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"Amongst a sea of actors who are cool and good-looking, and who have incredible style, when I think about how I will fight in such a place, I think that individuality/uniqueness is important. Young actors, everyone's smiles are lovely and the words that they write on their blogs or Twitter are lovely... I would like to take an approach that also encompasses the side of the human being that isn't beautiful, that is something that I would like to see. I think that there are a lot of people who also have a liking for this, and so I would like to reveal myself as someone who can satisfy those people. Of course, [together with] the best parts of myself too. This time, with the thought that I wanted to push the boundaries in the new genre of young actors, I decided to make a photo compilation from the point of view of an artist."



During the photobook release event held on January 17th, 2017, Woman Insight interviewed Sato Ryuji regarding his thoughts on his acting career in the 2.5D stage and his newly released photobook.


Woman Insight: As an actor, was there anything in particular that acted as a trigger for your emphasis on "individuality/uniqueness"?

Sato Ryuji: When I first began acting, I didn't have an inclination of 'the type of actor I wanted to become', but up until now, I've been given the opportunity to co-star with various people, and when I had a taste of the entertainment industry, I thought, 'there are too many people that I cannot beat.' I cannot beat them in terms of my looks or style, or even with my skill in acting and singing. I realized then that to survive in this industry is a truly difficult thing. With the thought that 'if I continue like this, I will immediately be buried and vanish from the industry', I began thinking of what I could do [to survive]. At the time, the idea that hit me was 'to be different from others'. At any rate, I wanted to have charisma. At the outset, I thought, 'As an actor, I want to become a presence/an existence that nobody can mimic.'

Woman Insight: Changing the topic slightly, even though you do look for "Sato Ryuji's individuality/uniqueness" as an actor, and "Sato Ryuji's individuality/uniqueness" is also important especially in the 2.5D stage, you also impose a mission on yourself to not destroy the image of the source material. With such a restriction, is there anything that you keep in mind?

Sato Ryuji: If you look at other actors, at their core, you can feel that person's "individuality/uniqueness" running through them, and the reality is that there are a lot of actors who are like that. But for me personally, at least where the 2.5D stage is concerned, to be able to hide that individuality/uniqueness is something that I think I would like to have as my "individuality/uniqueness". There are actors who say 'more than just my acting, I will reveal my individuality/uniqueness', but I think that if actors are able to 100% erase that "individuality/uniqueness", then they are true 2.5D actors. In reality, to be able to erase yourself 100% is close to impossible, but I think that trying as much as possible to hide that "individuality/uniqueness" is what makes the 2.5D stage interesting, and so it's something that I hope to achieve.

Woman Insight: Amongst all your roles up until now, was there a particular role where you were not able to immediately switch on/off?

Sato Ryuji: In the past, it was something that I was really bad at. Especially during the first performance of the stage "NARUTO" where I acted as Sasuke, I spent the entire year being irritable and it was really obvious that there was a decrease in the number of words that I spoke... But recently, I've become better at switching on/off.

Woman Insight: After standing on so many stages, what is the most difficult thing you've had to do?

Sato Ryuji: For example, Sasuke seeks an overwhelming strength, [and for] Kashuu Kiyomitsu (Musical Touken Ranbu), who exists as Okita Souji's sword and is the very sword itself, it is expected that he excels at handling his sword. The moment that the audience thinks, 'Sasuke, he's really unathletic', or, 'He's Kashuu, but he's really bad at handling his sword', the feelings of the people watching will dampen. So, certainly with the actual acting too of course, besides that, to be able to achieve a high level of skill even in the movement [of the character] is something that is probably difficult.

Woman Insight: It sounds like you spare no effort to ensure that the audience will become absorbed in the production. Speaking of which, do you do your stage makeup yourself every time?

Sato Ryuji: For Sasuke, I did it myself. Depending on the role, the makeup artist will apply it for me, during that time, I would watch the methods that the makeup artist uses, thinking, 'Ah, so this is how it's done', and try as much as possible to learn how to do it myself. There is the method of applying the makeup, but also because I'm the type who gets into a role through 'form', I will also buy the same makeup that the makeup artist uses (LOL).

Woman Insight: Especially for the 2.5D stage, it is also important to be able to "get into a role through form", I guess (LOL). This time, in "Gekkan Sato Ryuji x Kobayashi Hirokazu", you have unveiled 8 different styles in total, and you've said that the fan's reactions were the identical in every event...

Sato Ryuji: Yes, that's right. I had thought that the opinions would be divided, and it really was very cleanly divided. But, as expected, the oiran [1] photos got a reaction that was a bit stronger. It is certainly shocking, isn't it... Looking at the photos that were taken, even I was surprised. 'Who is this!?' (LOL).

