arashitranslation: (Default)


(Is it difficult to create works which are touching?) It’s difficult! Fundamentally difficult. How to receive, how to deliver, this varies person by person, we can only create the concert according to our imagination. I have a feeling that among various entertainment, what we created, in particular, are created with an awareness of the recipients from the very first beginning…… Sometimes it’s scary thinking about “how to convey”. Though when it is scary, at the same time it’s also joyful to think about this.

(About not sure about what plan to go) Yes yes there are times so. However at last we’d decide by our instinct. The merit and demerit of Plan A, the merit and demerit of Plan B, each of these things are filtered out, well then what plan to go, we raise out various opinion and discuss, if even after this we are not sure about what plan to go, then it must be that either plan should be fine. At last we shall choose the “relatively better” plan by our instinct and then implement it.

(Will Matsumoto-san become less touched because he is used to performing?) It doesn’t, does it? Because in my case, it’s unusual for me to get in touch with the recipients…… Having live, performing on TV, doing this and that, though as job indeed it’s normal for me to grasp (the response of the recipients), even now surprisingly, there are occasionally unimaginable things. For instance this interview I am doing which would be appearing on this magazine, I would not know who would be reading this, right? And then I perform on film, on TV, I do live, I don’t know the faces and names of the audiences, and all the same, I have to convey what forms me to people whom I don’t know, I have to get their resonance…… I feel unimaginable even now. On the contrary, we get power from these people so that we can have activity today.

I don’t think I am romantic (giggle). Um~ am I romantic? I have no idea. (Q: I see it from your work and your passion in it) Well…… I see (shy). Having said that I don’t think I am realist either. I don’t think I’m either romanticist or realist (giggle)!

[End]

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

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


(About moments in daily life which Matsumoto-san’s mind would be moved) There are many such moments…… I am moved by both good things and bad things. There are many heart-throbbing news, recently. For instance when I hear news about animal babies are born I feel the mystery of nature, and I have a warm feeling. On the contrary, things about death indeed move my heart. There are still many natural disasters in Japan currently, there are many heart-broken things…… However on the other hand, speaking of things familiar to me, simply, at workplace there are people working hard, when I see them I think it’s good and they give me a bright feeling. Everyday my heart is moved a lot.

(About Matsumoto-san officially mentioned things of life and death during preview) Yes, that, though my way of saying was very serious (giggle). Somehow…… though it may bit distract from the nature of the film, accepting the fact that “you may not be able to meet the one you love again”, to me, I would remember the people who passed away. Not limited in romantic love, I think about what influence I gave to living people and at the same time, in the future what can I give to others? Though what depicted in the film was the vigorously seesawing moments during people in 10 to 20 years old, how would that be when it came to your own time? How would that be in the future? Things like that.

I have this opportunity to go to a filming site since long time, because there were many staff who showed the artisan virtue I was really happy. The feeling that they were exploring a new way of expression, just watching them by side was interesting! Since there are also many staff who do not want to let others see their effort behind the scene, normally, there is barely such chance for actors to see their work. However in this film there are many day scenes, we had to chase the time (before sunset) to catch up filming very often. With this I was able to see their realistic work closely.

“What are they doing?”~ I thought so when I saw them working, for instance when the lighting department adjusted the colour of the lighting to great detail. During the raining scene, when it was raining in the dark what sort of light should it be? When too much light is reflected by the rain it would become brighter, so what would the best light be? While blue colour should be shown what sort of blue should it be on screen? Things like that. Until right before “Let’s go to the official filming” is said, there are such works. Rather than because there is not enough time so they work such way, I thought it is originally the style of Yukisada team not to hide their work. Until right before the official filming, in front of my eyes, the things in my eyesight are changed gradually one by one.

(There is a feeling of the team) not wanting to waste any one second. (The team) explores their work until the very last moment, while it is my existence, my awareness of being an actor which responds to their effort. According to one extraordinary (change of) colour, our performance will certainly change too. Well though perhaps just a small part, in a work which all sessions work positively to create this work, and I am also a part of this work, this is joyful.

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

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


(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

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


The difference between romance (Koi, 恋) and love (Ai, 愛)? Haha, what would that be!?... Koi is something “to sprout” isn’t it? Though love at first sight may be the easiest to understand example, even not in such occasion, when you think about someone whom you haven’t thought about until yesterday, and when there is a moment you notice that “Eh? That person is pretty good”, when such image pops up, this is Koi. Compared with it, Ai is something “to cultivate”... probably.

