Suda Masaki - Livedoor Interview

Q: Can winning an award increase confidence?

Yes. This job doesn't give license or points, it's hard to have confidence.  Since it can be judged only by critics or audience, I would appreciate it if you cld evaluate it as easily as a film award.

Q: On the contrary, can that be a pressure?

Suda Masaki: Sometimes, I think about the implications of receiving an award. For example, isn't there a big difference between getting 100 from a friend and 20 million? If it's 100 yen, I don't think too much (for what I got), but when it is 20 million, I would wonder "Why did you give it to me?" The award is that big. No matter what kind of project I shoot, I'll be told that I'm Japan Academy Award Winner for Best Actor. After all, it means that I have to desperately work.

Q: This year alone, you played a wide range of roles.

Suda Masaki: That's why I wanted to create myself who isn't playing a role by doing "Suda Masaki's ANN" and singing as a singer.

Inoue Mao for Yakiniku Dragon (2018)

Inoue Mao describes Rika (her role) as "aggressive". She swears and explodes emotions in many scenes.

Mao: I tend to play a passive woman so far, so I think that I am looking forward to an aggressive role, and the director added more ideas that he found interesting on the set. There was also Kansai dialect that I was not used to. I didn't know how far I can go to get angry or yell at the scene, but when I looked at Rika's mother (Lee Jung Eun)'s acting, I think women have same blood.

Mao: The "anger" explodes from the bottom of my stomach. However, behind this "aggression", there is "hidden deep love", I interpret. Rika have a deep love for the other person, but she can't convey her feelings well. I want you to see the irritating part of Rika.

Nikaido Fumi X Yoshizawa Ryo for River's Edge (2018)

Source: https://news.livedoor.com/article/detail/14338610/

 Q: It is a work that depicts the loneliness, impatience, and conflict of young people struggling to live.

Fumi: I first read it when I was 16. At that time, I think it depicts what I felt everyday and the emotions I had, and I was shocked and think that this was a great manga.

Q: What is that specific point of empathy?

Fumi: At that time, I was already working, so when I went to the movie shoots, it was an extraordinary world. But I felt bored when I was in school from morning till evening. I always wondered whether something would happen or not, and I think there was a part that relied on being alive.

Q: I think many people have experienced the feeling of seeking inspiration in their teens. 

Fumi: I think that the age of 15-18 years old is a particularly sensitive time. It's extremely fragile and delicate. But at the same time, we weren't serious about living, or there was a point where we didn't feel anything.

Q: Yoshizawa played a gay young man, Yamada, who is severely bullied. The character has a unique atmosphere that makes him a little distant from other people. How did you portray this character?

Yoshizawa: It was a very difficult role. I thought about things, such as Yamada's core values, the gap between what Yamada is looked at by his surroundings, and how Yamada looked at them, but in the end, I still didn't know the correct answer.

Q: Yamada was surely a character that wasn't straightforward. Still, did you empathise with the characters or did it overlap with your youth?

Yoshizawa: I think that they had something like “bright energy” they had. In "River's Edge", you run into violence, sex, and drugs, but I think every teenager has the root of light. That's why I think that the reason why this original work has been loved through the ages is that it is resonant to teenagers today.

Q: How did you feel about the direction?

Yoshizawa: I thought that the emotional expression in this movie was very straightforward. Because there were a lot of "close" cuts in this movie. By doing so, I realised that the film can vividly capture each person's emotions, and I thought that it was as expected of Director Yukisada Isao.

Q: When I saw the movie, I was impressed by the acting of you two. Was it natural or was it the director's direction?

Yoshizawa: I didn't make any extra voices or facial expressions at all. Of course, there are times when you have to do that depending on the film, but I felt that Yamada would be cheap if I made it this time.

Q: Did it do so on your own, not the direction of the director?

Yoshizawa: Yes. I said earlier that I couldn't find the answer, but there was an image of Yamada that I had thought through, so I'm going to act accordingly.

Fumi: Director said at the first script read, "I'm far from this generation, so please give me your opinion." As the overall tone is not dramatic, as Yoshizawa said, we didn't even say the lines. Rather, I think that all of the cast were more focused on how they lived on the scene.

Q: The interview video of each character in the play felt very vivid. How did you shoot that?

Yoshizawa: There were some lines available, bu the director asked "I want to see the middle between Yamada who is the character and Yoshizawa Ryo who plays it." It was difficult to answer the question.I can't answer unless I go to a very deep part, and I feel that I was fighting with each question.

