In a 1997 interview in Los Angeles included on the DVD of Branded to Kill, Suzuki, after insisting that he just wants to make films that are "fun and entertaining," goes on to argue that there's no "grammar" for cinema -- at least for his kind of cinema -- because he doesn't mind defying the usual rules respecting the cinematic coordinates of time and space: "In my films, spaces and places change [and] time is cheated in the editing. I guess that's the strength of entertainment movies: you can do anything you want, as long as these elements make the movie interesting. That's my theory of the grammar of cinema."

Filmkritik, und eine schönere habe ich selten gelesen, von Jonathan Rosenbaum zu Seijun Suzukis "Pistol Opera"

Money is simply not a medium in which I can work. I am not a native speaker; my accent betrays my igorance. I put on my suit jacket and go to an office in midtown and, if I am hired, I will tell the story of a software application, a story in words and documents that will, in turn, be used as a kind of lexicon for those who speak the language of millions of dollars. But the whole time I'm like the translator in the Chinese room, receiving the signals and sending them out again, with only a bare understanding of what I'm saying.

Paul Ford ist doch ein Amish, after all.