![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
redmisoplzIn honor of "Kiiroi Namida" being released nationwide tomorrow, I decided to post a translation of two things.
The first is a series of mail exchanges the boys did between each other through the Johnny's mobile phone site. But I have to apologize about something first: I dropped the ball a little on this one. -_-; I got Nino and Jun's mails, read them, and then deleted them. It wasn't until I got Aiba's that it occured to me, "Heeeey, maybe other people will want to read these." *bangs head on desk* So fellow fansisters, I apologize immensely. But please enjoy what Aiba-chan, Leader, and Sho-kun have to say!
Aiba's Mail:
To Matsujun,
In regards to the guitar, I had it from about 1 month before, and after 1 week it became a piece of the interior in my room. I played it and said, “This is cool! This is cool!” the whole time. I’m happy that I achieved my goal of carrying it around the set. Kinda artistic, don’t ya think?
To Captain,
I have a question!! Have you been cutting your own hair lately? Also, have you been buying hair dye at the convenience store and dying it yourself? I think you’re really good with your hands, but I think entrusting things to other people is important too!! For that reason, sometimes your hair looks like a tiger’s coat. That’s my question!! Maybe I should’ve asked a question about the movie?
Ohno's Mail:
Yes to Aiba-chan!
I’m still cutting my hair myself! It takes about 2 or 3 hours at the salon, but only 15 minutes if I do it. But that’s not good, is it? (^^;) So next time how about I let you cut it? By the way, I also cut it myself while filming the movie. Aiba-san, please ask a question about the movie!
To Sho-kun,
Because we had a lot of scenes together, we waited together a lot, didn’t we? That left an impression on me. Because your role spoke Kyoto dialect, while we were waiting you were often practicing your lines. Because it seems that Osaka and Kyoto dialect are slightly different, I bet it was difficult. Sho-kun, how was the Kyoto dialect?
Sho's Mail:
To Satoshi-kun,
The Kyoto dialect was really difficult. Like remembering the sound and the rhythm. We really were together a lot, weren’t we? You grinning while looking at the picture of the clay was memorable. And thanks for doing the choreography for “CARNIVAL NIGHT Part 2” while you were busy filming. It’s great.
To Nino,
Since you had a lot of scenes alone, wasn’t it hard? Thanks for your effort. Thanks for taking over the choreography for me for “I Want Somebody” at the Karuizawa shoot. It really helped. I really like the fact that Eisuke pursues Kaoru-chan. I got to see a new side of you. I enjoyed it.
“Kiiroi Namida” is a film about 1960s Japan. Even though I wasn’t alive in that era, I wonder if I was able to feel nostalgia because I’m Japanese. I’m very happy that the five of us played these young people living and pursuing their dreams in that time. It’s been a while since the five of us appeared in a movie. Everyone, please watch our performance.
Translator's Notes:
*For people who know Japanese or are studying, I have to post the exact line Sho used because a Tokyo boy using Kyoto-ben is too cute!: ホンマ京都弁は難しかったで。音とリズムで覚えていく感じやったな。
To Matsujun,
In regards to the guitar, I had it from about 1 month before, and after 1 week it became a piece of the interior in my room. I played it and said, “This is cool! This is cool!” the whole time. I’m happy that I achieved my goal of carrying it around the set. Kinda artistic, don’t ya think?
To Captain,
I have a question!! Have you been cutting your own hair lately? Also, have you been buying hair dye at the convenience store and dying it yourself? I think you’re really good with your hands, but I think entrusting things to other people is important too!! For that reason, sometimes your hair looks like a tiger’s coat. That’s my question!! Maybe I should’ve asked a question about the movie?
Ohno's Mail:
Yes to Aiba-chan!
I’m still cutting my hair myself! It takes about 2 or 3 hours at the salon, but only 15 minutes if I do it. But that’s not good, is it? (^^;) So next time how about I let you cut it? By the way, I also cut it myself while filming the movie. Aiba-san, please ask a question about the movie!
To Sho-kun,
Because we had a lot of scenes together, we waited together a lot, didn’t we? That left an impression on me. Because your role spoke Kyoto dialect, while we were waiting you were often practicing your lines. Because it seems that Osaka and Kyoto dialect are slightly different, I bet it was difficult. Sho-kun, how was the Kyoto dialect?
Sho's Mail:
To Satoshi-kun,
The Kyoto dialect was really difficult. Like remembering the sound and the rhythm. We really were together a lot, weren’t we? You grinning while looking at the picture of the clay was memorable. And thanks for doing the choreography for “CARNIVAL NIGHT Part 2” while you were busy filming. It’s great.
To Nino,
Since you had a lot of scenes alone, wasn’t it hard? Thanks for your effort. Thanks for taking over the choreography for me for “I Want Somebody” at the Karuizawa shoot. It really helped. I really like the fact that Eisuke pursues Kaoru-chan. I got to see a new side of you. I enjoyed it.