Fumi: Certainly, I had a feeling that I was a little uncertain whether Haruna (Fumi's role) was talking, or the word came out me who was playing Haruna. Moreover, I hadn't been told when I was going to be interviewed, so it was pretty exciting. But because of that, I feel that I and Haruna coexist.

Q: What was the most fun thing in filming?

Yoshizawa: I thought it was a great youth days, so I decided to shoot fireworks after the shooting ended in the middle of the night. After that, I remember eating the cup ramen while watching the sunrise.

Fumi: Yes, on the bank, with everyone.

Q: By the way, you mentioned previously that you often drink beer.

Yoshizawa: (lol). But recently it has changed to potato shochu.

Q: How about Nikaido?

Fumi: I have animals now.

What do you own?

Fumi: It's secret (laughs).

Matsuzaka Tori - Yahoo! interview

Source: https://news.yahoo.co.jp/feature/1438

Matsuzaka Tori: When my name was read aloud at the award ceremony, the president and managers were in a separate room at the venue. When I watched the video now, they all seem happy like a family. The moment I saw it, I felt a little rewarded. "Oh, I'm really glad I came here (T/N: TopCoat)."

On March 1, 2019, Matsuzaka Tori won Japan Academy Award for Best Supporting Actor for his performance in the film "Blood of the Wolves (2018)". 

Matsuzaka Tori: I have a personality that immediately thinks that something bad will happen when something is good. Like if I pick up 100 yen on the road, I'm worried that I'll fall over. I can't always immerse myself in joy, but it wasn't the same the day, and it may have been the happiest moment I've ever had.

The manager who has been in charge of Matsuzaka since his debut said, “His personality doesn't change so much after the debut. Such people are rare,". 

Matsuzaka Tori: I did a lot of things. I talked with my manager that "anything in my 20s is a challenge. It surely leads to my 30s."  I think it was good because there was nothing that I could be absorbed in.” “I played basketball for 3 years in junior high school, but the motive was a manga. I just liked "SLAM DUNK". I was also learning Aikido. What I really wanted to learn was karate, but we didn't have a karate dojo in neighborhood. My parents often said that "things don't last long with him". But with acting, I realized that it was not a repetition of the same thing, but a way of enjoying and feeling scared for each work.

Matsuzaka Tori: "Our motto is to choose the work that "If you do one job, you get three jobs" (lol). About five years ago, I found a role that challenged me further when I started to want to change myself by touching challenging works. I met Miura Daisuke [T/N: Director of Nanimono (2016), Call Boy(2018)], and said, "Please let me do it!". On set, I had to spend more time naked than I have ever been, and I was sweating every time because there was no place to escape. Then, my career began to change visibly. The number of challenging works have increased.

After Call Boy stage in 2016, Matsuzaka Tori worked later in "Birds Without Names (2017)" with Director Shiraishi Kazuya who worked together on "Blood of the Wolves (2018)". At a later date, Shiraishi reflected on the impression of Matsuzaka at the theater,..

Dir. Shiraishi: I immediately realised that Matsuzaka Tori is not just a good actor, and I think that he is an actor who did not intend to feel satisfy with what he has, so I offered him to work with me on "Blood of the Wolves".

Matsuzaka Tori: Isn't it scary that I haven't done it? I'm wondering if I have the courage to refuse something, I don't want to regret it. Even if the fear I had is 90%, I do it if I had a curiosity of 10%.  Even if the work is unsuccessful, if you feel attractive to the role, you will get satisfaction. You may even see the fun of being a failure.

Matsuzaka Tori: Of course, I feel responsible if I'm in the lead role, and I can't help worrying about the numbers. But, as an individual, I would like to deliver a work that remains the test of time rather than numbers.

Q: If you could meet yourself 10 years ago, what would you say?" 

Matsuzaka answered this question by laughing, "Properly save money." “I don't waste too much money, but the future is an unstable job, so I need to save it properly.” I feel that it would have been nice if I had a strong awareness of work lately.

Matsuzaka Tori: I want to have a family in my 30s. I like spending time alone, but basically I want a peaceful life, so I also want a family. But, I'll never let my child get this job. It's a tough job (lol). I feel that overwork, anxiety, and fear are overwhelming in this job.

Even so, when I asked, "What is the greatest joy in this job?" he answered without hesitation,

Matsuzaka Tori: "The encounters and connections." Above all, I have learnt a lot from Okada Junichi, Kiki Kirin, and Yakusho Koji.  Okada showed us the responsibility to take the lead role in Taiga over the course of a year. Kiki has her incomparable kindness wrapped naturally. It was a big influence. Finally, the presence and balance of Yakusho Koji is the ultimate ideal for me.

