The January 2018 Oricon interview
I have translated the January 2018 Oricon interview with Okada Masaki on, among others, his role as Itō Seijiro and his challenges as he approached his thirties. 日本語の分は英語の後で。よろしくお願いします。
2018-01-19
Okada Masaki played in various roles and diverse topics such as last year’s epic movie “Gintama” and “Jojo’s Bizarre Adventure: Diamonds are Unbreakable”, the 2016 drama series and special edition “Yutori Desu ga Nanika” and the (2017) Small Giants (“Chiisana Kyōjin”). As 2018 begins, he stars as Itō Seijirō, the leading role of “Itō-kun A to E” (translated as “The Many Faces of Itō” by Netflix), a handsome yet insensitive man who thinks too high of himself, an “annoying” man who toyed with the lives of many women.
I asked this Okada about his current role, how he faces his workloads, and his current mental state in facing the impending thirties.
Q: How did you embody a character with habits like Itō and how did you play him?
OM: When I read the original work and the script, the image of Itō was somehow already formed in my mind, thus what I had to do was to match this image with Director Hiroki Ryūichi as I played the character. When I was portraying the character, we had many scenes that were played by the rules. However, with regards to this work, everyone exchanged ideas with such flexibility that I adopted a technique to select the interesting bits.
Q: Was this a role with such a high degree of freedom?
OM: Yes, it was. I decidedly tried to act it with such a high tension (laugh). In a drama scene, it’s often that we had instructions like “please stop here for a moment before moving again” or “please turn around”. However, it does not happen in a set with Hiromi-san. Thus, while acting, I kept moving around from one spot to another at will. Thanks to this, I was able to portray Itō better.
Q: There was a scene where Itō said to Kimura Fumino’s Yazaki Rio: “I won’t lose because I don’t join the fight”. When asked about that line, Okada-san said, “I wondered if there was indeed such a way to escape like that.” For example, if something absolutely painful is waiting in the future, or perhaps it was an impossible work offer, would you accept the challenge without running away?
OM: Basically, I think being an actor is a difficult and challenging job anyway, thus I want to continue working without escaping the challenge. I don’t want my fellow actors to see me as “he’s been reactive lately”; I think it’s cooler to be a man who is proactive. Even if I fail, for me it’s important to take the challenge rather than just following what others do. To give yourself the opportunity to take such challenges is happiness in itself. True, the hurdle to overcome is high, it may burn you, but I keep thinking that it’s what makes this job interesting.
[note: Masaki used the phrase 守りに入っている (mori ni haitte iru) here. I find it hard to translate this phrase because 守 is “to defend”, hence the phrase can be translated as “being defensive”. It somehow does not match the sentence which talked about him playing many roles of different genres/topics, hence I translated it as “being reactive”.]
Q: Looking back over more than 10 years of career, was there any work or role that seems like a turning point for you?
OM: I’ve been blessed with many roles since I was a teenager, I’m grateful that I can keep doing what I’ve been doing so far. Every year I had wonderful roles, thus it is difficult to pinpoint a turning point in my career. Nonetheless, it was a wonderful experience to be in “Chiisana Kyojin” with my seniors last year. I think I was able to accomplish that role without ever wavering. I feel grateful that I performed well there, because the producer said, “This is a challenging role for Okada-kun”. If there’s such a challenge this year, I think I’m already prepared for it (laughs).
[note: Here Masaki used the word 一切 (issai), which is a choice to say ‘never’, but it gives a formal feeling to it. I take it that Okada Masaki likes using sophisticated words, at least words that are usually not reserved to normal conversations. Fellow Twitter ARJ also said she discovered new phonemes when she listened to Masaki’s interviews, thus we came to the same conclusion that Masaki likes to, now and then, use rather sophisticated, rarely used words. Given his propensity of reading, it makes sense.]
Q: You played a wide variety of characters, such as the cool role in ‘Chiisana Kyojin’ and the rather helpless roles in ‘Fubenna Benriya’ and ‘Yutori desu ga, nani ka’. You usually have a quirky personality; how do you switch to high-tension roles?
