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arashitranslation
(During the filming of the love story four years ago) At that time, chasing thing like catch ball of love was joyful. At the end, not only limited in love but in our daily encounter with people as well, we are not capable of 100% conveying our thoughts are we? What to do to best convey our thoughts to others. What ball to throw (express ourselves) to most correctly convey our thoughts. I feel that this is one joy of love story film. In regard to this point, this time, perhaps, I am the “side who do not convey” (giggle). For instance, during the conversation with Izmui even there is movement of emotion in Hayama, this is a character who does not show such movement out”
(Q: So the character was in position of not being able to catch ball, and not to throw ball) Um~, no. He throws ball (expresses himself) but he doesn’t throw it beautifully, such depiction would be nearer to describe him. He would throw ball wildly, he would throw at bit mean things. Even his partner throws ball to him, if he doesn’t want to catch it he wouldn’t catch it… even I think that the character is cruel (giggle). Therefore, though the way of throwing ball is greatly different, the thing of throwing ball is the same. The joy of catching ball was tasted the same in this work.
(Q: What of Izumi as a girl attract Hayama?) At first it was Izumi who thought if Hayama “is OK” as a teacher and talked to him. At that time she didn’t think of anything. However in fact at that time, she was the same as Hayama that she was not OK. She worried about Hayama and acted in the hope of help Hayama, but the two people who wanted to be saved happened to be tied together, and they began to attach to each other strongly, I think. Therefore, for instance, at that time, even the one who lended a hand to Hayama was his male colleague, Hayama would have been saved probably.
(Q: About Hayama showing his passion in some scenes) For those scenes~~ though it was only my own interpretation, that was anyhow Izumi’s reminiscence, in fact what scenes they were, I had thought on the other hand. Hayama surely held sense of justice, but I am not sure in fact to what extent would the true temperature (of his passion) is?
I was very much in the “grazing” condition during the filming (giggle). Though from the start of filming until the creation of the character (Director and I) did have detailed discussion, and there were many repeated testing too, from the middle of filming I became in grazing condition. Perhaps Director had no interest in me (giggle)?
Director and I worked together from square one on creating the character. Speaking of scene in the first half of the film, “Ah, that was Hayama” there were many scenes with such feelings. Meaningfully, slowly, he closed the door of the preparation room for social study, scene like that. It was like “I have to close the door sooo slowly!” (giggle). Though at first I closed it normally, Director said “the speed was faster than I thought, it’s better to make it slower”.
Such things as the feeling of speed of our body, the speed of reaction, we have such things haven’t we. What speed should be taken for saying the next words or for making the next movement during a conversation. We thought about such delicate things during the first half part of filming. And somehow Hayama’s feeling of speed was attached to me, and then rather than “worked to be seen” I “worked not be seen". Therefore perhaps, Director also “there is nothing more I would say in addition to that”... I guess. I think that he was not having no interest in me (giggle).
(About the script lines which depicted Hayama’s demonic charm) Yes (giggle). However, well, that was the character which (made such script lines) reasonable.
Part 1: https://arashitranslation.dreamwidth.org/110526.html
Part 2: https://arashitranslation.dreamwidth.org/111114.html
Part 3: https://arashitranslation.dreamwidth.org/113252.html
Part 4: https://arashitranslation.dreamwidth.org/116389.html
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ナラタージュ
Narratage
OA 7 Oct 2017
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