Matsuzaka Tori: I'm happy to hear that my previous works are good, but I am determined to do the "next one" my best.  Saying the reason as "the attitude of deepening my colors" would sound nice, but actually I think I'm the type that wouldn't last unless I create new doors and keep opening. I think I'm a "normal" actor (lol). I want to be an actor who has good works on TV, movies, and the stage.

Director Fujii Michihito X Shim Eun Kyung X Matsuzaka Tori for The Journalist/ Shinbun Kisha (2019) - Part 2

Source:  https://www.google.com/amp/s/news.livedoor.com/lite/article_detail_amp/16671285/

Part 1: https://jinterviewstrans.blogspot.com/2020/08/director-fujii-michihito-x-shim-eun.html

Q: How did Dir Fujii think about their acting?

Fujii: As I mentioned, I am not familiar about journalism at first. I just handed over them what to look up as information, but the two of them researched a lot. 

I can only show the nature of profession, but the emotions in it can only be entrusted to them, and I think that's what the two of them carried out very carefully. 

I thought it would be meaningful to shoot in front of the Diet or in a real place but despite the difficulties with the filming, the actor department was very calm, and make it even more fun. .. They were nice and made the difficult roles look very easy for us.

Q: How did Shim and Matsuzaka enjoyed the performance?

Shim: I really enjoyed the feelings during the scene. I can feel Matsuzaka's serious attitude toward the role and filming aspects.

Matsuzaka: From the eyes of Eun Kyung, a lot of different emotions were transmitted. It was very moving. I was very nervous every time I act with her. Also, she can change her details and nuances depending on the director's instruction, so I was really impressed.

Q: Are there any parts that changed due to their performance?

Dir. Fujii: I haven't made any major changes, but the final scene is a little different from the script. At first, they performed according to the script and Matsuzaka Tori said, "No, I think I would say something here, right?" Matsuzaka and Shim's acting led the words. I think the whole picture shows the suggestions and ideas of those two actors and how they permeated the roles. It was wonderful.

(T/N: As I understand, the last silent words in the movie are Matsuzaka's idea.)

Q: What if you are to co-star again?

Matsuzaka: I watch Shim Eun Kyung's "Sunny (2011)" and "Miss Granny (2014)". We did such a dark piece together this time, I would like to do a comedy next time as brother and sister.

Q: About director Fujii.

Shim: Yeah. I think that "The Journalist" may have some difficulties for the viewers, but I think that the direction is easy to understand and shows in a new style of his own. It was I think it's really wonderful for us to make it so that everyone can relate to it.

Matsuzaka: It was first time for me to work with the director, and he made me feel that he's very down-to-earth. He gave me various instructions and after he finished giving instructions, he was picking up fallen leaves (for shoot).

Fujii: For the scene at Kanzaki's house? (lol)

Q: About the two actors

Dir. Fujii: I was a fan of Shim since Sunny. But for Matsuzaka, I remember at the time of costume trial, he said  "This project is going to work!". The staff was nervous at that time and no one had confidence. The moment Matsuzaka said "Let's do our best!", we became fans. Even during the production, I became a fan of Matsuzaka... Like when I asked, "I want to see more of this," and he just said "I see." and did it.

Translator Note:

I watched the making and there Dir. Fujii said "Till this age of mine, I never been a fan of a male actor. But Matsuzaka really made me a fan."

Q: Can you tell us your ideals and beliefs as an actor?

Matsuzaka Tori: How can I become a part of that work? Among the various departments, such as the photography, director, lighting department, and recording department, it is the most important thing for me to contribute the work properly as a gear from the actor department.

Q: Are you motivated to appear overseas after co-starring with Eun Kyung?

Matsuzaka: It was exciting for me for the first time to co-star with actors from different countries, so I'm happy to have such an opportunity again.

Q: Could you tell us if you have a movie that made you think deeply after watching it?

Shim Eun Kyung:  Kore-eda Hirokazu's "Like Father Like Son (2013)". I cried while watching. I really like it because it's a really good movie.

Matsuzaka Tori: The documentary film" DANCER: Sergei Polunin (2016)" which follows dancer Sergei Polunin, who is said to be a maverick in the ballet world, was very good. It depicts the anguish of those who are active on the front lines of the ballet world and the pain that no one can empathize with, but there were parts that I could empathize with him as I am also the artist and other various things. It made me think.