[ For a sample of Ryuji's oiran photoshoot, please check out this link: http://rz-jocelyn.tumblr.com/post/156080306396/gekkan-sato-ryuji-x-kobayashi-hirokazu ]

Woman Insight: This would probably be your first and last oiran experience, but with this opportunity, you might get offers to do roles for female characters.

Sato Ryuji: Yeah... A female character would be a bit... (LOL) I've experienced cross-dressing before, but I think that it would be very difficult for me to act in a completely feminine role. My voice is low, so when I speak I would make everyone despondent. But if I don't speak, it might still be doable (LOL).

Woman Insight: Something you said during the stage interview struck me, but you said that for your birthday this year, you 'played games alone at home', so are you the type to celebrate your friends' birthdays?

Sato Ryuji: It depends on the person, but generally, I don't really place an importance on birthdays... It's not just that, I don't have a single occasion that I place an importance on (LOL). If I had to pick one, it would be New Year's Day, probably. During New Year's Day, I will, without fail, 'eat mochi [2]' but that would be it. I don't really pay attention to the other occasions, but on New Year's Day, I would eat mochi, and it feels like a day where I would return to my origins as a Japanese person (LOL).



NOTE:

[1] "Oiran" was a term used to refer to courtesans in Japan, and were considered to be distinguished from other "women of pleasure" because they were also entertainers. For more information on the "oiran", please refer to the link here: https://en.wikipedia.org/wiki/Oiran

[2] Mochi is a type of Japanese rice cake made from glutinous rice.



Source: http://www.womaninsight.jp/archives/250377/3

Song Translation: "Ai Uta"


Ai Uta

Song of Sorrow




Written by: Aoi Shouta
Composed by: Aoi Shouta




Saa utai mashou kono ai no uta wo...

Come, let's sing this song of love...


Kubisuji wo tsutau keiyaku no chou
Kiri yoru ni akai tsuki hohoende
Kagirareta toki to wakatteite mo
Me wo sorase nai mama...

The butterfly of covenant/promise walks along the nape of my neck
The crimson moon smiles in the foggy night
Even though I know that it's a limited time
Without averting my eyes...


Minamo ni utsuru wa
Namida wo nagasu watashi dake...

Reflected on the surface of the water
Is it only me who is shedding tears...


Saa wasuremashou koi no ohimesama
Itamu omoi hikisaite
Itsuka kono sakebi ga kieru hi made
Shin no hana ga saku made
Kurui kanade mashou...

Come, let's forget, princess of love
Tearing up the painful feelings
Until this scream vanishes one day
Until a new flower blooms
Let's play on the confusion...


Kokoro ni samayou kanashimi no chou
Nigirishimeta kono nukumori wa
Ushinai taku nai to negatte mi te mo
Tada usurete iku dake

The butterfly of sadness that prowls my heart
This warmth that I've tightly grasped
Even if I try praying/wishing that I do not want to lose it
It would just fade away


Koe wo karashite... Tsukiyo ni terasare...

My voice dries up... I'm bathed in the moonlight...


Saa utai mashou ai no ohimesama
Namida no aji kamishimite
Wasurenai you ni kokoro no okusoko
Sotto tsutsumikomi mashou

Come, let's sing, princess of love
While chewing on the taste of tears
So that I would not forget, in the depths of my heart
Let's softly enfold it


Soshite hitori...

And on my own...


Sakimidare mashou ai no ohimesama
Fumare chigiraretemo kamawanai wa
Hitasura ni dare ka wo omoi nagara
Tsuyoku ikite ikimashou
Rinto kagayaite...

Let's bloom profusely, princess of sorrow
Even if I'm stepped on and shredded, I won't take heart
While earnestly thinking of someone
Let's live with strength
Shining with dignity...


NOTES:

1. For the word "ai" that is used throughout the song, Shoutan actually uses two different kanji that have very different meanings.
- For the kanji (in the title and the last verse), it carries the meaning of "sorrow" and "mourning".
- For the kanji (in the first verse and the seventh verse), it carries the meaning of "love".

2. For the word "keiyaku" in the first verse of the song, the kanji that Shoutan uses is actually . Written in the way that it is, it could also be read as "chigiru", which means "to swear / to pledge, especially sexual fidelity".

3. For the word "ohimesama" used throughout the song, the kanji that Shoutan uses is actually 大和撫子. Written in the way that it is, it could also be read as "Yamato Nadeshiko", which is a term used to describe "the epitome of pure, feminine beauty" or a term that can be used to refer to "the idealized Japanese woman".

