People who looked at "Bullet Boy" got it pretty quickly—"oh, I see, it's this kind of scene." With "Showa88," there can be different readings of the images. Different people will see different things. Some people will recognize, "oh, this is Tobitashinchi [a red-light district in Osaka]," and others won't. There's a rose on the cover of the book. You could think, "Ah, what a beautiful flower!" Or you could think, "Oh, that's a flower inside of a brothel." These different reactions are interesting, and I want to let the viewer make what they want of the photographs. Movies aren't like that—I mean, you sit there for two hours to figure out the story, and then you can think about it. Before, I was trying to make a work that had a similarly strong story, but as a medium photography's not well suited to that.