Interviewer: Lastly, about the painting—what role does it play? 采访者： 最后想问(wèn)一下，关于画作的部分。

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. 导演： 我小时候(xiǎo shí hòu)真的请求父母买过那幅画的复制品(fù zhì pǐn)。80年代，日本家庭里常见这样的西方(xī fāng)名画复制品，往往装在华丽的画框里(lǐ)。我觉得这象征着日本对西方(xī fāng)文化的仰望与追赶，所以我把(bǎ)它作为故事中的关键符号。