THE GIFT OF TIME
－時と生きる－
World Premiere Event Report

We discussed at great length how to express the feeling of tension that 
time entails in the projected image, and eventually we decided to 
showcase the essence of time in the film.

Would you like to share your thoughts and the plans you had for producing this film?

Paula Chowles： I’ve been consumed with the concept of time for the past two years, thinking about how to use it in my work and my personal life. Of course, none of these thoughts are profound—people have been grappling with the concept of time for centuries. So when I started this project, I wanted to answer two questions:

How could I learn as much as I could from the great thinkers in the film, some of whom you see up here today? And then, how could I communicate and convey the tension of time on film?

And by tension I mean: Time can control us, chase us, and then disappear from us. But as we learn to take better control of our time, we can slow it down to be one with the moment.

Japanese landscapes are as beautiful as things you see in a movie.
I tried to capture the air and spirit of the historical places.

In the film, various locations were used to represent Japan.
How did you choose those locations, and having filmed in them, what are your thoughts about them?

Paula Chowles： Japan is one of the most magical places in the world to film. No matter where you turn your camera, scenes come alive in Japan unlike anywhere else in the world. It truly is magical.
We were privileged to film in some of the most beautiful locations in Japan. At Murin-an gardens in Kyoto, you can feel the Zen and the peacefulness. The Todai-ji temple in Nara is a place where you are humbled by the presence of the Buddha.
Filming in these locations was an absolute joy. As a director, I tried to let the spirit of these locations come alive, because so many of them have such a deep spirit.

Zuisho-ji Temple stands discreetly in the bustling city of Tokyo.
I felt the magic of time flowing through the small temple.

Why did you want to be filmed in Zuisho-ji Temple, where you worked to rebuild the priests’ living quarters?

Kengo Kuma: Zuisho-ji is not a large temple, but it is magical, and it turned out to be a really mysterious place. I was surprised that we could create such an intriguing world in such a small space in Tokyo. I will never forget this project, and I chose this place [to film my scenes] because I thought that it would make a wonderful video.

Todai-ji Temple has 1250 years of history. It’s a special place for MISIA, 
where she feels the weight of “time.”

Why did you choose Todai-ji Temple as the film location, and what was your impression after filming it?

MISIA： Todai-ji temple, which was built as a place to pray for peace and tranquility, has watched over the country for more than 1,250 years.
It is also a place that holds a special connection for me. In 2020 I offered a song there, praying for a swift end to the COVID-19 pandemic. Temples in Japan kept time for people when there were no clocks, and the character for ‘time’ (時) even includes the character for ‘temple’ (寺) . I was privileged to talk about the gift of time in this special place.

Todai-ji temple always fills me with a profound sense of solemnity, no matter how many times I visit.

A message from the past resounds through the film.
The quintessence of architecture and the flow of time are beautifully captured.

All of you who appeared in this production have now seen the film. What is your impression of it?

MISIA： The film is truly remarkable at capturing various aspects of time. Watching it felt like receiving messages from the distant past.

Kengo Kuma: Paula beautifully captured the details of the building [Zuisho-ji temple]. The roof of a temple is supported by rafters, and architects place great importance on how the rafters are spaced. To me, they symbolize time. I was especially impressed that she was able to frame and capture the rafters. She really grasped the true essence of the building.

Shinji Hattori: I could tell that Paula did thorough research and had a strong knowledge of Japanese culture. Our interview made me very happy because she seemed to add depth to my thoughts with her rich imagination. Thank you for your great work. 

After listening to the comments of the other members, how do you feel?

Paula Chowles： I feel very humbled and affirmed. But I share the credit with everyone who worked on the film. Arigato gozaimashita.

Japan’s unique sense of beauty is expressed by how people in Japan 
take a pause from activity and also their sense of “transience”.
The philosophy of time Inhabits Japanese music and architecture.

Now let’s move on to the subject of “time.” There were comments in the film on how time and culture are closely related. In what way do you think Japanese culture is affected by the Japanese understanding of “time”?​

MISIA： Synchronized breathing is a way of defining time. When I sing with musicians who can synchronize with my breathing, we perform with perfect timing. When I think about it, the Japanese way of capturing time has a big impact on how I create music.

Kengo Kuma: We must cherish the time we have because it will never be enough. Perhaps Japan is a unique country where time is defined by transience and beauty. I feel that the Japanese way of capturing time might be something that people around the world today are seeking. It would be wonderful if Mr. Hattori could share with the world the idea of the transience of time.

Shinji Hattori: Until 1872, when the Western system of fixed time units was adopted, Japan followed a seasonal time system in which the days were divided into equal units between sunrise and sunset, both in summer and winter.
Japan was an agricultural society, so it made sense for people to experience time by living close to nature, adapting their perception of time to the world around them rather than imposing an artificial structure upon it.
The Grand Seiko Studio Shizukuishi, which Mr. Kuma designed, is a perfect place to communicate the essence of Japanese culture and craftsmanship. It was conceived as a space that coexists with nature.

The best gift is “music and peace” for MISIA, “the time in architecture” 
for Kuma and “how you spend your time” for CEO Hattori.

What is “The Gift of Time” for you?

MISIA： I feel that the things that grow richer through the passage of time are ‘gifts of time.’ One of these is undoubtedly music. Another, I believe, is peace, which people all over the world seek.

Kengo Kuma: I believe that my work involves “designing” time. Architects consider how time will flow in their structures and how time will evolve over the years.

Shinji Hattori: As MISIA mentioned, I think music is a powerful tool for peace. Since the pandemic, our perception of time has changed. We have come to treasure the time we are allotted in this life more than we did before. We are now more concerned with the question of how we should spend our time. We must plan carefully and use time intentionally so that we do not waste it.
In this way, we understand that the “gift of time” is also a great luxury. We must choose to spend time in places where we feel the greatest joy in our lives.

MISIA wants to deliver timeless songs to the audience, 
and Kuma hopes to share the Japanese sense  of time with the world.
Paula wants to move people’s hearts with her films, 
and CEO Hattori will take on the challenge of creating values 
aligned with the founding spirit.

Living in a world where time is limited, do you have any new projects about time that you would like to do in the future?

MISIA： Of course I want many people to enjoy listening to my songs, and, if possible, I want to sing songs that will touch the hearts of listeners in the years to come, transcending time over a century or two.

Kengo Kuma: Talking about the post-COVID world, I think the pandemic made everyone realize the value of time. Maybe Japanese people embraced this concept a bit earlier than other people, so I want to share with the world the sense of time that Japanese people have held over the years.

Paula Chowles： I’m very excited to create more films that help people feel something deep, deep enough to possibly act. If someone takes a small lesson or nugget of wisdom from a film that I have had a hand in creating, and it inspires them to change or try something new or shift their concept of the world, then I’m very happy and satisfied. So that’s what I will continue to do.

Shinji Hattori: Seiko celebrated its 140th anniversary three years ago. We declared that we will become a company that helps solve social issues—but this is nothing new for Seiko. Long ago, when clocks and watches were rare, our founder, Kintaro Hattori, built a clock tower to announce the correct time to the public. It was a perfect solution that met the needs of society in that period. Now we find ourselves in an age of uncertainty, a situation commonly referred to as VUCA (volatile, uncertain, complex, and ambiguous). In this difficult time, we are determined to return to our founding spirit, clarifying our focus on serving our customers and society as a whole.
Providing solutions for society is part of our corporate mission, and we are proud to play our part in meeting this challenge.

Click here to view our short film.

THE GIFT OF TIME
－時と生きる－
Short film