OM: During the shooting of ‘Yutori’, if I summoned such an air before entering the scene, I’d be able to raise my tension. The atmosphere would thus change according to that mood as well. There are many ways for each actor to ‘switch’. However, last year Tsutsumi Shinichi-san, my co-star in the “Meishi Game” drama (WOWOW), said this, “Hey! An actor who cannot switch his or her mood on and off immediately isn’t an actor!”.
Since I enter my character’s mood gradually, I think Mr Tsutsumi’s instant switching was amazing to see. Nonetheless, I try to just go at my own pace (laughs). Once I earnestly grasp the role, I can instantly switch. I do wonder if the gradual entrance to my character’s mood is like cranking a car; it’s only needed once. I just noticed it now that I talk about it (laughs).
Q: On the other hand, you also appear in a lot of variety shows. Co-stars and hosts often teased Okada-san’s charming personality. Do you also enjoy it?
OM: I actually don’t really like being teased around (bitter smile). Recently I’ve been trying to say that “I don’t like being teased around”. However, it still happened in a number of variety shows… (laugh). Surely this problem will last a lifetime… (laughs).
Q: In spite of that, I do think that your personality is healing, thus I’d still like to see you again in the future (laugh).
OM: In that case, I will do my best! (laugh). The early twenties young actors would say, “I also had such a phase!”
[note: I don’t actually get what he meant with the last bit here]
Q: having done a number of drama, movie, stage and the like, what criteria do you use to choose a project and accept an offer?
OM: The first one’s gotta be the script… Then, what kind of role it is. Then the timing or director. This time, although the role of Itō required a fair amount of preparation, because the director was Hiroki-san, I sincerely would like to give it a go.
[note: Here Masaki used the word “zehi” 是非, which reflects the sincere feeling of the speaker. It’s not a common word to use, which points out again Masaki’s penchant of using rare words every now and then.]
Q: You mentioned that the role of Ito required some preparation, but when you receive a role that is a little disappointing, do you sometimes mind your own image?
OM: Although I do consider several things before accepting a role, I do not mind the image in particular. I think the time to care about images is over. I want challenges, regardless of the image. I will try to offer a wide range of roles.
Q: This year, Okada-san is 28 years old. However, you have more and more younger actors as co-stars. When looking at younger actors today, do you feel something with regards to your own standing position?