As depicted by the film title “Narratage” (⋇ “Narratage” is formed by combining two words “narration” and “montage”. It means the story is heroin Izumi’s reminiscence), this film is Izumi’s reminiscence isn’t it. Therefore, I think the subjective perspective of Izumi is the most important. In particular though we read scripts, what Hayama is thinking in one moment, there is almost no such psychological depiction of Hayama in the script.

This was the most important point when I acted the character Hayama. Normally, a love story proceeds with words like “he is thinking this, she is thinking that, they are thinking the different thing……”. However, this time it is not like this, what he (Hayama) is thinking is deliberately erased from narrative. Therefore, the true thought of Hayama was in fact no so important, how she would see Hayama from her perspective was important~ I acted with such feeling. Also I thought about how people watching the film would think about this.

While filming love story film last time (Hidamari no Kanojo, 2013) was very joyful, well this time is also love story film what approach can I make? When I was given such offer I thought of this a bit. Frankly I thought about that there would be no new approach…… With the doubt “What can be done”, I talked to Director and Producer, I heard them talking about the image “I want to make such thing”, and this touched me. Then I talked to them “Please do let me do it”.

What touched me is that, indeed, the character is depicted from one side. Often the characters are constructed in a way that, in order for audience to feel empathy when watching them, the characters are made rounded to avoid being thought “this is not the case” (by the audience). However, the character Hayama is only depicted from the side of Izumi, even (the character is depicted with) coldness and selfishness, but when the point “But Izumi loves such man” is conveyed, somehow this man is excusable…… I think such depiction is charming.

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

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


In the occasion that the character has to express what he thinks, how to make the feeling visible, I think it takes energy to do the acting. However for Hayama, this is not the case. For him, the feeling is completed when it moves just inside him himself. Thus far the characters I have acted are the type to express feelings, you would understand the characters once you watch them. However this time is the work is totally different… To Arimura-san too, she acted in a way that even the feeling of Hayama was not conveyed to her it was fine. The point is, I think the approach is different. But, since in me if things are not coherent I would feel bad, I would try to make sense of these things.

In the scene of car park where, in the car inside rain, the drunk Hayama could not go home, and Izumi came to help him, it was a very heavy scene for both of us. Hayama was in the status that his own family issues were shattered, and he also shatters the life of Izumi who came to help him. While that scene was filmed in the early half part of whole filming, including Director Yukisada the staff’s reaction was “this is good”, such atmosphere. Ah, the taste of this film is such feeling, it was great that I grasped the feeling at such early stage.

(About the shower scene) That scene was OK in one take. Of course we did many stand by before the filming. Once we got wet, the clothes as well as the hair makeup would be tough, so we had many testing, the breathing of us, the movement of camera, with confirmed feeling and image then we filmed it in OK. When I watched this scene in the completed film, I thought that it was a very frightened scene psychologically. There are also several scenes with such impression to me.

A scene I thought beautiful was that we rode on different tramcars. And, though I didn’t appear in that scene, the scene which Izumi threw away the letter, when the papers flies it was beautiful visually. It was very dramatic.

I have watched quite some works of Director Yukisada. He directs films from youth film such as “GO” (2001) to love story such as “Spring Snow” (2005), what’s more not only film he directs stage works, he is a director with talents to work on various genres of works. Before we worked together, I thought that he was with strong direct feeling, while this was not the case… He was a director who did not talk much, and thought about the actors.

(About impressive direction or words of Director) While it was not about direction, whether it was joke or serious I didn’t know, I remembered that he said “It’ll be great if Matsumoto-kun also directs a film yourself. What do you think about directing?”

Currently I don’t think about being a film director (giggle). I want to be a player all along. However, “How should this scene be filmed?” I have interest towards this, in the filming site this time as well, I was interested in the way of filming.

And then, what I thought splendid was, of course he was there to see the acting of actors, while he was a director that also cherished the time, air, smell of that moment. Not only acting he also felt such things when he checked the scenes. His efforts were firmly remained on the completed visuals.

The tramcar that was used for filming was great. The scene of drama club was filmed in school, there was a tramcar once in around 30 minutes. I like watching the tramcar from school window, during the filming, since the sound of tramcar will be recorded too, whether the sound would be used or not used in the film, including such consideration the tramcar was impressive to me. “there will be tramcar coming in five minutes, please wait a bit”, I also like the time of waiting.