4. For the word "kanade" in the fourth verse of the song, it is a verb that is used specifically to describe the way that one "plays a stringed musical instrument".

5. For the word "dare ka" in the last verse of the song, the kanji that Shoutan uses is 貴方. Written in the way that it is, it could also be read as "anata", which means "you".




Romaji Lyrics: R. Z. Jocelyn
English Translation: R. Z. Jocelyn

Song Translation: "Melodia"




Melodia

Melodia




Written by: Aoi Shouta
Composed by: Aoi Shouta




Makkura ni natta kokoro wa mori no you de
Sono saki ni kasuka ni mieru futashika na susumu beki michi
Oshiete...

My heart that has completely darkened, much like a forest
Up ahead, the hazy path that I am supposed to take
Please tell me...


(calling...) Hitomi wo tojireba
(calling...) Afuredasu namida
(call me...) Kono te ni sukutte

(calling...) If you close your eyes
(calling...) Your tears overflow
(call me...) I'll catch them with this hand


Kitto korekara deau mirai no shirushi

It is a definitely sign of a future that we'll meet


I'll cry here together.
Ima, tsuyoku ikiru tameni
Sagashiteru bokutachi no merodi
(feel me) Sotto...
Hitotsu hitotsu tsunagu you ni yubi de nazotte
Katachi ni shite ikou

I'll cry here together.
Now, to live with strength
I'm searching for it, our melody
(feel me) Softly...
One by one, until it's connected, trace with our fingers
Let's together give it shape



Tooku kara kikoete kuru kimi no koe
Hitoshirezu furitsuzukeru sono koe ni kyoumeisuru you ni
Kasanete...

Your voice I hear from afar
Secretly falling, I resonate with that voice
Repeatedly...


(calling...) Michibikareru you ni
(calling...) Motomeau you ni
(call me...) Kono te wo tsukande

(calling...) Like a guide
(calling...) To seek each other out
(call me...) Grab hold of this hand


Umareta ai no hana wo karasanai you ni promise you

Without making the blossom of love that was born wither, promise you


Hitori yozora wo miage
Tameiki ga mado wo tataitemo
Omoidashite ano hi wo

Gazing at the blue sky alone
Even if my sigh strikes the window
I remember that day


Saisho kara
Bokura wa tsunagatte itanda
Ima sae mo norikoete ikunda
(feel me) Motto
Mada shiranai donna mirai demo issho ni iyou

From the very beginning
We were connected
Even now, we will continue to overcome
(feel me) Even more
No matter the unknown future, let's be together


I'll cry here together.
Ima, tsuyoku ikiru tame ni
Sagashiteru bokutachi no merodi wa
Kitto mitsukaru
Mugen ni hirogaru omoi to
Kimi ga ire ba

I'll cry here together.
Now, to live with strength
I'm searching for it, our melody
I'll definitely find it
Together with the feelings that spread through eternity
As long as you are here




Romaji Lyrics: R. Z. Jocelyn
English Translation: R. Z. Jocelyn

Katori Shingo's "Four Distress"

In a cross talk between Kin-chan (Hagimoto Kinichi) and Shingo, Shingo was asked what were his four distress ("yotsu no kurushimi"). Shingo's answer:


"The SMAP [members] other than myself."



Nakai Masahiro


Kin-chan: Firstly, the Nakai distress. This is...?

Shingo: Yes, about this. this person is someone I really do not understand.

Kin-chan: What do you mean?

Shingo: He is like an Amanojaku [1]. [Nakai-kun will say] Something like, "That is also okay, but what do you think?" [And I'm] Like, "Whatever!"

Kin-chan: Ah, he flutters.

Shingo: Ah.

Kin-chan: And, you are befuddled by him.

Shingo: Ah.


NOTE:

[1] Amanojaku:

1. A person who purposely does something that goes against what people have said. Cantankerous/grouchy. A contrary person.

2. A demon-like spirit from Japanese folklore (From Wikipedia: https://en.wikipedia.org/wiki/Amanojaku). Good at mimicry, even though he is digging into strangers' hearts, he is good at it.

3. The face of the demon that can be found on the armour of Bishamonten around the area of his abdomen/stomach (From Wikipedia: https://en.wikipedia.org/wiki/Amanojaku)



Kimura Takuya


Kin-chan: The Kimura distress?! Kimura-chan doesn't look like he has any thorns; in fact, he easily builds relationships with people.

Shingo: He is "kakkoii", isn't he?

Kin-chan: Oh, you're starting with a compliment. He is "kakkoii"...

Shingo: Well, he is "kakkoii". Certainly yes... Even as I am in the same group, he is unwaveringly the Number 1 guy in Japan. That is what I've always thought.