OM: Not really. However, as I watch them, everyone seems to have such a trouble that I used to have as well. As the younger actors give their best, I feel this burning urge to also give my best.
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――今作の伊藤という癖のあるキャラクターをどのように役作りし、どのように演じられたのでしょうか？
岡田将生 原作と台本を読んだ時に伊藤というキャラクターのイメージがなんとなくできていたので、そのイメージを廣木隆一監督とすり合わせながら演じていきました。役を演じる際に決まりごとが多い現場もありますけど、今作に関してはみんなでアイデアを出しつつ柔軟に面白いものをセレクトしていく手法をとっていました。
――自由度が高くて演じがいのある役だったのでは？
岡田将生 そうですね。思い切ってもの凄くテンション高めに演じてみたり（笑）。ドラマの現場だと「ここで一旦止まってから動いてください」とか「振り向いてください」という指示を出されることが多いんですけど、廣木組はそういうのがないので色んな場所をグルグルと動きながらお芝居させていただきました。おかげでより伊藤らしさが出せたんじゃないかなと思います。
――伊藤が木村文乃さん演じる矢崎莉桜に「僕は戦わないから負けない」と言うシーンがありますが、以前この台詞に関して伺った際に「こういう逃げ方もあるのかと思った」と岡田さんはおっしゃっていました。例えばこの先絶対に辛いことが待っている、もしくは無理かもしれないという仕事のオファーがきても逃げずに挑戦しますか？
岡田将生 俳優というのは基本的に難しいことにチャレンジする仕事だと思っているので、逃げずに挑戦し続けたいです。俳優仲間に“あいつ最近守りに入っているな”と思われるのも嫌ですし、果敢に攻めているほうが男としてカッコいいですよね。それに失敗しても“あいつ行くとこまで行ったレな”と、僕だったらそう捉えるので挑戦していくことは大事だと思うので。挑戦する機会を与えてくださること自体が嬉しいですし、ハードルが高いとこっちも燃えるので、この仕事って面白いなとつくづく思います。
10年以上のキャリアを振り返ってみて、転機だったと感じた作品や人物はいますか？
岡田将生 10代の頃から出会いに恵まれていて、おかげさまでこうやってお仕事を続けていられるんだと実感しています。毎年必ず素敵な出会いがあるので転機と言われると難しいのですが、去年出演させて頂いたドラマ『小さな巨人』（TBS系）で大先輩の方々と一緒にお芝居できたのが凄く良い経験になりました。一切ブレることなくやり遂げられたと思える作品でしたし、プロデューサーの方から「岡田くんにとって挑戦になる役だね」と言って頂いたこともあって本当に出演できて良かったです。きっと今年もそういう挑戦があると思うので、乗り越えなきゃと既に覚悟しています（笑）。
――『小さな巨人』ではクールな役、『不便な便利屋』（テレビ東京ほか）や『ゆとりですがなにか』（日本テレビ系）では少し残念な役など様々なキャラクターを演じてらっしゃいました。普段の岡田さんは大人しい性格だそうですが、テンションの高い役はどうやってスイッチを入れているのでしょうか？
岡田将生 『ゆとりですがなにか』の時は現場に入る前からそういう空気を作っておくとテンションがあがりましたし、役に合わせて現場の居方が変わるんです。人それぞれ色んな切り替え方がありますけど、去年、ドラマ『名刺ゲーム』（WOWOW）でご一緒した堤真一さんは「“よーい！”でスイッチを切り替えられないやつは俳優じゃない」とおっしゃっていました。僕は役に入るまでに段階が必要なんですが、堤さんは言葉通り切り替えを瞬時にされていて、見ていて凄いなと思いました。ただ、僕はマイペースにやっていこうと（笑）。役をちゃんと掴んでさえいれば切り替えは瞬時にできるので、段階が必要なのはクランクインして最初のほうだけなのかなと…いま話しながら気付きました（笑）。
―― 一方、番宣でバラエティ番組に出演されることも多いですが、共演者の方や司会者から岡田さんのチャーミングな人柄をいじられることも多いですよね。ご自身はそれを楽しんでらっしゃいますか？
岡田将生 実はいじられるのはあまり好きではないんです（苦笑）。最近は“いじられるのは好きじゃない”と言うようにしているんですけど、番宣のバラエティ番組に関しては出させて頂いている身なので…（笑）。きっとこの葛藤は一生続くでしょうね（笑）。
――バラエティ番組に出演されている岡田さんはご本人の意志に反して視聴者にとっては癒しになっていると思うので、是非今後も出演して頂きたいです（笑）。
岡田将生 そう言っていただけるなら全力で頑張ります（笑）。
20代前半の若手俳優の活躍に「自分もそういう時期があったな」
――ドラマや映画、舞台など幅広く活躍されていますが、オファーを受ける際はどんな基準で作品を選んでいるのでしょうか？
岡田将生 一番は脚本ですかね。どんな役かはその次で、あとはタイミングだったりご一緒する監督だったり。今回の伊藤という役は結構な覚悟が必要でしたけど、廣木監督だから是非やらせて頂きたいと思いました。
――伊藤という役は覚悟が必要だったとおっしゃいましたが、少し残念な役を受ける際にご自身のイメージを気にされることもありますか？
岡田将生 受ける前に考えることはありますが、イメージは特に気にしないです。イメージを気にする時期は終わったと思いますし、イメージ関係なく挑戦していきたいですし、幅広い役のオファーをいただけるようにならないといけないなと思っています。 ――現在28歳の岡田さんですが、共演者の方も年下の俳優さんがどんどん増えていますよね。いまの若手俳優を見て、ご自身の立ち位置について何か感じることはありますか？ 岡田将生 あまり考えないです。でも、みんな大変そうだなとか、自分もそういう時期があったなと彼らを見ていて思いますし、若い人達が頑張っていると自分も頑張らなきゃいけないなと気合いが入ります。
――30代に向けて準備していることや目標はありますか？
岡田将生 先々を考えるタイプなので、なんとなく自分が目指す方向のイメージはできています。というのも、27歳ぐらいから同世代の俳優さんと“30代に向けてどういう仕事がしたいか”という話をするようになって、同時に事務所の方とも色々と今後の仕事について話すようになったんです。ちゃんと先のことを考えているのと考えていないのとでは結構な差が出るんじゃないかなと思っていて。今はまだどんなことを考えているのかは言えないのですが、色んなことに挑戦していくと思うので楽しみにしていただけたら嬉しいです。