“What films do Hayama like?”... Including the films appearing in this film such as “El sur”, “Ukigumo”, and “La Femme d'à côté”, I watched those films before filming. Though I didn’t know whether this would be directly reflected on my acting, I somehow hope to make the character with flesh and blood. The audience as well, before or after watching this film “Narratage”, when watching these old films, they may have a different taste on them. I think the sensitivity would increase.

“Narratage” is a film with rich love story, no matter Izumi or Hayama, you could feel the moment each of them steps forward in their own lives. When you watch that moment, you would be embraced by warm atmosphere. From then, for sure, people watching this film would remember the things of people valuable to them.

[End of Interview]

Part 1: https://arashitranslation.dreamwidth.org/108588.html
Part 2: https://arashitranslation.dreamwidth.org/108897.html

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


(Even not appearing in scene, the film was fragrant with Hayama) This can be felt after watching the film, this is because of the effort of Arimura-san. Arimura-san said that the time facing Izumi was “very tough time”, when the finished film was watched, such feeling of facing the character was honestly conveyed. The feeling of Hayama fragrant in the film was strong.

I myself barely appeared in film and drama since last co-act (with Arimura-san), while Arimura-san, during these years, as actress, acted in many drama and films. Now she also acts in morning drama as leading actress. Though we entered the filming site with feeling “It’s been some time since we met”, the atmosphere was totally different from that time (last co-act).

(Did you two discuss the film or characters) We did not have conversation on this. While Izumi’s script line also says that, to her Hayama is a person that she does not know at all what he is thinking about, but with such illogic parts they are attracted to each other. Arimura-san thought that, to Izumi, it was just fine that “Hayama is an existence which she does not understand”. That said, at the site including Director, when it was about to discuss the work, we would get away from such conversation.

(Preparation for the character) The glasses were chosen by Director Yukisada among several tens of pairs prepared for this film. The thing said by Director before filming which was impressive was, if normally I was 100%, let’s cut my eyesight to around 40%, he said to me. What was cutting my eyesight… (giggle). If my eyesight was cut to 40%, was I Matsumoto Jun. What sort of acting would it be with such status. After taking consideration of various things, finally I started with the nuance of the 40% mentioned by Director and what approach to take so as to express the 40%. It was also related to the tone of speaking and movement, I thought about how to make a 40%, I felt like creating a character. While I did not ask if my acting was the correct one, but (Director said) OK, so I think that my acting should be fine.

It was joyful to act with more and more suppression. Of course it was not all about joy, there are also doubt and error of trial, the way of working on this character is different from “in order to depict this character what should be expressed”. I acted to an extent that I worried if it was fine to act with such suppression. I thought about where and how to suppress would be fine, the acting was done more carefully and it was very interesting.

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


The character Hayama is a person who is cornered everywhere, I think. Though he makes his living as a teacher in school, I think he is a person who chooses things outside the way he should live as. A person who has fallen once, can he even a bit make a rebirth, such way of capturing the character. Comparatively objectively, what made me able to capture the character Hayama was largely attributed to the filming be done in Toyama. Different from the place I live my daily life, “going to” Toyama made me naturally switched on to the character.

As you see the love stories I acted in the past, how to say, there was some meaning and feeling of I’ve done something inside me. This time during the discussion with Director Yukisada (Isao) and Producer Ogawa (Shinji)-san, what approach could be done, what they wanted to do through this film, when I heard what they said I think this work in charming. I think that I can have an experience which I have not experienced thus far. When I am aware, I was persuaded by Director Yukisada and Ogawa-san (giggle).

“Narratage” is not with strong sense of entertainment, if anything it is a damp film with moisture, as a work there is a sense of commonality. What I think charming in it is… on the contrary people in their 10s, when they watch this film, though they may not understand all the things in it, I hope this would be a work which they accept the things they do not understand as they are. And then, after several years when they remember this film and watch it again, they would have different feeling, I hope that this film would be such a work. And then, I hoped that this film would be that even there are scenes which I do not appear, the film would be fragrant by the existence of Hayama. Though this film is about Izumi’s story, Hayama continues living in her mind, she continues thinking about Hayama, so that Hayama remains in the memory of audience. I thought that such way of depiction was very interesting.

===========
ナラタージュ
Narratage
OA 7 Oct 2017
www.narratage.com/
https://twitter.com/narratagemovie
https://www.facebook.com/narratagemovie/
https://www.instagram.com/narratagemovie/
arashitranslation: (Default)


--- ZIP!
Q: What is your feeling now?
M: Today is the first time this film is watched by audience, I look forward to it.