“Kiiroi Namida” is a film about 1960s Japan. Even though I wasn’t alive in that era, I wonder if I was able to feel nostalgia because I’m Japanese. I’m very happy that the five of us played these young people living and pursuing their dreams in that time. It’s been a while since the five of us appeared in a movie. Everyone, please watch our performance.
Translator's Notes:
*For people who know Japanese or are studying, I have to post the exact line Sho used because a Tokyo boy using Kyoto-ben is too cute!: ホンマ京都弁は難しかったで。音とリズムで覚えていく感じやったな。
The second translation is an interview Famima.com Magazine did for the film. Famima is short for the convenience store chain "Family Mart," which has been doing promotion for the film by selling Kiiroi Namida food items and other goods. My desk at work is full of packs of gum purely because I want the trading cards. -_-;
By playing our roles, we understood the setting of the era.
―Even though none of you were born yet, did you get a feel for Japan in 1963?
Ohno: It’s a completely different situation from now, isn’t it?
Ninomiya: I think it was probably the strongest era to date.
Sakurai: Certainly it was a time when life became better day by day, and within that, wasn’t the idea of “aiming for the arts” reflected in the counterculture? Even though I wasn’t born yet, it was strange that I felt nostalgic.
Matsumoto: Even though we were working in a fictional realm, we were able to enter the reality of that era, and somehow were able to relax.
―At the final production screening, Ninomiya-san said that within the roles for “Kiiroi Namida,” your roles in Arashi also come out.
Ninomiya: I was just thinking that besides the roles, when other people watch it, they’ll see a bit of Arashi.
―So is there a part of your role that you think resembles yourself?
Ohno: I don’t know about resembling myself, but among the members, I think my performance of Haru in “Pikanchi Life Is Hard Dakedo Happy” is similar to the character of Shimogawa.
Aiba: As for me, it’s probably the part where I’m being an idiot?
Sakurai: My own personality isn’t used at all. But when assuming a role, perhaps there are a few points of concensus. Mukai Ryuzo is always saying, “What does it take to be an artist?,” and I think that leading stance is a little similar.
―Sakurai-san, you were very consumed with your role as a budding novelist.
Sakurai: I especially wrestled with not having an image [of the character.] He’s only plotting and hasn’t written anything. Rather than fit into the frame of “author,” I created an image of “Mukai Ryuzo.”
―There are two versions of the movie’s theme song, “Namida no Nagareboshi,” on the soundtrack; Arashi’s version and Aiba-san’s solo version. What are your impressions of this song?
Aiba: It begins heartwarmingly and naturally, and ends naturally too. It’s a good song!
―Matsumoto-san’s role of the “hardworking youth” was a very energetic role. Wasn’t it hard?
Matsumoto: Honestly, because I didn’t know about group employment and I didn’t have an understanding of the era, I talked with the director and was able to grasp how to perform the role. Therefore, not a lot comes out, but I performed as best I could. Because this role involved working, sweating, and using Iwate dialect, and the image of “labor” was strong, it was a lot of fun.
―Only Ninomiya-san’s role of Muraoka is actually able to pursue his dream. Why do you think he’s the only one?
Ninomiya: Because for him manga isn’t a dream, it’s a reality.
Talking about your dreams, that’s the most fascinating thing.
―While filming, what was one episode that left the biggest impression on you?
Aiba: I was impressed by the set and thought, “So the Showa era was like this, huh?”
Matsumoto: When they built the set in a certain row of houses and created the scenery, it was really mysterious. To have 2006 and 1963 together in the same space was really exciting.
Ninomiya: It has to be the time I spent with the other five. It was fun as usual.
Sakurai: Of course we had concert rehearsals, and despite being together every day, when we finished shooting, we all went out drinking. It was two months earnestly spent with Arashi.
―And lastly, could you give us some point to look out for in the movie?
Ohno: Arashi’s way of life in 1963.
Sakurai: The nostalgic Showa-style row of houses and shops and us standing there matched to them.
Aiba: The process of realizing your dream is important. I think talking about your dreams is the most fascinating thing.
Sakurai: Don’t miss how we change as our lives are colored by our everyday actions while we’re chasing our dreams.
Matsumoto: How the director conveys youth in bygone Japan is a point to watch for.
Ninomiya: The fact that everything’s drawn faintly*.
―Sakurai-san, you asked the script writer, Ichikawa, in a TV interview “Thirty years have passed since the original. What’s the answer to the question this production is asking?” Conversely, how would you answer such a question?
Sakurai: If 2007 Japan is an inorganic society, this movie shows that all people were connected in the 1960s, and I think this movie is a trigger to make you think about how young people lived back then.
Translator's Notes:
*I think Nino is talking about how the movie was filmed and how it plays out. Other people have said the film isn't presented in a stark manner, but rather, flows like a memory, and is therefore kind of airy in presentation. Like a dream, maybe? I really have no idea, but I guess I'll find out Monday when I go see it.
