Kore-eda Confirms Eddie Redmayne Project in Early Script Phase at Busan Festival

Japanese filmmaker Hirokazu Kore-eda disclosed that his highly anticipated collaboration with actor Eddie Redmayne remains in the screenplay development stage. The revelation was made on Wednesday during a press conference at the Busan International Film Festival, where the director was promoting his latest manga adaptation, “Look Back.”

Produced by Searchlight Pictures, the untitled Redmayne project is currently underway with Kore-eda actively writing the script. While withholding specific plot points, the director expressed confidence in the production’s progress, stating, “Preparations are progressing smoothly. Please look forward to it.” He anticipates formally announcing the project and its cast next year, with the hope of eventually debuting the film in Busan as well.

Kore-eda has a long-standing relationship with the South Korean festival, having attended since his debut. He noted that the event holds special significance for him, pointing out that the opening ceremony even features a musical piece composed in his honor. “It is a city and a film festival for which I have exceptionally strong feelings,” he said.

Also in attendance were “Look Back” stars Deguchi Natsuki, Makita Aju, Mori Nana, and Ishikawa Ruka. Kore-eda recounted discovering the source manga by chance in a bookstore rather than through its serialized run. The experience left a profound impression on him.

“When I read it, I felt a shock like an impact,” Kore-eda recalled. “It explored why people write stories, or in my case, why one makes films – that sort of creative impulse, or the heavy burden or karma that artists carry.”

To capture the essence of the story, Kore-eda adopted a flexible directing style, avoiding rigid scene-by-scene instructions. Instead, he focused on the chemistry among the four lead actors and the natural progression of light and seasons in the filming locations. He praised the cast for fully inhabiting their roles as residents of the town.

True to his preference for celluloid, Kore-eda insisted on shooting the entire four-part adaptation on 35mm film. He argued that the lack of digital safety nets creates a productive pressure on set. “Because there is no mindset of ‘we can fix it later,’ it creates a healthy tension for the cast and crew,” he explained. “When that collective tension gathers, I believe it generates a magnetic field in that shooting location.”​

The film features a distinctive rotoscope animation sequence triggered by a narrative beat where character Fujino mentions her dream of seeing her manga animated. Kore-eda described rotoscoping as a hybrid form between live-action and traditional drawing, noting that having characters move within background art drawn by Kyoko provided the ideal visual expression for a future the protagonists miss out on.

Deguchi described the emotional difficulty of a closing shot, in which she was instructed to “show Kyoko through your back.” Having filmed extensively with her co-star in Akita, Deguchi faced the final take alone, describing the experience as leaving her heart feeling “completely empty” as she sensed her scene partner’s absence.

Makita, appearing at Busan for the first time, joined Mori, who had previously walked the Venice red carpet. Mori noted a distinct difference in atmosphere between the two festivals, describing the large, enthusiastic crowds in Korea as both nerve-wracking and fun.