Kin-chan: That's nice. To be called Number 1 in Japan by his own friends, exactly like that it takes flight from there.

Shingo: That is what I've thought since I was young, I've acknowledged that since I was young, and on top of that, I recognize that I will never be Number 1 in Japan.

Kin-chan: You have?

Shingo: Because, within me, he is the Number 1 in Japan.

Kin-chan: Ah, I see.


NOTE:

Kin-chan is also on familiar terms with Kimura Takuya, and has commented on him before: http://rz-jocelyn.tumblr.com/post/100478542776/kimura-takuyas-42-day-birthday-challenge-kimura



Inagaki Goro


Shingo:  I get annoyed [by him].

Kin-chan: Inagaki-kun.

Shingo: He always makes me annoyed. For example, he completely cannot stand this heat [the heat outside].

Kin-chan: Ah.

Shingo: Because he cares very much about his hair, he cannot stand sweat.

Kin-chan: Ah, I see what you mean.

Shingo: For me, something like that, I'm the type who's like, "Who cares". Even as he is annoyed by that, I get a little annoyed.

Kin-chan: Yes, something like, "What is with this heat? I don't like it~".

Shingo: Yes.

Kin-chan: Does he say that in front of everyone?

Shingo: Yes, he does.

Kin-chan: So, what if he doesn't say it in words?

Shingo: Yes, even with those gestures, how do I put it, it makes me annoyed.

Kin-chan: Ah.

Shingo: Compared to the others, he is a small distress.



Kusanagi Tsuyoshi


Shingo: He really is someone who is "dame" [1]! I'm sorry, but to everyone who is watching this, please don't laugh. I'm being serious! It's not that kind of gentleness, not because we've been together for so long, not because it's Shingo and Tsuyoshi, that I can say this; he really is "dame". I want everyone to understand, he really is someone who is "dame".

Kin-chan: He is like the person who was my partner, Jiro-san. Even though he is older than me...

Shingo: Ah, Kin-chan doesn't have to say something like that. Because, it becomes like a compliment.

Kin-chan: Ah, I see. It's different.

Shingo: It's really not like that... Really.

Kin-chan: You don't mean it like that.

Shingo: I don't mean it like that.

Kin-chan: I see.

Shingo: When we were young, he told me.

Kin-chan: What?

Shingo: He said, "Because I am Shingo's "kingyo no fun"."

Kin-chan: Ah.

Shingo: And I punched him!


NOTE:

[1] "Dame" - In this context, it means someone who cannot do anything.

[2] "Kingyo no fun" - Directly translated to, "[a] goldfish's poop". In this context, it is a figurative saying that refers to someone who is always with another person/someone who is cleaved to another person in a relationship that continues for a long time.



A Ranking of the Combined Average Ratings of All the Dramas that Actors/Actresses Have Had a Lead Role In
(Only Includes Actors/Actresses who Have Had A Lead Role in Five or More Dramas)




