When they arrive to the cabin with bus, Mangold complimented the small town of Tomonoura (if I got the name right) and said that he didn't only want to show the basic "Tokio in neon lights" but also this rural, beautiful normal scenery and the fact that there's a lot of agriculture and fishing.
In the cabin, when Mariko is making soup, Mangold said everytime he'd always wanted that soup when he sees those vegetables.
Then, when they eat, Mangold says he didn't want to show japanese people or culture as something stereotypical and shallow. He's proud that he had numerous japanese people in this movie that aren't the same, but they're different from each other and he wanted this to show in the japanese characters as well.
He continues to talk about manners, ie. some kind of code of conduct that japanese people more or less obey and the sense of nationality they have. He remarks that it's something you notice when you spend some time there, and also makes a remark that unlike some may think, women in the society aren't confined or held back even though this certain code still somewhat exists.
About Logan's time in the cabin, he talks about how he's just...resting. Taking a breather and getting away from it all, but unlike in the beginning of the film, he has human contact now. He talks about some similarities to Harrison Ford film "Witness" which he likes, and how Ford's character lived with amish people. He talks about having simple joys, like food, normal human contact, and Logan actually getting tired from the wood chopping. Normal life.
He talks about atom bombs and Japan's rebuilding.
He says this is as much a drama for him as much as an action movie. He says the reason he didn't do this kind of tentpole movie before is that he's shy to go into a world where the only way to hold viewer's attention is with sound and fury. He says quiet moments and character connections have a lot of power, even just a look of the eyes or eye contacts, even for comic book characters. They hold a movie together for him.
The cabin was on a cliff in Tomonoura, he compliments it as a magical place with great views.
He talks about the "ronin" concept and how it's a strong element in japanese storytelling and mythology, and how it's relevant even nowadays. Talks about wars, and warriors who are molded by wars, and asks what do they do when they don't want to fight anymore.
When Mariko talks to Logan after he wakes up from a nightmare, it was the longest shot in the movie. He says that perhaps some young people, as Mariko in her childhood story, see Wolverine as a dangerous, unpredictable animal, but still someone as "who will not hurt me". He talks about how Okamoto's form with the lighting is something that was exceptional in some shot. "It's magic".
About the Jean Grey dreams, he says that even though they are related to previous movies, it's not made just for recognizing those movies but that he likes to concentrate on guilt, loss instead of character starting from a blank slate.