Director Fujii Michihito X Shim Eun Kyung X Matsuzaka Tori for The Journalist/ Shinbun Kisha (2019) - Part 1

Q: In  "World Freedom of Press Index: 2019", S.Korea ranked 41st out of 180 countries, Japan ranked 67th. Why do you think it's important to voice out?

Matsuzaka: Nowadays, it is easy for all information, whether it is true or false, to enter our eyes and ears, and it is easy to misunderstand. That's why I realized that it's important to make a judgment with your own eyes and ears, and hold your own thoughts and opinions rather than criticizing something with someone's opinion. And finally, in this society, "not saying anything" becomes the safest option. That's why I think such a work is necessary.

Q: It's a very tough film, and the impact after watching is lingering. Were you all originally interested in the genre "political thriller"?

Dir. Fujii: I like to watch it, but I never had the opportunity to shoot such a piece of "political thriller" until now. I wasn't so confident that I could approach politics, so when Producer Kawamura (Star Sands) spoke to me, I declined it twice. I was just a young man who really liked movies. However, I was encouraged by various people and I received the passion from the producers and I tried to study myself. Although I was also involved in the script, I was first not aware of political entertainment with a high social value. For people like us who are not very interested in politics, people who do not know, I made it so that even movie lovers will be able to ask, "What do you think of the current situation?"

Sim Eun Kyung: This is my favorite genre as a movie, for example "Spotlight (2015) (T/N: Oscar Winner)", I refer to that movie this time. Although "The Journalist" is a film about journalism, I felt it was a very human story. I think it's a story that can be found not only in Japan, but anywhere in the world. I was very empathetic to it. Also, we usually see various information. I think it's a movie that sends a message to the audience about what to believe and what the truth is.

Matsuzaka: When I first read the book before the script, I thought there is something that makes me think again. Now that we are in a society with information, I think it is important to hold your own senses in an environment where it is easy to mix up truth and rumours. Above all, I think it's great that I can work with Shim Eun Kyung and Director Fujii.

Q: About the bureaucrat role.

Matsuzaka: To be honest, I didn't think it'd be this difficult. The more I research, the more I don't understand (lol). So, rather than trying to refer to sth, I decided to take good care of Sugihara's emotions, ideas, and things that affected his decisions.

Q: Are there any specific aspects that you found difficult or empathetic when you performed?

Matsuzaka: Everything, it was just full of difficult things. 

Everyone: laughs 

Matsuzaka: Really (lol). When I thought about what his job is, what kind of life he has, and how he lives each day, it was difficult for me to meet someone who was in this line of job, and it was difficult to get information. There was a lot of difficulties with this character. But, at the same time, there're so many places where I can empathize. I have a different profession but I also feel like I have to do sth, I have doubts regarding the commands from above and what I have to do. Every day I was thinking about how to express it.

Shim Eun Kyung: The difficult thing is that it doesn't start with “Why Yoshioka wanted to be a reporter” at the beginning, but as the incidents occurred and gathered, it unfolds her sadness steadily. Before shooting, I thought that I had to make a good research, so I thought about various things and worried more than other works. Yoshioka is a mixed Japanese-Korean, and a repat from U.S. I thought that such an identity was a little hard to digest, so in the flow of the movie's story, I was trying to make it look natural. At first glance, Yoshioka looks calm, but she also has a human part, so I wanted her to show a balance of both. It was difficult to do acting while adjusting (T/N: I think she moved to Japan?), but on the contrary, there were scenes where I got emotional became more natural. Especially, the scene with Matsuzaka Tori was very emotional.

----To be continued in Part 2.

https://jinterviewstrans.blogspot.com/2020/08/director-fujii-michihito-x-shim-eun_19.html

Shuri X Suda Masaki for Love At Least (2018)

Source: https://natalie.mu/eiga/pp/ikiai

Q: Shuri, where did you find attractive in this film?

Shuri: It's the energy of the script. I felt that if I play this character, I might be able to understand someone, and maybe, someone would understand me.

Suda Masaki: There are many people like that. At least (singer-songwriter) Ishizaki Huwie said, "Tsunagi is too hard for me. I was floored." That's the biggest compliment.

Shuri: Really? I want to talk to him. Please tell him for me (lol).

Q: Suda, you said that when you read the script, it would be a movie that your generation will think “well done!”. Do you remember the decisive factor for the appearance?

Suda: I thought it was "current issue". It's a movie that people living in the present should make in this era where the speed of change is very fast.