01.  23.2%  -  19 dramas  -  Kimura Takuya

02.  19.9%  -  9 dramas  -  Matsushima Nanako

03.  19.5%  -  6 dramas  -  Fukuyama Masaharu

04.  19.4%  -  12 dramas  -  Nakayama Miho

05.  19.1%  -  10 dramas  -  Tokiwa Takako

06.  17.5%  -  16 dramas  -  Tamura Masakazu

07.  16.5%  -  14 dramas  -  Oda Yuuji

08.  16.3%  -  11 dramas  -  Nakai Masahiro

09.  16.0%  -  7 dramas  -   Fukatsu Eri

09.  16.0%  -  8 dramas  -  Takizawa Hideaki

11.  15.9%  -  6 dramas  -  Sakai Masato

12.  15.8%  -  5 dramas  -  Inoue Mao

13.  15.6%  -  17 dramas  -  Eguchi Yousuke

13.  15.6%  -  9 dramas  -  Nakai Kiichi

13.  15.6%  -  5 dramas  -  Tsumabuki Satoshi

16.  15.4%  -  5 dramas  -  Uchino Seiyo

17.  15.3%  -  7 dramas  -  Shinohara Ryoko

18.  15.2%  -  17 dramas  -  Kusanagi Tsuyoshi

19.  15.1%  -  13 dramas  -  Katori Shingo

19.  15.1%  -  11 dramas  -  Karasawa Toshiaki

19.  15.1%  -  8 dramas  -  Mikami Hiroshi

19.  15.1%  -  7 dramas  -  Toyokawa Etsushi

23.  14.8%  -  15 dramas  -  Domoto Tsuyoshi

24.  14.6%  -  13 dramas  -  Esumi Makiko

25.  14.5%  -  12 dramas  -  Sorimachi Takashi

26.  14.3%  -  14 dramas  -  Takenouchi Yutaka

27.  14.1%  -  10 dramas  -  Yamashita Tomohisa

28.  13.9%  -  5 dramas  -  Takeuchi Yuko

29.  13.8%  -  9 dramas  -  Domoto Koichi

30.  13.7%  -  7 dramas  -   Higashiyama Noriyuki

31.  13.4%  -  16 dramas  -  Yonekura Ryoko

32.  13.3%  -  15 dramas  -  Amami Yuki

32.  13.3%  -  7 dramas  -  Ito Atsushi

32.  13.3%  -  6 dramas  -  Kuroki Hitomi

32.  13.3%  -  5 dramas  -  Okada Junichi

36.  13.2%  -  19 dramas  -  Nakama Yukie

36.  13.2%  -  8 dramas  -  Suzuki Kyoka

38. 13.1%  -  10 dramas  -  Abe Hiroshi

38.  13.1%  -  6 dramas  -  Matsumoto Jun

38.  13.1%  -  5 dramas  -  Oguri Shun

41. 13.0% - 6 dramas - Yamada Takayuki

41.  13.0%  -  6 dramas  -  Inamori Izumi

43.  12.9%  -  16 dramas  -  Kanno Miho

44.  12.8%  -  13 dramas  -  Matsuoka Masahiro

45.  12.6%  -  23 dramas  -  Mizuki Arisa

45.  12.6%  -  6 dramas  -  Kamikawa Takaya

47.  12.4%  -  5 dramas  -  Ohno Satoshi

48.  12.2%  -  16 dramas  -  Takahashi Katsunori

48.  12.2%  -  9 dramas  -  Inagaki Goro

48.  12.2%  -  8 dramas  -  Motoki Masahiro

48.  12.2%  -  5 dramas  -  Sakurai Sho

52.  12.1%  -  8 dramas  -  Sakaguchi Kenji

53.  12.0%  -  19 dramas  -  Nagase Tomoya

53.  12.0%  -  6 dramas  -  Kishitani Goro

55.  11.8%  -  5 dramas  -  Yusuke Santamaria

56.  11.6%  -  15 dramas  -  Ueto Aya

56.  11.6%  -  9 dramas  -  Fujiwara Norika

58.  11.5%  -  6 dramas  -  Nakatani Miki

59.  11.4%  -  5 dramas  -  Eita

60.  11.3%  -  8 dramas  -  Kamenashi Kazuya

61.  11.1%  -  9 dramas  -  Ninomiya Kazunari

61.  11.1%  -  8 dramas  -  Nagasawa Masami

61.  11.1%  -  7 dramas  -  Sasaki Kuranosuke

64.  11.0%  -  14 dramas  -  Fukada Kyoko

64.  11.0%  -  5 dramas  -  Nagasaku Hiromi

66.  10.9%  -  8 dramas  -  Horikita Maki

66.  10.9%  -  5 dramas  -  Shaku Yumiko

66.  10.9%  -  5 dramas  -  Aiba Masaki

69.  10.8%  -  6 dramas  -  Sawamura Ikki

69.  10.8%  -  6 dramas  -  Eikura Nana

71.  10.7%  -  6 dramas  -  Matsuda Shota

71.  10.7%  -  6 dramas  -  Shida Mirai

73.  10.6%  -  8 dramas  -  Zaizen Naomi

73.  10.6%  -  5 dramas  -  Ishihara Satomi

75.  10.3%  -  5 dramas  -  Miura Haruma

76.  10.1%  -  6 dramas  -  Itou Hideaki

77.  09.9%  -  5 dramas  -  Satou Koichi

78.  09.6%  -  5 dramas  -  Hayami Mokomichi

79.  08.9%  -  6 dramas  -  Takei Emi

80.  08.4%  -  5 dramas  -  Odagiri Joe




Posted on the 4th of August 2015

Source: http://blog.livedoor.jp/kinisoku/archives/4454342.html



The Working Person, KimuTaku:
Even When He Isn't Onscreen, with the Heart of a "Kid", He "Acts" Wholeheartedly with his Co-Stars



'He doesn't return to his dressing room.' 'He remembers even his co-stars' lines.' Kimura Takuya (42), a star, the person who posesses many "legends". Even from the staff and his co-stars of the movie he stars in "HERO" (opening in cinemas on 18th July), there are testimonies, such as, 'Even in scenes where he's not being filmed, he stands in [the] view [of his co-stars] on the other side [of the camera] to make it easier for his co-stars to act', and, 'More than anyone else, he is the earliest to arrive on the set'. To find out the truth of this, I went in and talked to him, and his aesthetics/philosophy as a working person came to light.

