of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. His longtime wish—to die on the set while shooting a movie—was never to be fulfilled. After his accident, Kurosawa's health began to deteriorate. While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life, the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo, at the age of 88. At the time of his death, Kurosawa had two children, his son Hisao Kurosawa who married Hiroko Hayashi and his daughter Kazuko Kurosawa who married Harayuki Kato, along with several grandchildren. One of his grandchildren, the actor Takayuki Kato and grandson by Kazuko, became a supporting actor in two films posthumously developed from screenplays written by Kurosawa which remained unproduced during his own lifetime, Takashi Koizumi's After the Rain (1999) and Kei Kumai's The Sea is Watching (2002). Filmography Although Kurosawa is primarily known as a filmmaker, he also worked in theater and television and wrote books. A detailed list, including his complete filmography, can be found in the list of works by Akira Kurosawa. Style, themes and techniques Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production. He was a gifted screenwriter and worked closely with his co-writers from the film's development onward to ensure a high-quality script, which he considered the firm foundation of a good film. He frequently served as editor of his own films. His team, known as the , which included the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimura, was notable for its loyalty and dependability. Kurosawa's style is marked by a number of devices and techniques. In his films of the 1940s and 1950s, he frequently employs the "axial cut", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves. Another stylistic trait is "cut on motion", which displays the motion on the screen in two or more shots instead of one uninterrupted one. A form of cinematic punctuation strongly identified with Kurosawa is the wipe,