Q: I see. Although I cannot read Tsunagi's feelings at first, his impressions change little by little. Didn't you need delicate acting when shooting?

Suda: Even if you talk this way, you don't really know who I am at that moment. I wonder if such a feeling should always be there. I'm sure that people who are watching it will initially feel that "Tsunagi is timid". Gradually, you will think "No, is this a problem for him?" "Is there something that I (viewer) might have?". I think it was the role of Tsunagi to make the viewers feel like they were not someone else.

Shuri: Although he doesn't face deeply with himself, he acts like he's facing. Although it sometimes seems kind but sometimes hurt. But shooting the scenes with Tsunagi was fun.

Suda: It was interesting. In order to bring out the daily lives of the two people, Tsunagi try not to be overwhelmed by each behaviour of Yasuko.

Suda: It was a relationship like a boxer and a punching bag.

Shuri: That's right (lol).

Q: Shuri, I felt that you were going to be exhausted due to the scene that Yasuko screamed and ran out. How was the shooting?

Shuri: I thought that should be considerably exhaust me, but it was actually fun. Perhaps it was because I was able to be as Yasuko (lol). Every scene was fun! I ended up feeling like that. After the shoot, I went home and did some laundry and stay healthy.

Q: Are you a type that does not play a role in real life?

Shuri: True.

Suda: Even though I play a role, it's my own, so it can affect the daily life to a considerable extent. There are times when I'm doing something for a role, such as making a body change or trying to sleep a little. In this movie, when I meet my parents, I was told that I'm not playing a hard role right now.

Shuri: During the filming period, there was a moment when I thought that I would have been screaming if I were Yasuko even in everyday life.

Suda: It's tough to continue. Because my own sense is in the base, the line of sight and the role cause a gap, and I cannot objectively see it. Sometimes, I have to do something that reminds me of my feelings.

Note: In the film, there is a scene of Yasuko standing naked on the roof. There are colorful neon lights and flags fluttering with the wind around, creating a very artistic space. In the entire dark background, the roof is illuminated by the basic colors blue and red, and the outlines of the faces of the two are clearly visible. Through the close-up of the face, the subtle changes in the facial expressions of the two are clearly shown. And the roof is no longer simply a place of life, but has evolved into a stage where Yasuko opens up and dances freely.

Taking this scene as the dividing line, a spiritual bond between the two who once seemed to be in two parallel lines. It is precisely because they are in an illusory space that they can communicate with each other.

"I can't be separated from myself in my whole life. And you? You should feel very happy to be separated from me."

"I" and "me" can't be separated in a lifetime, and "me" and "you" will be separated someday. For them, the moment they understand this truth is like a dreamlike moment, and everything suddenly becomes clear. At the end of the film, Yasuko kept dancing, as if celebrating her self out of darkness.

In the future journey of life, we may fall into the phase of life just like them, but don't be afraid of the dark, as long as we go forward bravely, we can survive.

Komatsu Nana X Kadowaki Mugi X Narita Ryo for Farewell Song (2019)

Source: https://ellegirl.jp/article/l_feat_interview_nana_komatsu_mugi_kadowaki_ryo_narita/1/

Q: I thought "Farewell Song" is a film that includes various elements, a youth movie, a music movie, and a road-trip movie. What kind of movie do you think this film is?

Kadowaki Mugi: At the stage when I read the script and listened to more theme song and inserted songs, I had the image that it would be a sentimental and emotional work. However, the finished work was different from that image.

Narita Ryo: Ah, I also felt the gap with the time I read the script.

Komatsu Nana: Yeah, there was an original work, so there was a difference between the script and the final product.

Kadowaki Mugi: A male director, Shioda made a film about women. He has a stronger balance of thought theory than emotion theory, and also has a philosophical and literary characterisation. That's why I think it's a movie with a wide appeal that is easier for everyone to watch than the script.

Narita Ryo: I think it's a work that doesn't a definitely clear intention, where things that don't seem clear all the time but they continue. So when I read the script, I felt, "It will depend on the atmosphere of the three people," but I think I was hooked on that aspect.

Q:  What did you cherish when you played each role?

Narita Ryo: In my case, rather than doing something myself, it was more important that Iga (the stylist Daisuke Iga) has contributed my character a lot. Haru (Mugi) has a warm color, Leo (Nana) has a cool color, and each character has own personality, and I don't feel like telling too much about my character. I think the costumes express the emotion of characters rather than acting intentionally. 