Q: During live, Matsumoto-san will say thing like “We five members will give you fortune”, such sweet words.
M: You know it (giggle).

M: “If the normal Matsumoto-kun is 100, I hope you would make your strength of eyesight down to around 40%.” Director requested me. And I said “40%? It’s not even half, is me in such way really OK?”

M: In my imagination, is around 40% a tension of a human, the way of speaking, the way of movement, things like that.
Q: Though you say that if 40% you are not you, indeed your strength of eyesight is something well recognised by everyone?
M: No, no, no, no (giggle). I myself am not sure, it should be the treasure of orthopedics right?
Q: From just what I see, (your eyes) are natural (not after orthopedics).
M: Please stop such follow. With such follow it seems that (my eyes) are fake (after orthopedics).

--- MezameshiTV
Q: If you became a teacher, what subject would you think you would like to teach?
M: The subject I like is Mathematics. (Reported felt surprised) Do you feel surprised? I was good at it.

Q: What is your utlimate love?
M: For me it probably would be love at first sight. Because I have no experience on this, it would be (Look at something distant) “Eh?” feeling like this, right? I have no such experience… It’s bit romantic isn’t it? I want to have a try! (Giggle)

Q: Today in the studio Hey! Say! JUMP’s Inoo-san is here.
M: Yes.
Q: What do you want to say to him?
M: Me? Nothing in particular! (Giggle)
Q: Are you kidding…
M: It would be great if he doesn’t bother you all.
Q: That he is here is reassured to us…
M: Really? Reassured?? Inoo-kun?
Q: Yes.
M: He works hard. Please continue taking care of our Inoo. (To camera) Work hard, Inoo~

===========
Narratage
ナラタージュ
OA 7 Oct 2017
www.narratage.com/
arashitranslation: (Default)


- Opening greeting from Matsumoto-san: “I am excited to be able to see you all at this timing. I hope that this work will be loved by many people.”
- “Thanks for everyone who come to this preview in this hot summer. The filming was done last summer, please enjoy today.” Matsumoto-san said with deep bow.
- On he decided to act this character: “I was happy. I am very pleased to be asked to act in Director Yukisada’s work. In the past, we met in private, I remembered that (we) said that it would be great to make a film if there is an interesting work someday, when I was really asked for performance I remembered that I was very pleased."
- On feeling confused when received the script: “Because there was barely depiction on the character Hayama, how to act this character, because just by reading the novel I could not understand his intention so I met Director and Producer Ogawa, I listened to what they talked about the story, I heard that the character should be acted in such way, Hayama as a character should be acted in such way, such advice was splendid. When I heard about this I looked forward to the acting, I am pleased that the team let me act this character.”
- On doing a lot of filming in Toyama-ken in the summer of 2016: “There was not much hardship, it was impressive that one scene by one scene, the filming was done delicately. Being able to film in Toyama, a place illustrating the film’s originality, I think a very unique world view was depicted. (Especially on the last scene) I think it’s great we had that filming at Toyama, I think because it was filmed there, a rich aura was depicted."
- On theme song: “It is a great song which seems like embracing the hearts of everyone who has watched the film, there seems warmth in the song.”
- There was surprise to celebrate Matsumoto-san’s birthday. The cake was with the film name “Narratage” merged with “matsuJUN” to form “NarrataJun” cake. Matsumoto-san replied “What a thing that the film title and my name can form a gag. The preview is held at such timing, and then my birthday can be celebrated, I am happy” with smile.
- When it was to take photo of the cake, the staff took away the “N” of “Jun” word, Matsumoto-san said “Are you going to take away the “N" in “Jun”? Please leave it there! (Giggle)”
- Concluding greeting: “In last summer, I wholeheartedly acted in this work. I think we have created a very great, very bitter, very dense love story. It would be great if this work would be loved by many people for a long time. Please do support this film.”

Source: https://ima.goo.ne.jp/column/article/5187.html

- The impressive scene was there was really a lot of raining, though the filming was difficult, on the contrary it was a scene that Yukisada team grouped us together to make, I thought that this is a nice site during my filming.

Source: http://www.crank-in.net/movie/news/51296

- On Matsumoto-san’s birthday wish: “I hope that this film will definitely be watched by many people. I shall devote myself on it. I sincerely hope for this.

Source: http://news.mynavi.jp/news/2017/08/23/281/

===========
Narratage
ナラタージュ
OA 7 Oct 2017
www.narratage.com/

Profile

arashitranslation: (Default)
Arashi Translation

Tags

Syndicate

RSS Atom