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Sakunen wa entame taisaku eiga “Gintama” ya “jojonokimyōnabōken daiyamondo ha kudakenai daiisshō”, soshite 2016-nen ni hōsō sareta renzoku dorama no supesharu-ban “yutoridesuga nanika junmaiginjō junjō-hen” (Nihonterebi-kei) ya “chīsana Kyojin” (TBS-kei) nado wadai no sakuhin de samazamana yaku o enjita okadamasaki. 2018-Nen saisho ni shutsuen shita shuen-saku “Itō-kun AtoE”de wa, yōshi tanreidakeredo jiishiki kajōde mushinkei, kakawaru josei-tachi no jinsei o honrō suru “itao” koto Itō Seijirō o enjite iru. Son'na Okada ni, konsaku no yaku ni tsuite ya shigoto to no mukiai-kata, sarani 30-dai o mokuzen ni hikaeta genzai no shinkyō nado o kiita.
Q: konsaku no Itō to iu kusenoaru kyarakutā o dono yō ni yaku tsukurishi, dono yō ni enji rareta nodeshou ka?
OM: Gensaku to daihon o yonda toki ni Itō to iu kyarakutā no imēji ga nantonakude kite itanode, sono imēji o hiroki ryūichi kantoku to suriawasenagara enjite ikimashita. Yaku o enjiru sai ni kimari-goto ga ōi genba mo arimasukedo, konsaku ni kanshite wa min'na de aidea o dashitsutsu jūnan ni omoshiroi mono o serekuto shite iku shuhō o totte imashita.
Q: Jiyū-do ga takakute enji-gai no aru yakudatta node wa?
Sōdesu ne. Omoikitte monosugoku tenshon takame ni enjite mi tari (Emi). Dorama no genbadato `koko de ittan tomatte kara ugoite kudasai' toka `furimuite kudasai' to iu shiji o dasa reru koto ga ōi ndesukedo, hiroki-gumi wa sō iu no ga nainode iron'na basho o guruguru to ugokinagara o shibai sa sete itadakimashita. Okage de yori Itōrashi-sa ga daseta n janai ka na to omoimasu.
Q: Itō ga kimurafumino-san enjiru Yazaki Rei sakura ni “boku wa tatakawanaikara makenai” to iu shīn ga arimasuga, izen kono serifu ni kanshite ukagatta sai ni “kōiu nige-kata mo aru no ka to omotta” to Okada-san wa osshatte imashita. Tatoeba konosaki zettai ni tsurai koto ga matte iru, moshikuwa muri kamo shirenai to iu shigoto no ofā ga kite mo nigezu ni chōsen shimasu ka?
OM: Haiyū to iu no wa kihontekini muzukashī koto ni charenji suru shigotoda to omotte irunode, nigezu ni chōsen shi tsudzuketaidesu. Haiyū nakama ni “aitsu saikin mamori ni haitte iru na” to omowareru no mo iya desu shi, kakan ni semete iru hō ga otoko to shite kakkoīdesu yo ne. Sore ni shippai shite mo “aitsu iku toko made itta na” to, bokudattara sō toraerunode chōsen shite iku koto wa daijida to omou node. Chōsen suru kikai o ataete kudasaru koto jitai ga ureshīdesushi, hādoru ga takai to kotchi mo moerunode, kono shigoto tte omoshiroi na to tsukuzuku omoimasu.
Q: 10-Nen ijō no kyaria o furikaette mite, tenkidatta to kanjita sakuhin ya jinbutsu wa imasu ka?