I've been interviewing Kimura for approximately 8 years. No matter how many times we've sat down for an inteview in close quarters, even now, I still get nervous. I've finally understood the reason. When I am talking, he looks me in the eye and watches my expressions closely; with a strong gaze that doesn't forgive half-hearted answers and deception. When I tell him frankly that that's 'scary', he replies while laughing, 'You always meet me. It's not scary, right?' Even as he says that, I can feel him gradually easing on his attention out of consideration for me, and I thought, this is someone who is skilled at maintaining a moderate distance from his partner.

Even on the set of this time's "HERO", he placed a great importance on the atmosphere of the space in his surroundings. With the Jousai Shibu Public Prosecutors Office as the stage, there is a scene where he has a conversation with the actress who plays the female prosecutor, Yoshida Yo (age unnanounced). Even though Kimura had already completed his part, he didn't leave the set. He was watching his co-star's acting from afar, appreciating it; even as I thought that, behind the camera, he stood up and moved to face Yoshida.

He wouldn't have moved for no reason. When I asked Yoshida about this, she revealed, 'Kimura-san, even when he, himself, is not in a cut [of the scene] where he's being filmed, he stays where we can see him and acts along with us. Thanks to this, as a co-star, it made it incredibly easy for us to act [out a scene].' Being right there, immersing himself in the role, he supported his co-stars' acting and [performance] point of view. Seeing it realized before my eyes, I was astonished at the way the top star searched for 'something he could do' even off-screen.

Kimura explained the reasoning behind his actions, 'When I am standing right in front of them, there is without a doubt that their (his co-stars') eye movements are different. The feelings/emotions (of his co-stars towards the main character) can also be maintained, so it should make acting [out a scene] a lot smoother.' Even when someone isn't onscreen, they can still have an impact [to the things that are happening] onscreen; that is what he believes.

The film direction style where each character, in turn, gets a close-up in accordance to the catch-ball dialogue; it could be said that this is a beloved aspect of "HERO". Even in this popular scene, where we get to enjoy the subtle variations of their expressions, this is something that is born from the "co-acting" that happens off-screen.

He is someone who is constantly aware of the set/his surroundings. When I asked him about what's important to him, in addition to doing his job; 'To do my best/give my all. After all, that is (the most important thing about) the set. Well, in the eyes of someone who is calm and rational, I might seem like a kid.'

It is a word that most likely comes from his own assertion of the earnestness in which he undertakes his roles and all the jobs that he has been entrusted with. Not 'a child' nor 'a boy', but in a slightly rough manner, he uses the phrase 'a kid'; a phrase that oozes with the memories/feelings of a member who belongs to the 'on-set group' of people who have sweated it out on the frontlines.

From the staff who were present at the set, this episode also came to light. 'Amongst the cast members, he is the earliest to arrive.' 'More than anyone, he is the quickest to be on stand-by in front of the camera.'

When asked for his reason, he stated flatly,'I dislike being like a Director/VIP.' 'Since everyone is already on stand-by, we should be on stand-by too. Also, the setting preparations are fun to watch.'

On a different note, he says that he 'doesn't practice his lines'. 'The words of a film shouldn't be something that has been prepared beforehand. That's why if I listen to myself as I voice them out loud, when I act [out a scene], it becomes harder to strike a balance.'

He speaks the lines aloud for the first time during the rehearsals on the set. 'After I've seen the set, I will then incorporate my own thoughts/interpretation and feelings [into my performance], and act it out as it is. Something along those lines.' Matching [his performance] with 'the place that he's in right now', with that flash [of emotion], he will then enact his performance. An actor, a singer, a talent, he is someone who possesses a myriad of faces; it is because he has faced a myriad of sets head-on that this approach is possible.

42 years old. In the TV Asahi serial drama, 'I'm Home' that was on air until last month, he took on the challenge of the role of a father. Maybe it's because of the influence from that, there has been an increase in the number [of people] who identified this as a 'turning point' for him as an actor. However, for Kimura, the most important thing is perhaps the type of roles he gets; how he will act out the roles that he has taken upon himself. 'Ultimately, I am a soldier and a player [of a team]. I am only doing what I must for the victory of the unit and the team.'

I thought, this is what it feels like; a "hero" who has pulled the entertainment industry along for over 20 years.

"I'm Home": Cast of Characters

For an introduction to the drama, please refer to this post: Captain's New Drama: "I'm Home"


CAST OF CHARACTERS


Ieji Hisashi (Kimura Takuya)

A salaryman in a security company. During an accident that happened when he was away on his own taking up his new position, his memory of the recent 5 years became hazy. Even though he was an elite/the cream of the crop, after the accident, he moved to a department with time to spare/a "free" department; the Thirteenth Sales Department. Currently, he is a kind-hearted man who is skillful at cooking. However, before he lost his memory, he was a very ambitious and cool-headed man, who thought nothing of discarding/disposing of people.

