Yojiro Takita is the director of the Oscar-winning film, Departures (Okuribito), where Daigo Kobayashi (Masahiro Motoki) is a devoted cellist in an orchestra, but has now lost his job. Daigo decides to move back to his old hometown with his wife to look for work and start over. He answers a classified ad entitled "Departures" thinking it is an advertisement for a travel agency only to discover that the job is actually for a "Nokanshi" or "encoffineer," a funeral professional who prepares deceased bodies for burial and entry into the next life. While his wife and others despise the job, Daigo takes a certain pride in his work and ends up finding the joy and meaning of life from the most unexpected place – the dead.

Takita explains where the inspiration from this film began and how the process of encoffining is actually a beautiful way to respect and honor loved ones who have passed to the next life.

Q: Where did you get the inspiration for this project?
 
Takita: I received the idea for this project from the producer. I knew of the job of a “nokanshi” (encoffineer) through reading a book, Coffinman: The Journal of a Buddhist Mortician by Shinmon Aoki but as I have never actually been in direct contact with them, there was too little I knew of the job. When I read the script, I felt the content very familiar and close, and though the film will be dealing with death, I felt that the film would definitely become interesting. I think finding the charm in themes that other people do not want to touch, is probably a habit to all directors.
 
Q: Was there an event in your life that drove you to make this film?
 
Takita: I was interested in the theme all the more because my experience with death was quite limited. Although I participated in ordinary funerals before, I had never seen or thought about what was happening on the other side of the funeral and the people who were involved with this.  When I was small, it is true that funerals took place inside each household, and each death was a closed incident. However, realizing what “death” was about is another story. While I was gathering information, I suddenly felt a sense of full comprehension, the presence of “death” right in front of you, just as I felt in my childhood. What existed there was that the family, the relatives, did not despise or detest “death.” 
 
Q: What was it about the idea that resonated and made you feel compelled to spend this time with this story?
 
Takita: All human beings have to face death at one point, but at the same time, they try to turn their eyes away from death. The recognition of this fact may have come up in watching this film, and I feel that the audience may have replaced themselves with one of the characters and tried to touch or feel their death through other people’s lives.

Q: What elements do you need in order to commit to a project?
 
Takita: To be able to team with good staff is a major premise and essential. However, nothing can start if there is no inspiration. Whether or not you understand the subject is another matter, but your feelings of attraction towards it is definitely the most important thing of all. I live for such inspirational occasions. A film is made with various elements combining together in perfect harmony. Therefore, a good staff gathers when there is a good inspiration. And, extraordinary power is completed by consuming and growing with the power from these surrounding parties.
 
Q: What is unique about this project?
 
Takita: At first, neither the production, distribution nor even the release of the film was decided. Because of this, I was dealing purely with the project, without trying to be “too art-house” or “too commercial.” In spite of the adversity, I had much confidence that this project would definitely work.
 
Q:What did you learn from making this film?
 
Takita: I believe I came to face "death" more naturally. I am afraid to die, but not afraid of “death” itself anymore. When I attended funerals for those close to me, I would often have just prayed for the deceased. I found myself touching their faces and trying to confront their death. By touching their skin, I would feel the warmth of the deceased, the warm-hearted life of the person who had cared for me. I came to think that I must tell kids that death exists in everyday life. It is important for us as human beings to witness, that we are given birth with crying, and we die crying.
 
Q: What scene in the film stands out the most in your mind?
 
Takita:I like the scene where Mashiro Motoki plays “Ave Maria” on the cello, after eating chicken in the office with Tsutomu Yamazaki and Kimiko Yo. I think the scene was able to capture a moment in which each character had a chance to think back about themselves in a gracious manner. I believe that their bonds were expressed without words. I also like the scene where Tetsuta Sugimoto sends off his deceased mother to be burned, but only is able to say “Ma! I’m sorry!” in the back of the crematorium. I felt that it made sense from a man’s point of view, in terms of how a man deals with his mother’s death.
 
Q: What research did you do in preparation for this film?
 
Takita: The most important for me was what “encoffining” actually was.  The atmosphere and the great sensation that I felt when I had experienced the “encoffinment” backed up my attraction for and confidence in creating this film. The experience also made me realize the wonder and beauty of sending off someone with respect.
 
Q: Did the script evolve naturally when you first read it or were there many revisions?           
 
Takita: The script was not originally in this style. We changed the characters and characters' feelings towards death. I felt that death was not a dark incident, but a moment infused with humor and grace, so I had changed my view somewhat from the standpoint presented in the original version of the script.
 
Q: What was the direction that you gave Joe Hisaishi when you first met?
 
Takita: We knew from the start that the cello piece would have a major role in the film. We discussed creating music with themes encompassing reconciliation and reproduction. The reason for having the lead play the cello was because of the wide range of pieces that the instrument was able to play. 
 
Q: Motoki's character must adjust to his new job that brings new emotions. What was your role in prepping him to play this character?

Takita: We had different visions and I believe we both respected each other’s opinions. Masahiro Motoki had to learn the art of encoffinment; he went on to express the beauty of a person, sending off another person, by conducting the act with grace and blessings. He definitely brought it into his own world.