OM: 10-dai no koro kara deai ni megumarete ite, okage-sama de kō yatte oshigoto o tsudzukete i rareru nda to jikkan shite imasu. Maitoshi kanarazu sutekina deai ga aru node tenki to iwa reruto muzukashī nodesuga, kyonen shutsuen sa sete itadaita dorama “chīsana Kyojin” (TBS-kei) de dai senpai no katagata to issho ni o shibai dekita no ga sugoku yoi keiken ni narimashita. Issai burerukoto naku yaritoge rareta to omoeru sakuhindeshitashi, purode~yūsā no kata kara `Okada-kun ni totte chōsen ni naru yakuda ne' to itte itadaita koto moatte hontōni shutsuen dekite yokattadesu. Kitto kotoshi mo sōiu chōsen ga aru to omou node, norikoenakyato sudeni kakugo shite imasu (Emi).
Q: “Chīsana Kyojin”de wa kūruna yaku,“fuben'na benri-ya” (Terebitōkyō hoka) ya “yutoridesuga nanika” (Nihonterebi-kei)de wa sukoshi zan'nen'na yaku nado samazamana kyarakutā o enjite rasshaimashita. Fudan no Okada-san wa otonashī seikakuda sōdesuga, tenshon no takai yaku wa dō yatte suitchi o irete iru nodeshou ka?
OM: “yutoridesuga nanika” no toki wa genba ni hairu mae kara sōiu kūki o tsukutte okuto tenshon ga agarimashitashi,-yaku ni awa sete genba no i-kata ga kawaru ndesu. Hito sorezore iron'na kirikae-kata ga arimasukedo, kyonen, dorama “meishi gēmu” (wauwau) de go issho shita tsutsumi shin'ichi-san wa ` “yo ̄ i! ” De suitchi o kirikae rarenai yatsu wa haiyū janai' to osshatte imashita. Boku wa yaku ni hairu made ni dankai ga hitsuyōna ndesuga, Tsutsumi-san wa kotoba-dōri kirikae o shunji ni sa rete ite, mite ite sugoi na to omoimashita. Tada, boku wa maipēsu ni yatte ikou to (Emi). Yaku o chanto tsukande sae ireba kirikae wa shunji ni dekiru node, dankai ga hitsuyōna no wa kurankuin shite saisho no hō dakena no ka na to… ima hanashinagara kidzukimashita (Emi).
Q: Ippō,-ban sen de baraeti bangumi ni shutsuen sa reru koto mo ōidesuga, kyōen-sha no kata ya shikai-sha kara Okada-san no chāminguna hitogara o ijira reru koto mo ōidesu yo ne. Go jishin wa sore o tanoshinde rasshaimasu ka?
Jitsuwa ijirareru no wa amari suki dewanai ndesu (kushō). Saikin wa “ijirareru no wa sukijanai” to iu yō ni shite iru ndesukedo, bansen no baraeti bangumi ni kanshite wa dasasete itadaite iru minanode…(Emi).
Q: Baraeti bangumi ni shutsuen sa rete iru Okada-san wa go hon'nin no ishi ni hanshite shichō-sha ni totte wa iyashi ni natte iru to omou node, zehi kongo mo shutsuen shite itadakitaidesu (Emi).
OM: sōitte itadakerunara zenryoku de ganbarimasu (Emi). 20-Dai zenhan no wakate haiyū no katsuyaku ni `jibun mo sōiu jiki ga atta na'
Q: Dorama ya eiga, butai nado habahiroku katsuyaku sa rete imasuga, ofā o ukeru sai wa don'na kijun de sakuhin o erande iru nodeshou ka?
OM: ichiban wa kyakuhondesu ka ne. Don'na yaku ka wa sono-ji de, ato wa taimingudattari goisshosuru kantokudattari. Konkai no Itō to iu yaku wa kekkōna kakugo ga hitsuyōdeshitakedo, Hiroki kantokudakara zehi yarasete itadakitai to omoimashita.
