And he argued that 'my cimematographic methodology is to establish a modern image of a man,' and he roundly criticized the renowned film directors of the time such as the master director Tadashi IMAMURA, and referring to Mikio NARUSE, he wrote "his films, which come to terms with the actual Japanese Society and depict the ephemeral 'sentiment' of petit bourgeois can be called naturalistic velocity movies."
「自分の映画の方法論は、近代的人間像を日本映画にうちたてるためのものだ」と主張し、成瀬巳喜男を、『日本の社会をそのまま認め、はかなき小市民の「情緒」を描く自然主義的風速映画』と、今井正もの当時の巨匠たちを痛烈に批判した。