──Did the historical context of World War II influence your approach to your roles?

WatanabeI think there's always an element of internationalism and universality on any set. However, precisely because of this historical backdrop, you can see the national flags behind each character. What felt a bit different for me this time was that, usually, I'd imagine an Asian person stepping into Western culture, but here, it was a Westerner stepping into Asian culture. That was a fresh sensation.

She becomes a key figure in the story, and a certain incident causes her to be swept further into tragedy. I wasn't consciously thinking about the specific historical movements leading up to the Pacific War; my focus was elsewhere.

WatanabeThe overall character dynamics are similar. While there's the grand framework of "war," the film depicts incredibly personal aspects of each individual.

KikuchiPortraying someone addicted to something, in a state of obsession, was very difficult. Whether it's love or opium, playing a character consumed by something requires a peculiar kind of concentration, different from the usual. In that sense, I felt something new was born within me.

So, in consultation with the director, I focused on subtle details in seemingly insignificant scenes or during casual conversations—the way he looked, his positioning within the frame. I wanted to subtly plant a "poisonous needle" in the audience's mind, hinting at what he was carrying.

The director didn't say much, which made me anxious

──It's a highly mysterious story with unpredictable twists. What was the atmosphere like on set?

WatanabeSince each character doesn't reveal their inner thoughts, there was always an interesting dynamic of "Oh, so that's how you're playing it?" and then figuring out how to respond. It was a constant game of probing (laughs). But everyone was deeply committed to their roles within this situation, so the atmosphere on set wasn't exactly relaxed. It wasn't tense, but rather, we maintained our characters' positions. When in costume on set, it wasn't a time for casual conversation.

KikuchiIt was about 50-something days, wasn't it? The actual filming was surprisingly short. Director Mikael Håfström didn't say much, which paradoxically made me anxious and allowed for intense concentration. I had only worked with directors who gave detailed instructions before (laughs), so when he said nothing, I started to worry, "Am I doing okay...?" Later, he told me, "I didn't say anything because Rinko was concentrating so hard, and I didn't want to break that focus."

A Director's Background Greatly Influences the Set's Atmosphere

Perhaps that's why he didn't approach things like national identities with stereotypes, like "this is how it is." He seemed to genuinely try to understand our perspectives, asking, "What do you think?" regarding our cultural backgrounds, values, and character standpoints.

KikuchiIn fact, I thought directors like him might provoke actors more. It felt like he knew what he was doing. Actors are really influenced by their directors... I'm particularly affected, so this was quite a fresh experience.

WatanabeSweden is a cold region, isn't it? With four or five months of intense cold each year. I'm from Niigata, so I understand that feeling of prolonged gloom during winter. That kind of environment influences one's spirituality, and I felt a connection with him on that level. You could say, "melancholy" (laughs)? I felt a kinship with his unique logical approach, which made him easy to talk to.

A Different Approach to Trying

──As two internationally acclaimed actors representing Japan, what were your impressions of each other during this collaboration?

So, when he stands alongside John Cusack, there's no sense of incongruity. In that regard, I truly felt he is an international actor, and his approach to taking on challenges is different. Also, watching his interactions with the director was very educational; I learned a lot.

WatanabeI didn't realize John Cusack was that tall (laughs).

What Awaits Is Beyond Your Imagination

──As actors, what differences do you perceive between Japanese and international productions?

WatanabeThe biggest difference, I believe, is the market scale. In this film, for example, I, as a Japanese actor, do my best to try various things within the completed script. But when this film is shown in China, how will my role be perceived? In Korea? In a way, that goes beyond my scope and links to that country's history. However, if I were to be too conscious of that and deliver a softened performance, it wouldn't fit the story. I strongly feel that the "destination" it reaches can be received in ways beyond my imagination. I don't think about that while filming, but when I hear about the reactions afterward, I realize, "Ah, I see, that's how they see it."

Film Transcends Borders, History, and Ideology

But after the press conference, while having a light meal, the Korean reporter approached me and said, "I'm sorry about earlier. I had to ask, given my position..." At that moment, I understood. Everyone carries their own country with them.

Indeed, there's one's country and one's position in the background. But film is something that encompasses all of that. Film transcends those things—countries, history, ideologies. The Hollywood market has expanded worldwide. Of course, I'm completely absorbed when I'm filming and don't think about any of that (laughs).

──Thank you very much.

A Suspense Epic Set in Pre-War Shanghai, Where Conspiracy and Love Collide!

Shanghai, 1941. Britain, France, America, and Japan held concessions, vying for control of this alluring yet dangerous "Paris of the East." Paul Soames (John Cusack), an American intelligence agent who arrives in Shanghai, races to uncover the truth behind the death of his close friend and colleague, Connor. The investigation leads him to a cast of enigmatic figures: Colonel Tanaka (Ken Watanabe) of the Japanese army, who relentlessly pursues Paul; Sumiko (Rinko Kikuchi), Connor's lover who suddenly disappears; and Anthony (Chow Yun-fat), the kingpin of the Chinese underworld, along with his beautiful wife, Anna (Gong Li). Paul soon discovers Anna's hidden identity as a revolutionary leader and finds himself strongly drawn to her idealistic spirit. Meanwhile, the aircraft carrier "Kaga," which Connor was investigating, secretly departs Shanghai's harbor carrying 800-kilogram torpedoes. What crucial secret did Connor possess that was worth dying for?

Soames can no longer suppress his feelings for Anna. Anthony, despite knowing his wife's secrets, is determined to protect her with his life. Tanaka relentlessly pursues Anna. Was Sumiko a spy for America or Japan?──? The key to unlocking all the mysteries lay in the "love" of these men.