Q: Itō to iu yaku wa kakugo ga hitsuyōdatta to osshaimashitaga, sukoshi zan'nen'na yaku o ukeru sai ni go jishin no imēji o ki ni sa reru koto mo arimasu ka?
OM: ukeru mae ni kangaeru koto wa arimasuga, imēji wa tokuni kinishinaidesu. Imēji o kinisuru jiki wa owatta to omoimasushi, imēji kankei naku chōsen shite ikitaidesushi, habahiroi yaku no ofā o itadakeru yō ni naranaito ikenai na to omotte imasu.
Q: Genzai 28-sai no Okada-sandesuga, kyōen-sha no kata mo toshishita no haiyū-san ga dondon fuete imasu yo ne. Ima no wakate haiyū o mite, go jishin no tachi ichi ni tsuite nani ka kanjiru koto wa arimasu ka?
OM: amari kangaenaidesu. Demo, min'na taihen-sōda na toka, jibun mo sōiu jiki ga atta na to karera o mite ite omoimasushi, wakai hitotachi ga ganbatte iruto jibun mo ganbaranakya ikenai na to kiai ga hairimasu.
Q: 30-Dai ni mukete junbi shite iru koto ya mokuhyō wa arimasu ka?
OM: sakizaki o kangaeru taipunanode, nantonaku jibun ga mezasu hōkō no imēji wa dekite imasu. Toyuunomo, 27-sai gurai kara dō sedai no haiyū-san to “30-dai ni mukete dōiu shigoto ga shitai ka” to iu hanashi o suru yō ni natte, dōjini jimusho no kata tomo iroiro to kongo no shigoto ni tsuite hanasu yō ni natta ndesu. Chanto saki no koto o kangaete iru no to kangaete inai no tode wa kekkōna sa ga deru n janai ka na to omotte ite. Ima wa mada don'na koto o kangaete iru no ka wa ienai nodesuga, iron'na koto ni chōsen shite iku to omou node tanoshimini shite itadaketara ureshīdesu.
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| Source: Oricon |
岡田将生、“痛男”の好演に「役のイメージを気にする時期は終わった」
Okada Masaki, on the good performance of “the annoying man”: “Time to care about the image of a role is over”
2018-01-19
Okada Masaki played in various roles and diverse topics such as last year’s epic movie “Gintama” and “Jojo’s Bizarre Adventure: Diamonds are Unbreakable”, the 2016 drama series and special edition “Yutori Desu ga Nanika” and the (2017) Small Giants (“Chiisana Kyōjin”). As 2018 begins, he stars as Itō Seijirō, the leading role of “Itō-kun A to E” (translated as “The Many Faces of Itō” by Netflix), a handsome yet insensitive man who thinks too high of himself, an “annoying” man who toyed with the lives of many women.
I asked this Okada about his current role, how he faces his workloads, and his current mental state in facing the impending thirties.
The challenge of having a wide range of roles is that I don’t want to be seen as “being reactive” by fellow actors
Q: How did you embody a character with habits like Itō and how did you play him?
OM: When I read the original work and the script, the image of Itō was somehow already formed in my mind, thus what I had to do was to match this image with Director Hiroki Ryūichi as I played the character. When I was portraying the character, we had many scenes that were played by the rules. However, with regards to this work, everyone exchanged ideas with such flexibility that I adopted a technique to select the interesting bits.
Q: Was this a role with such a high degree of freedom?
OM: Yes, it was. I decidedly tried to act it with such a high tension (laugh). In a drama scene, it’s often that we had instructions like “please stop here for a moment before moving again” or “please turn around”. However, it does not happen in a set with Hiromi-san. Thus, while acting, I kept moving around from one spot to another at will. Thanks to this, I was able to portray Itō better.
Q: There was a scene where Itō said to Kimura Fumino’s Yazaki Rio: “I won’t lose because I don’t join the fight”. When asked about that line, Okada-san said, “I wondered if there was indeed such a way to escape like that.” For example, if something absolutely painful is waiting in the future, or perhaps it was an impossible work offer, would you accept the challenge without running away?
