现场录了一下，大概整理( lǐ)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： 在这部电影( yǐng)中，小演员的角色非常关( guān)键。听说您原本准备面试( shì)成百上千的孩子，但 Fuki 是第( dì)一个让您眼前一亮的人( rén)？

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。我问她会什( shén)么，她说会模仿动物。我让( ràng)她学猫，她却说：“不，我推荐( jiàn)马。”当天我就把“模仿马”的( de)情节写进了剧本。

Interviewer: And the racetrack scene came from that as well? 采访者( zhě)： 赛马场的场景也是因此( cǐ)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。当时我( wǒ)们在找外景，偶然来到赛( sài)马场，我立刻觉得——就是这( zhè)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： 这部电影带( dài)有很强的自传色彩。Fuki 似乎( hū)是您童年的投射。您是如( rú)何执导这样一个带有自( zì)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： 虽( suī)然故事是虚构的，但它深( shēn)深受到我童年情感的启( qǐ)发。Fuki 既是角色，也是我的延( yán)伸。不过演员本身非常优( yōu)秀，她为角色注入了我之( zhī)外的灵魂。

Interviewer: And the title 《雷诺阿》 —where did that come from? 采访者( zhě)： 那么片名《雷诺阿》的由来( lái)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： 我想要一个和电( diàn)影核心信息无关的标题( tí)。我喜欢这种落差：片名来( lái)自法国画家，而故事讲的( de)是80年代日本的一个孩子( zi)。后来观众还说，这部电影( yǐng)像印象派绘画——由一个个( gè)小片段拼凑成整体。

Interviewer: Your previous film Plan 75 《岁月( yuè)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： 您的上一部( bù)作品《岁月自珍》探讨了老( lǎo)年人的孤独与哀伤。这次( cì)，您又描绘了一个孤独的( de)家庭。为什么“孤独”如此核( hé)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. 导演： 从小到大，每当我( wǒ)感到难过时，我都会去看( kàn)电影，而电影总能安慰我( wǒ)。所以我希望我的电影也( yě)能给予观众同样的慰藉( jí)。

Interviewer: There’s a detail in the film—the ribbon on the window. Could you talk about its meaning? 采访者： 片中有一个细节( jié)——窗户上的丝带。它的意义( yì)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 每天去医院( yuàn)都会把丝带绑在窗户上( shàng)，这样她就能从外面看到( dào)父亲的位置。随着剧情推( tuī)进，丝带逐渐变形，也象征( zhēng)着父亲一步步走向死亡( wáng)。

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

Director: It was a racehorse, not one trained for film. The environment was quite hazardous, so we always kept a safe distance. 导演( yǎn)： 那是一匹赛马，而不是拍( pāi)摄用的“电影马”，环境其实( shí)挺危险的，所以我们始终( zhōng)保持安全距离。

Interviewer: How do you approach your writing process? Was 《雷阿诺》 written differently from 《岁( suì)月自珍》? 采访者： 您的写作( zuò)过程是怎样的？《雷诺阿》和( hé)《岁月自珍》相比有什么不( bù)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》时，我对( duì)主题和概念都很清晰。但( dàn)这部电影，我想捕捉那些( xiē)无法完全说清的情绪。我( wǒ)先写下几个关键场景，再( zài)逐步搭建剧本。

Interviewer: Did you really believe in supernatural powers as a child? 采访者： 您( nín)小时候真的相信过超自( zì)然力量吗？

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( xiǎo)时候真的相信过。但我觉( jué)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( nín)和演员 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. 导演( yǎn)： 他非常出色。即便只是站( zhàn)着或坐着，他的存在本身( shēn)就能撑起一场戏。在我看( kàn)来，他就像是现代版的古( gǔ)典演员。

Interviewer: I loved the bridge scene with the rain. Was that planned? 采访者： 我特别喜( xǐ)欢桥上那场雨戏。那是设( shè)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( shì)。本来剧本里没有雨。但那( nà)天只能拍，结果下了大雨( yǔ)。意外地成了一个极美的( de)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( piàn)中加入80年代的实物媒介( jiè)——随身听、录像带、电视，这是( shì)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( méi)有互联网。电视、电话是人( rén)们连接的主要方式。能听( tīng)到对方的声音，那种“人的( de)存在感”非常强烈，而如今( jīn)已不复存在。我想重建那( nà)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( dǎo)演： 我小时候真的请求父( fù)母买过那幅画的复制品( pǐn)。80年代，日本家庭里常见这( zhè)样的西方名画复制品，往( wǎng)往装在华丽的画框里。我( wǒ)觉得这象征着日本对西( xī)方文化的仰望与追赶，所( suǒ)以我把它作为故事中的( de)关键符号。