Even though he has a wife and a 4-year-old son, their faces look like masks to him and he has no idea of the love that he has for them. He remembers the family he has separated from, but...


Ieji Megumi (Ueto Aya)

Hisashi's current wife. In his eyes, she looks to be wearing a mask. Daughter of a wealthy family. Why he married Megumi, what type of marriage life did they lead, these are things that Hisashi cannot remember.


Nozawa Kaori (Mizuno Miki)

The wife Hisashi separated from. Is a writer of a magazine. Because of his memory loss, sometimes, he hallucinates that she and Subaru are his current family, and it befuddles him. Why she married Hisashi, why they divorced, the riddles will gradually be explained.

Honjou Tsuyoshi (Tanaka Kei)

The coach of the soccer club that Yoshio belongs to. Later, he will become involved with the Ieji couple.


Watanuki Shinji (Suzuki Kousuke)

A member of the Thirteenth Sales Department that Hisashi has moved to. In the past, he used to work incredibly hard, but recently, he has lost his drive.


Ieji Yoshio (Takahashi Rai)

Hisashi and Megumi's son. A little spoilt.


Nozawa Subaru (Yamaguchi Mayu)

Kaori's daughter. 13-years-old. Recently, is a little rebellious.


Kuroki Jin (Arai Hirofumi)

The star player of the security company that Hisashi works at. The ace of the First Sales Department. The former elite salaryman Hisashi's junior and also rival.


Todoroki Haruki (Mitsuishi Ken)

The Manager of the Thirteenth Sales Department that Hisashi has moved to. He slightly bullies the newly transferred Hisashi and is strict with him.


Teshigawara Yousuke (Watanabe Ikkei)

The Executive Officer of the security company that Hisashi works at. Takes an interest in Hisashi who made a comeback.


Tsukuba Yoshiaki (Oikawa Mitsuhiro)

The physician in charge of Hisashi's brain surgery. To Hisashi, who sees his wife and son with masks, he councils him with an easy-going attitude.


Kozukue Yukio (Nishida Toshiyuki)

The Director of the Thirteenth Sales Department that Hisashi has moved to. Even though he is a gentle and mild-mannered person, he is also a little thick-skinned/insensitive.


Source:
http://www.tv-asahi.co.jp/imhome/

Captain's New Drama: "I'm Home"




"I'm Home"
Where is the place that you can return to?


TV Station: TV Asahi
Broadcast Date: April 2015
Broadcast Time: Thursday, 9.00pm ("Mokuyou9")
Starring: Kimura Takuya, Ueto Aya


SUMMARY

Kimura will be acting as Ieji Hisashi, the man who lost his memory of the recent 5 years after meeting with an accident while he is away taking up his new position. For some reason, his wife and son appear to him to be wearing masks. Their expressions, their emotions, he cannot discern them. He has no idea if he does indeed love his wife and child, leaving him anguished. On the other hand, in Ieji's memory, is his affection for his ex-wife, whom he divorced 5 years prior, and his daughter.

During the vaccuum of these 5 years, what were his days like? To unearth this, with a mysterious bunch of 10 keys left in his hands, Ieji sets off on a journey to discover his past self. In the midst of his searching, he gets to know more about the cool-headed workaholic that was his past self. For the current kind-hearted Ieji, the existence of this unimaginable figure is gradually becoming more apparent.

'What is the mystery behind the bunch of 10 keys?'

'Why did he separate with his wife and child in the past?'

'And, why does his current wife and child look to him to be wearing masks?'

With the keys in hand, sometimes comical, sometimes heartfelt, sometimes black, we will sketch the figure of Ieji as he visits the houses of the people who were involved with his past.


DESCRIPTION FOR EPISODE ONE

'I'm home.'

Unlocking the door, Ieji Hisashi enters a house in a quiet neighbourhood. Just as he steps into the empty house, it starts to rain. He hurriedly takes in the laundry that is hanging in the garden, and as he is about to iron them, his daughter, Subaru returns home.

'Father, what are you doing in a stranger's house!?'

Ieji is surprised at Subaru's words. When he rebuts, 'A stranger's house? This is my house, isn't it?', Subaru bluntly says, 'It's the house of your wife and daughter that you've separated with, isn't it?'

Yes, this is the house of his wife, whom he divorced 5 years prior. The house that Kaoru and Subaru live in. It is no longer "Ieji's house"!