OM: Basically, I think being an actor is a difficult and challenging job anyway, thus I want to continue working without escaping the challenge. I don’t want my fellow actors to see me as “he’s been reactive lately”; I think it’s cooler to be a man who is proactive. Even if I fail, for me it’s important to take the challenge rather than just following what others do. To give yourself the opportunity to take such challenges is happiness in itself. True, the hurdle to overcome is high, it may burn you, but I keep thinking that it’s what makes this job interesting.
[note: Masaki used the phrase 守りに入っている (mori ni haitte iru) here. I find it hard to translate this phrase because 守 is “to defend”, hence the phrase can be translated as “being defensive”. It somehow does not match the sentence which talked about him playing many roles of different genres/topics, hence I translated it as “being reactive”.]
Q: Looking back over more than 10 years of career, was there any work or role that seems like a turning point for you?
OM: I’ve been blessed with many roles since I was a teenager, I’m grateful that I can keep doing what I’ve been doing so far. Every year I had wonderful roles, thus it is difficult to pinpoint a turning point in my career. Nonetheless, it was a wonderful experience to be in “Chiisana Kyojin” with my seniors last year. I think I was able to accomplish that role without ever wavering. I feel grateful that I performed well there, because the producer said, “This is a challenging role for Okada-kun”. If there’s such a challenge this year, I think I’m already prepared for it (laughs).
[note: Here Masaki used the word 一切 (issai), which is a choice to say ‘never’, but it gives a formal feeling to it. I take it that Okada Masaki likes using sophisticated words, at least words that are usually not reserved to normal conversations. Fellow Twitter ARJ also said she discovered new phonemes when she listened to Masaki’s interviews, thus we came to the same conclusion that Masaki likes to, now and then, use rather sophisticated, rarely used words. Given his propensity of reading, it makes sense.]
Q: You played a wide variety of characters, such as the cool role in ‘Chiisana Kyojin’ and the rather helpless roles in ‘Fubenna Benriya’ and ‘Yutori desu ga, nani ka’. You usually have a quirky personality; how do you switch to high-tension roles?
OM: During the shooting of ‘Yutori’, if I summoned such an air before entering the scene, I’d be able to raise my tension. The atmosphere would thus change according to that mood as well. There are many ways for each actor to ‘switch’. However, last year Tsutsumi Shinichi-san, my co-star in the “Meishi Game” drama (WOWOW), said this, “Hey! An actor who cannot switch his or her mood on and off immediately isn’t an actor!”.
Since I enter my character’s mood gradually, I think Mr Tsutsumi’s instant switching was amazing to see. Nonetheless, I try to just go at my own pace (laughs). Once I earnestly grasp the role, I can instantly switch. I do wonder if the gradual entrance to my character’s mood is like cranking a car; it’s only needed once. I just noticed it now that I talk about it (laughs).
“I don’t really like being teased around” in variety shows?!
Q: On the other hand, you also appear in a lot of variety shows. Co-stars and hosts often teased Okada-san’s charming personality. Do you also enjoy it?
OM: I actually don’t really like being teased around (bitter smile). Recently I’ve been trying to say that “I don’t like being teased around”. However, it still happened in a number of variety shows… (laugh). Surely this problem will last a lifetime… (laughs).
Q: In spite of that, I do think that your personality is healing, thus I’d still like to see you again in the future (laugh).
OM: In that case, I will do my best! (laugh). The early twenties young actors would say, “I also had such a phase!”
[note: I don’t actually get what he meant with the last bit here]
Q: having done a number of drama, movie, stage and the like, what criteria do you use to choose a project and accept an offer?
OM: The first one’s gotta be the script… Then, what kind of role it is. Then the timing or director. This time, although the role of Itō required a fair amount of preparation, because the director was Hiroki-san, I sincerely would like to give it a go.
[note: Here Masaki used the word “zehi” 是非, which reflects the sincere feeling of the speaker. It’s not a common word to use, which points out again Masaki’s penchant of using rare words every now and then.]
Q: You mentioned that the role of Ito required some preparation, but when you receive a role that is a little disappointing, do you sometimes mind your own image?