Komatsu Nana: Leo has a freewheeling personality, so I felt like I was just flirting. Going to Haru, going to a man, or something like that (lol). Also, Director Shioda has the idea that "something can be transmitted without using words", so if I think "I don't need words here," the director also says, "Let's do that." It was flexible for me.

Kadowaki Mugi: Haru who does not move steadily against such a freewheeling Leo. And Narita's Shima is a man sandwiched between their gap. This relationship was interesting. I felt that Director Shioda was careful about the fun of being a man sandwiched between two women. And I think this movie is like a couple already broken-up.

Q: A broken-up couple?

Kadowaki Mugi: It's a relationship full of memories and love that they have accumulated so far, but the trouble due to a little space, mental state, and exchange of words. Right now, they only interested in it, but they are going through the breakup tour to experience that they had a great time. 

Kadowaki Mugi:  But each emotion is vague and isn't actually stated in words. In that sense, I think it is a delicate work. If you miss out on where to talk properly, it will be ruined. That's why I played carefully with the intention of never spilling those aspects.

Q: All three of you are playing musical instruments. How was it?

Komatsu Nana: At first, each of us practiced the musical instrument and singing individually, but it was totally different feeling in front of the audience, "Artists can't stop doing this." I thought. It was fun having the unique and nice songs.

Kadowaki Mugi: The shooting was done where we really sing live at each venue, so the feelings were completely different depending on the location, and it really looks like a documentary.

Narita Ryo: I was trying to put my thoughts on the tambourine... during live (lol)

Narita Ryo: No, it's a bit embarrassing, but when I went to the stage after being introduced as "Narita Ryo" at the live house (laughs), the extras would be curious. They might wonder if I was supposed to be, cuz I'm always hitting the tambourine behind them (lol)

Kadowaki Mugi: But you looked good, with tambourine (lol)

Komatsu Nana: I told him "do it harder".

Kadowaki Mugi: "Hit it with your head!" I didn't do say it to him tho. (lol)

Oguri Shun X Narita Ryo for No Longer Human (2019)

Source: https://www.cinemacafe.net/article/2019/09/09/63400.html

Q: The two of you seem very close.

Narita: Since I was a student, I saw a lot of his works as an audience. In conversations like this, I just want to keep listening. I really respect him. Shun is also person who pampers people.

Q: What is Oguri Shun’s first impression of Narita?

Oguri : Narita in my eyes... 

Narita : I was said to be like a golden retriever before. 

Oguri : Yes, yes, doesn't he look a bit like it (lol)?

Q: There are many scenes of you two appearing together in this movie, please talk about your feelings about each other's acting.

Narita: We performed at such a close distance. The distance from the eyes to the nose, I wonder if our faces are about to touch.  Looking at Oguri Shun’s eyes, he shows a sense of trust that "I just put my heart and soul into it", and "No matter how you act, I will respond appropriately, so it’s okay." This is such a sense of peace of mind, so at that time I just did it unconditionally.

Oguri Shun: Narita Ryo... I think maybe the feeling of uncertainty is also very good. In the absence of a fixed performance, it is often easier to create sparks. After seeing other works starring Narita, I feel that he can blend into the works very well, showing different looks.

Q: Dazai is a character with many women. Is it interesting to play?

Oguri Shun: I have mixed feelings. In a sense, Dazai cheated, but he was actually aware of these women, and these feelings accumulated in his heart bit by bit. When I enter the role while living, I feel tired.

Q: It happened to be in the line, Dazai (Oguri Shun) pushed Sakura (Narita Ryo) and says, "Do you think I feel nothing?"

Narita: It's really a good line.

Q: What are your favorite lines?

Narita: I also like that line. But I like  " I despise you from the bottom of my heart ."

Oguri Shun: " I despise you from the bottom of my heart " is a really good line.

Narita Ryo: Although Sakura respected Dazai very much, he said this to him, but the respect and love continued. Such a thing is very rare. It can be said that talent surpasses everything.

Oguri Shun : I think Dazai's most impactful line is " It's okay, you like me. " (T/N: He said that to Nikaido Fumi's role and Narita Ryo's role)

Narita : It's a line like kissing while smoking a cigarette.

Q: Narita Ryo, this is your first time working in Ninagawa Mika's film. How do you feel? 

Narita : I met her photoshoots before. There is no change from the photoshoots. Dir. Mika makes the shooting very lively. I am very grateful to be able to shoot in a very good atmosphere. 

When performing, she can make people understand at once. She can easily use her usual tone to say "This scene needs..." to guide my acting skills, making it easy for people to listen to and understand. I think she really knows how to regulate people's emotions.