they'd get up and take a walk.
They'd be gone maybe two hours.
- Walk to the postbox?
-Sometimes. Here and there.
And the cherry grove, I suppose.
Yes. Then they'd come home
and work from 4.:00 to about 6.:00.
Supper started between 6:00 and 7:00,
and they'd share five more go of sake.
They'd finish eating around 8:00.
When they were going strong,
they'd be eager to get right back to work,
and they'd work until midnight.
When they finally knocked off work,
they'd want to eat again.
So I always had to stay up
to fix them something.
It didn't matter what. Anything
to fill their stomachs. Then to bed.
It was the same thing
day after day.
Once they got going,
they'd finish a script in a month.
But getting to that point
took a long time.
So it took a month once they got started,
but how long until they got started?
Two months.
So three months total, which meant
a hundred bottles of sake per script.
At eight go a day between them-
Which isn't quite a whole bottle
per day, but there'd be guests.
Who would drink the rest.
Right. So it would wind up being
a hundred bottles per script.
When did you become the one
who made clean copies of their scripts?
REI KO YAMANOUCHI
DAUGHTER OF KOGO NODA
It started with Late Spring.
So it was from when
the distinctive Ozu touch emerged,
until the end, until he died.
The collaboration
between Ozu and Noda
basically lasted from Late Spring
until An Autumn Afternoon.
But there must have been
ups and downs along the way,
going from Late Spring
to Early Summer and Tokyo Story,
and especially around the time of
Early Spring and Tokyo Twilight.
Did they ever have doubts or disagreements
about where they wanted to take things?
Well, when they were
working on Tokyo Twilight,
Mr. Ozu was really excited about it
and worked hard at it,
but I guess my father didn't like
what he was doing and refused to help.
I wasn't living here at the time,
but I'd come every evening for supper,
and after he'd had a few drinks,
Mr. Ozu would turn to me
and whine that my father
wouldn't help him.
He complained about it a lot.
Ozu wanted to attempt
something more dramatic?
Yes, I think he was trying
to write something different.
My father wanted to continue
in the same vein as before,
EARLY SPRI NG
like from Late Spring
until Tokyo Story,
but Mr. Ozu wasn't satisfied
with that anymore.
He thought it was time
to do something more dramatic.
That seems to be when the power
and energy and so forth of youth
start coming to the fore.
Early Spring is a clear effort
to turn the focus on youth.
It's not so much
the husband and wife,
but rather Keiko Kishi
and that whole younger set
that really draws Ozu's interest
and is where he puts the most weight.
I'd heard that Ozu
I'd heard that Ozu
could be really intimidating,
KEIKO KISHI -ACTRESS
but maybe because I myself was -
I suppose because
I was sort of fearless,
I found him to be a very kind man.
Though I did get scolded
a lot, too.
I remember this scene where
we were all eating noodles,
and I was supposed to say something
just as I took a sip of tea.
He made me do it over and over,
dozens of times.
I couldn't understand
why I had to do it so many times.
I was barely 20 andjust getting
started in films, green as could be.
So I asked Ozu
why we had to do it so many times.
He said, ''One time you speak
before you drink your tea,
the next time you