I Want to Pursue the Natural Movements of My Teens and Twenties Again

—This is your first collaboration with director Kurosawa in 12 years since 'Bright Future.' What were your thoughts approaching the role of a 'ghost' again in 'Journey to the Shore'?

Following 'The Long Goodbye' and 'My Man', a role I had envisioned for myself was that of a 'couple in their 40s.' And with Eri Fukatsu and director Kurosawa, no less. I thought, 'This is perfect. I have no choice but to do it,' and I read the script with the performance in mind from the very beginning.

Having been entrusted with the role of a 'ghost' again by director Kurosawa, following 'Bright Future,' I felt he had a certain trust in me for such roles. While I was aware of the 12 years that had passed, I intended to perform it calmly, without overthinking it.



—Specifically, what changes in your mindset have occurred between 'Bright Future' and 'Journey to the Shore'?

During an audition in my teens, I felt uncomfortable with the overly dramatic performances of the theater troupe members. To avoid embarrassment, I felt I had no choice but to be myself. People told me, 'Tadanobu Asano is so natural, that's great,' and I was able to act freely until my mid-20s. However, around the time I was approaching 30, I felt I had reached a limit with 'Bright Future.' Fortunately, over the past 12 years, I've encountered various films and received guidance from many directors, allowing me to work on my weaknesses.

Of course, as one ages, the roles one is offered change. But recently, I've come to honestly feel that roles similar to those I played in my teens and twenties suit me better. I've begun to think I want to pursue the natural movements of that time again. So, even if it looks similar, having gained various experiences and returned, I believe I'm approaching it in a way that wasn't possible back then.

—The unique intimacy between Yusuke and Mizuki was striking. How was it playing a married couple with Eri Fukatsu in this film?

I met Eri Fukatsu on the set of 'Thermae Romae.' We had talked about wanting to work together on a substantial project someday. Fukatsu and I are of the same generation, and we debuted around the same time, so I have immense trust in her. During filming, we didn't really discuss specific approaches like 'Let's do this' or 'Let's do that.' We just existed in the space, and I feel our shared atmosphere worked well for this couple's role. Even when I was improvising freely next to her, Fukatsu would respond in a way that allowed me to rely on her. I felt a great sense of security on set, knowing that Fukatsu would be there no matter what.

—This film, which depicts the bonds of the soul against the backdrop of a uniquely Japanese view of life and death, was highly praised by many audiences at Cannes. What were your feelings upon seeing the completed film?



In my daily life, I offer prayers to my late grandmother every morning and talk to her, saying 'Thank you.' This film, I believe, depicts not just romantic love between a man and a woman, but various forms of love, such as the bond between a grandmother and grandchild, or between friends. I've heard that some international audience members were reminded of their deceased family or friends after watching this film. I had a close friend from elementary school who passed away about five years ago. We hadn't seen each other since we were about 15 or 16, but he was such a funny guy. If he were to visit me like Yusuke does, I would be happy.

I Want to Be an Actor Needed by People All Over the World

I Want to Be an Actor Needed by People All Over the World

—You have appeared in numerous films by international directors and made your Hollywood debut in 'Thor,' establishing yourself as an actor with a global presence. What have you gained from working with international crews?

From a young age, participating in film festivals in Europe and Asia, and experiencing overseas film sets, I've come to feel that nationality might not be that important in filmmaking. What matters is 'how we want to shoot this script.' For example, it's perfectly fine to have an Australian cinematographer, a German lighting director, and a French sound recordist. In that sense, I aspire to be an actor needed by people worldwide, and I've become more proactive in showcasing what I can do.

On international sets, the motivation for making films is very clear, so the passion level of the crew is incredible. I've always made it a point to communicate my opinions to the costume and hair and makeup artists, and doing so energizes those around me, further invigorating the entire set. I believe film provides hints and answers when one seeks them for things that are difficult to grasp. Therefore, while music, art, and photography are similar, without a strong motivation or passion, they won't reach anyone. If I call something a film, but it lacks that, isn't it just a copy?



—When preparing for a role, from what perspective do you approach it?

Everything, really. For me, costumes and makeup are extremely important. Regarding the coat Yusuke wears in this film, I discussed even the smallest details, like the shape and texture, quite specifically with Kumiko Ogawa, the stylist. I want film to be something that inspires awe, like 'Bruce Lee is wearing a yellow tracksuit. Cool, I want to imitate it. The poster is cool too, I want to hang it up.' I dislike things I can't aspire to, and even if it's not a powerful image, I want each element to have a clear intention.

—What are the deciding factors when you choose whether or not to participate in a project?

It's been changing recently, but I'm still most curious about the nature of the role I'll be playing. Even a role with no dialogue can be very meaningful. Ultimately, I believe it comes down to the director's passion. I want to know what this film means to the director and with what kind of spirit they intend to shoot it. When I work with a director for the first time, I meet with them beforehand to discuss it.

If I may be so bold, there are times when I say, 'I can't play this role under these conditions,' and I might even ask them to rewrite it. Sometimes, this leads to rejection! But then I think, 'Why did you invite me in the first place?' (laughs). It's like romance, isn't it? A woman might say, 'If you're going to give up after one rejection, don't bother asking me out.' Similarly, I think, 'If you don't have the intention to woo me, even after five or six attempts, don't come to me at all' (laughs).


—Finally, could you tell us about the types of projects you'd like to challenge yourself with in the future?



At times like that, I think, 'Someone must be watching and laughing at this movie called 'Tadanobu Asano,' where the director is putting the character Tadanobu Asano through so much trouble.' Life's moments, like tripping or spilling water, when you're trying to live normally, are inherently amusing, aren't they? I'd like to make a film that's based on a serious premise but incorporates a touch of humor.

TADANOBU ASANO
Born in Kanagawa Prefecture in 1973. After his film debut in 'Bataashi Kingyo' in 1990, he has primarily worked in film, expanding his activities internationally and establishing himself as a global actor. Notably, he received critical acclaim, including the Best Actor award at the 60th Venice International Film Festival for 'Last Life in the Universe' (2003). In 2011, he made his Hollywood debut in 'Thor,' followed by appearances in 'Battleship' (2012) and '47 Ronin' (2013). Furthermore, in 2014, he won the Best Actor award at the 36th Moscow International Film Festival for his leading role in 'My Man.'My Man

'Journey to the Shore'
Now playing at THEATRE SHINJUKU and other cinemas nationwide starting October 1 (Thursday).
Director: Kiyoshi Kurosawa
Screenplay: Takashi Ujita, Kiyoshi Kurosawa
Original Story: Kazumi Yumoto 'Journey to the Shore' (Bungei Shunju)
Starring: Eri Fukatsu, Tadanobu Asano, Masao Komatsu, Yu Aoi, Akira Emoto
Distribution: Showgate
2015 / Japan-France Co-production / 128 minutes
http://kishibenotabi.com/