Actually, Ieji met with an accident while he was away alone, taking up his new position, half a year ago. Teetering on the edge between life and death, when he awoke, his memory of the recent 5 years had become fuzzy.

Using a diary to note down the things that happen every day, Ieji tries to recover his memory, but because of time, "his daily life of 5 years ago" becomes an illusion of "his present reality". This time too, it is because of this link that he has returned to Subaru's house.

'Are things going well with Father's current family?'

At Subaru's query, Ieji frankly reveals that, after the accident, the faces of his current wife, Megumi, and son, Yoshio, look like masks to him...



Source: http://www.tv-asahi.co.jp/imhome/
Kimura Takuya is always Kimura Takuya.



Well, it's probably better if I didn't write this, but since the number of people reading has grown, I will write honestly. For me, this is the purpose of this Facebook.

Kimura Takuya is always Kimura Takuya.

The people who say that with a self-satisfied/smug expression (well, I've never seen the actual faces of these people), there is quite a number of them; in the end, I think it is a warped version of love.

A controlling, binding kind of love.

It's good to pursue love; instead, let's think of it as the blind devotion of a mother towards her son and it becomes much easier to understand.

Mothers... They always see their sons as elementary school children or, depending on the person, kindergarten children. There are still many who continue thinking [of their children] this way, right?

It is a human thing, the personality of a living thing, [and they] don't realize for the longest time that their children have grown out of their early teens; that becomes the basis of their love. And then, unconciously, because they think that that is love, they forgive anything and everything. Men who are said to have a "mother complex" just go along with this disposition of their mothers, and their rampaging mothers can't be stopped. As a result, it becomes a sad state of affairs. That is, I think, because their sons tolerate it. In the case of daughters, they become independent and self-reliant much faster.

Even when they've become high school students or university students, when they've clumsily attempted to enter society, even when they've gotten married, the mothers still see their sons as elementary school students. The minds of the people who think that KimuTaku is always KimuTaku are like these mothers; it is pretty deeply ingrained in them, I think. To express such criticism, even when its from men, it is a similar thing, I think. Even in men, there is a "feminine side" to them after all.

The people who say that [that KimuTaku is always KimuTaku], firstly, there is no mistaking that they are probably the people who fell in love with "RonBake" ("Long Vacation"). Not knowing if they love him or hate him, they became fascinated by his voice, and it becomes a decisive thing for them. If they've never seen RonBake, it's probably because they've been attracted by his commercials. Or, perhaps I should say, that we most definitely won't find people who have never watched "RonBake" and who criticise Kimura Takuya [in that way]. In short, those people are actually seeing the Kimura Takuya from "RonBake". Why? Because that was the time when their son was at his cutest.

It's kind of pathetic.

That son continues to live, is currently still alive, and he is showing the current side of himself, but they devotedly care for their son's photos from his years as an "elementary school student" (it is not an exaggeration to say that mothers see their sons that way), continuously gaze at them and say, "Oh, Taku-chan, how many years has gone by since then?", even though their son cannot remain in that state.

Even though their son has grown up and has settled into a stronger personality than his former one, these numerous mothers can only see "that [the personality of his younger self]", and they continuously dote on "the past".

Why? Because they want him to remain as "the Taku-chan from that time". And, that's why they only ever see the Taku-chan from that day, that time.

Those people, they have completely forgotten what it was like for them being a mother.

For Kimura Takuya... No matter what "voice" he speaks in, no matter what "sound" he makes, all of it, they only ever "hear the same thing". Of course, it means that that is the extent of the power in Kimura Takuya's voice/sound.

To be frank, it is a real tragedy.

Since this is a kind of "curse", to lift it, I think, would be impossible.

The people who criticise him, these are the people who are still in love with "the Kimura Takuya of that time". And then, they don't want to betray and doubt the thoughts/opinions that they had "at the time", don't want these thoughts to crumble.

They will never realize that, for their entire lives, they have continuously desired/pursued Kimura Takuya.



Source: Toji Aida's Facebook
Original Translations: Ms. A
Edited Translations: rz-jocelyn
Through the years of his career, Kimura Takuya has had the opportunity to work with some of the most talented and skillful professionals in the entertainment industry, from the behind-the-scenes film crews to his fellow actors and actresses. They have worked with him and watched up close as he brought numerous characters to life. They, more than anyone, are the people who know exactly what he is capable of and who he is as Kimura Takuya the actor.




Staff and Behind-the-Scenes CrewCollapse )


Fellow Cast MembersCollapse )


Other Industry ProfessionalsCollapse )



Special thanks to yutakuya for allowing me to use her sources and for helping compile this entry :333

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