―Even though none of you were born yet, did you get a feel for Japan in 1963?
Ohno: It’s a completely different situation from now, isn’t it?
Ninomiya: I think it was probably the strongest era to date.
Sakurai: Certainly it was a time when life became better day by day, and within that, wasn’t the idea of “aiming for the arts” reflected in the counterculture? Even though I wasn’t born yet, it was strange that I felt nostalgic.
Matsumoto: Even though we were working in a fictional realm, we were able to enter the reality of that era, and somehow were able to relax.
―At the final production screening, Ninomiya-san said that within the roles for “Kiiroi Namida,” your roles in Arashi also come out.
Ninomiya: I was just thinking that besides the roles, when other people watch it, they’ll see a bit of Arashi.
―So is there a part of your role that you think resembles yourself?
Ohno: I don’t know about resembling myself, but among the members, I think my performance of Haru in “Pikanchi Life Is Hard Dakedo Happy” is similar to the character of Shimogawa.
Aiba: As for me, it’s probably the part where I’m being an idiot?
Sakurai: My own personality isn’t used at all. But when assuming a role, perhaps there are a few points of concensus. Mukai Ryuzo is always saying, “What does it take to be an artist?,” and I think that leading stance is a little similar.
―Sakurai-san, you were very consumed with your role as a budding novelist.
Sakurai: I especially wrestled with not having an image [of the character.] He’s only plotting and hasn’t written anything. Rather than fit into the frame of “author,” I created an image of “Mukai Ryuzo.”
―There are two versions of the movie’s theme song, “Namida no Nagareboshi,” on the soundtrack; Arashi’s version and Aiba-san’s solo version. What are your impressions of this song?
Aiba: It begins heartwarmingly and naturally, and ends naturally too. It’s a good song!
―Matsumoto-san’s role of the “hardworking youth” was a very energetic role. Wasn’t it hard?
Matsumoto: Honestly, because I didn’t know about group employment and I didn’t have an understanding of the era, I talked with the director and was able to grasp how to perform the role. Therefore, not a lot comes out, but I performed as best I could. Because this role involved working, sweating, and using Iwate dialect, and the image of “labor” was strong, it was a lot of fun.
―Only Ninomiya-san’s role of Muraoka is actually able to pursue his dream. Why do you think he’s the only one?
Ninomiya: Because for him manga isn’t a dream, it’s a reality.
Talking about your dreams, that’s the most fascinating thing.
―While filming, what was one episode that left the biggest impression on you?
Aiba: I was impressed by the set and thought, “So the Showa era was like this, huh?”
Matsumoto: When they built the set in a certain row of houses and created the scenery, it was really mysterious. To have 2006 and 1963 together in the same space was really exciting.
Ninomiya: It has to be the time I spent with the other five. It was fun as usual.
Sakurai: Of course we had concert rehearsals, and despite being together every day, when we finished shooting, we all went out drinking. It was two months earnestly spent with Arashi.
―And lastly, could you give us some point to look out for in the movie?
Ohno: Arashi’s way of life in 1963.
Sakurai: The nostalgic Showa-style row of houses and shops and us standing there matched to them.
Aiba: The process of realizing your dream is important. I think talking about your dreams is the most fascinating thing.
Sakurai: Don’t miss how we change as our lives are colored by our everyday actions while we’re chasing our dreams.
Matsumoto: How the director conveys youth in bygone Japan is a point to watch for.
Ninomiya: The fact that everything’s drawn faintly*.
―Sakurai-san, you asked the script writer, Ichikawa, in a TV interview “Thirty years have passed since the original. What’s the answer to the question this production is asking?” Conversely, how would you answer such a question?
Sakurai: If 2007 Japan is an inorganic society, this movie shows that all people were connected in the 1960s, and I think this movie is a trigger to make you think about how young people lived back then.
Translator's Notes:
*I think Nino is talking about how the movie was filmed and how it plays out. Other people have said the film isn't presented in a stark manner, but rather, flows like a memory, and is therefore kind of airy in presentation. Like a dream, maybe? I really have no idea, but I guess I'll find out Monday when I go see it.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2007-04-27 02:14 pm (UTC)Hehe Sho is so smart XDD
Ahh I wonder how to get the mail exchanges? And also, so lucky for you to be around so much Arashi!! (I'm from Manila, and there's hardly any Arashi stuff here :( ) Gum is fun XD
no subject
Date: 2007-04-28 04:28 am (UTC)You're lucky that you live in Manila because that's still in Asia and they may actually come to where you live someday!! I have to go back to America soon, and even though they debuted in Hawaii, I just know Arashi will never ever do a concert there. ;_; But let's hope they do more foreign concerts!
no subject
Date: 2007-04-29 12:22 pm (UTC)Ohhh I see..I should try signing up :P