INTERVIEW | Jun Miura: A Solo Interview on 'Katte ni Kanko Kyokai' (Part 2)
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March 19, 2015

INTERVIEW | Jun Miura: A Solo Interview on 'Katte ni Kanko Kyokai' (Part 2)


Jun Miura: An Exclusive Interview
On 'Katte ni Kanko Kyokai,' Travel, and Anzai-san (Part 2)


Surely, if we just travel, something enjoyable awaits us—or so we assume. Miura-san, however, insists that this is not the case. What, then, is the true appeal of travel according to Miura-san?
Furthermore, his deep affection for Anzai-san, his partner in 'Katte ni Kanko Kyokai,' shines through.


Text by Chika TsushimaPhotos by Emiko Hara




It's Meaningless Without Being Unsettling



—Has your way of thinking changed through your travels?

In 'Katte ni Kanko Kyokai,' we often visit suspension bridges. I'm not good with them, so I've never managed to cross one completely. But the distance I can walk little by little is increasing. Being bad at something means there's potential to like it, and sometimes, being bad at it is what makes it interesting.
As you get older, don't you tend to only go to places you're good at? I think that's where the boredom lies. If you go to places you're not good at and gain experience, you develop a point of comparison, and I feel it becomes more interesting. 'This place is better than that place.' Likes and dislikes are just self-judgments made in our youth, so lately, I've been questioning the idea of overcoming dislikes.
A few years ago, I stopped making judgments based on likes and dislikes, and now I've lost interest in most things. I've done too much of what I'm good at, leaving a huge gap in areas I'm not. Currently, I'm interested in going to places where there are no obvious topics.

—What is travel to you?

In high school, it was about 'how to get away from my mom,' and now, it's 'how to get away from my wife,' right? Travel is about distance.
Travel has this premise that it's interesting just because you go to a place, doesn't it? That's a constraint. But it's common to be disappointed after actually going. Still, when traveling with women, you have to lead them so they don't say 'it's boring,' perhaps distracted by the 'reward' of sex at night, and I've had some tough experiences.

But with good male friends, since there's no reward, even boring things become interesting. Finding the right partner is difficult, but very important. That's why if I'm with Anzai-san, or Seiho Ito, or Tomorowo Taguchi, I think I could endure a little pain and even have sex with them (laughs). But it's truly fortunate to be able to travel with people you feel that way about. Because I'm with Anzai-san, I can continue, and I want to continue.

—Indeed, a large part of 'Katte ni Kanko Kyokai's' appeal is that it's about two middle-aged men, Miura-san and Anzai-san.





In 'Butsu-ken,' I also form a unit with Ito-san, but we've been suspected of being gay in so many inns, and I've seen countless layers of futons. It just shows how inconvenient it is for two old guys to travel together. We attract all sorts of misunderstandings.
I thought that was fine, so I even held hands intentionally while walking around. Then, at Ninna-ji Temple in Kyoto, a woman holding a paperback of 'Butsu-ken' asked for an autograph, and my gesture of instinctively letting go of his hand looked incredibly gay (laughs).

—In Anzai-san's case, this 'holding hands' manifests as wearing matching blazers or sukajans.

Exactly. It's meaningless if it's not unsettling. For subculture, being misunderstood by people and discriminated against by society is what it means to be 'recognized.' If you're understood, you have no standing.


—After working together for 12 years, have you come to understand Anzai-san's character?

In a way, we're like a married couple; we know each other's flaws and weaknesses. Anzai-san's charm is that you don't feel like you're working, so I enjoy traveling with him. I think everyone feels that way about Anzai-san. 'What's up with making me feel like I have to be the more responsible one?' (laughs). Even the accompanying cameramen for location shoots love Anzai-san so much that they'll cut into the frame just to talk to him, even while filming.

When I'm with Anzai-san, I lose my self-consciousness. But we had a huge, bloody fight in Okinawa because he said, 'You still have self-consciousness, Miura-kun.' The sight of us both looking sullen while canoeing the next day would be funny to anyone. It's a proposal for a new travel show, you know: depicting a relationship that deteriorates. It's something you don't see in conventional shows.



Commemorative Medallion for 'Jun Miura & Hajime Anzai's Katte ni Kanko Poster Exhibition'




© 2009 Shiki Soku Zen Reishonzu



Disbanding is for Those Who Break Through



—Your latest work seems to have taken you to Kyoto?

We went to Maizuru and stayed at the Amanohashidate Youth Hostel. It's a place used for filming 'Shiki Soku Zen Reishonzu,' which opens on August 15th (Saturday), so it was also a pilgrimage to that location.

—As you travel across the country, do you feel anything from the desolate landscapes in rural areas?



Rather than desolate landscapes, I think we should make better use of what's already there. Instead of introducing new things, I believe revitalizing by using existing elements, like with yuru-kyara (mascot characters), is more eco-friendly. That's what I, who am all about 'eco,' think (laughs).
Japanese people are bad at digging up what everyone has forgotten and reusing it. Even though I made a song about Miyazaki for 'Katte ni Kanko Kyokai,' I haven't heard anything from Hideo Higashikokubaru. If he cares about Miyazaki, I wish he'd use it (laughs).

—Will you continue 'Katte ni Kanko Kyokai' in a relaxed manner?

'Katte ni Kanko Kyokai' doesn't claim to be limited to Japan; our target is the world. I want to make songs for Egypt and all the US states. We're aiming high, you see (laughs).
I've never set a deadline for any of my activities, and disbanding is something people who have broken through do. We haven't broken through at all, so there's absolutely no reason for us to quit.
I want to thoroughly explore various places and know what lies beyond them. But once I've seen every nook and cranny, I feel like I might die (laughs).





—What is the goal of 'Katte ni Kanko Kyokai'?

I want to become like an old married couple with Anzai-san. I thought, 'Yes!' when we had that fight in Okinawa. Nagisa Oshima and Shoyu Nosaka wouldn't have had that impact without the 'mic incident,' would they? (laughs). It's about deepening our bond as best friends and aiming for the next step.
That's why I dislike my best friend's wife—because she interferes with that kind of relationship and takes away my best friend. —The more we talk, the more unsettling this becomes, I'm sure (laughs), but we're spiritually homosexual. That's non-negotiable (laughs).

Being asked 'Are you a couple?' during a location shoot the other day was a kind of milestone. Even without a physical relationship, the fact that it comes across as unsettling is the theme of 'Katte ni Kanko Kyokai.'

—Thank you.





Jun Miura & Hajime Anzai's Katte ni Kanko Poster Exhibition
Dates: Ongoing until August 16, 2009 (Sunday)
Hours: 12:00 PM - 8:00 PM
Venue: LAPNET SHIP
Admission: Free

LAPNET SHIP
Tel. 03-5411-3330
http://www.lapnet.jp/




© 2009 Shiki Soku Zen Reishonzu





The Film 'Shiki Soku Zen Reishonzu'
Opening August 15 (Saturday) at Cine Quarante-et-Un Shibuya, Shinjuku Wald 9, Kichijoji Baus Theater, and other locations nationwide.
Original Story: Jun Miura 'Shiki Soku Zen Reishonzu' (Kobunsha)
Director: Tomorowo Taguchi
Screenplay: Kosuke Mukai
Music: Otomo Yoshihide
Cast: Daichi Watanabe (Kuroneko Chelsea), Kazunobu Mineta (Ginkgo BOYZ), Shigeru Kishida (Quruli), Lily Franky, Chiemi Hori, Asami Usuda, Anna Ishibashi, and others
http://shikisoku.jp/



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