<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><br><div><div>On May 13, 2012, at 6:32 PM, Roger Macy wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><span class="Apple-style-span" style="border-collapse: separate; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><div><font face="Arial">Is the child-splitting just a necessary requirement for the story - or does such a practice have some currency in Japan ? Koreeda, after all, is hardly a stranger to such issues in his films. Perhaps he addressed that at a Q&A ?</font></div></span></blockquote></div><br><div>Unfortunately, nobody asked about this at the Q & A that I attended, though it would have been interesting to hear his response.</div><div><br></div><div>Maria-Jose's observations help to account for the situation depicted in the film, though they also raise a further question about how Kore-eda got from a script about young romance to what we find in "I Wish". That's quite a reworking of the original theme. I wonder if there were other conditions on the funding, aside from the obvious desire for a story that involves JR bringing people together.</div><div><br></div><div>M</div></body></html>