OM: Although I do consider several things before accepting a role, I do not mind the image in particular. I think the time to care about images is over. I want challenges, regardless of the image. I will try to offer a wide range of roles.
Q: This year, Okada-san is 28 years old. However, you have more and more younger actors as co-stars. When looking at younger actors today, do you feel something with regards to your own standing position?
OM: Not really. However, as I watch them, everyone seems to have such a trouble that I used to have as well. As the younger actors give their best, I feel this burning urge to also give my best.
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| Source: Oricon |
岡田将生、“痛男”の好演に「役のイメージを気にする時期は終わった」
昨年はエンタメ大作映画『銀魂』や『ジョジョの奇妙な冒険 ダイヤモンドは砕けない 第一章』、そして2016年に放送された連続ドラマのスペシャル版『ゆとりですがなにか 純米吟醸純情編』（日本テレビ系）や『小さな巨人』（TBS系）など話題の作品で様々な役を演じた岡田将生。2018年最初に出演した主演作『伊藤くんAtoE』では、容姿端麗だけれど自意識過剰で無神経、関わる女性たちの人生を翻弄する“痛男”こと伊藤誠二郎を演じている。そんな岡田に、今作の役についてや仕事との向き合い方、更に30代を目前に控えた現在の心境などを聞いた。幅広い役への挑戦は「俳優仲間に“守りに入っている”と思われたくない」
――今作の伊藤という癖のあるキャラクターをどのように役作りし、どのように演じられたのでしょうか？
岡田将生 原作と台本を読んだ時に伊藤というキャラクターのイメージがなんとなくできていたので、そのイメージを廣木隆一監督とすり合わせながら演じていきました。役を演じる際に決まりごとが多い現場もありますけど、今作に関してはみんなでアイデアを出しつつ柔軟に面白いものをセレクトしていく手法をとっていました。
――自由度が高くて演じがいのある役だったのでは？
岡田将生 そうですね。思い切ってもの凄くテンション高めに演じてみたり（笑）。ドラマの現場だと「ここで一旦止まってから動いてください」とか「振り向いてください」という指示を出されることが多いんですけど、廣木組はそういうのがないので色んな場所をグルグルと動きながらお芝居させていただきました。おかげでより伊藤らしさが出せたんじゃないかなと思います。
――伊藤が木村文乃さん演じる矢崎莉桜に「僕は戦わないから負けない」と言うシーンがありますが、以前この台詞に関して伺った際に「こういう逃げ方もあるのかと思った」と岡田さんはおっしゃっていました。例えばこの先絶対に辛いことが待っている、もしくは無理かもしれないという仕事のオファーがきても逃げずに挑戦しますか？
岡田将生 俳優というのは基本的に難しいことにチャレンジする仕事だと思っているので、逃げずに挑戦し続けたいです。俳優仲間に“あいつ最近守りに入っているな”と思われるのも嫌ですし、果敢に攻めているほうが男としてカッコいいですよね。それに失敗しても“あいつ行くとこまで行ったレな”と、僕だったらそう捉えるので挑戦していくことは大事だと思うので。挑戦する機会を与えてくださること自体が嬉しいですし、ハードルが高いとこっちも燃えるので、この仕事って面白いなとつくづく思います。
――バラエティでの活躍も「実はいじられるのはあまり好きではない」!?
10年以上のキャリアを振り返ってみて、転機だったと感じた作品や人物はいますか？
岡田将生 10代の頃から出会いに恵まれていて、おかげさまでこうやってお仕事を続けていられるんだと実感しています。毎年必ず素敵な出会いがあるので転機と言われると難しいのですが、去年出演させて頂いたドラマ『小さな巨人』（TBS系）で大先輩の方々と一緒にお芝居できたのが凄く良い経験になりました。一切ブレることなくやり遂げられたと思える作品でしたし、プロデューサーの方から「岡田くんにとって挑戦になる役だね」と言って頂いたこともあって本当に出演できて良かったです。きっと今年もそういう挑戦があると思うので、乗り越えなきゃと既に覚悟しています（笑）。
――『小さな巨人』ではクールな役、『不便な便利屋』（テレビ東京ほか）や『ゆとりですがなにか』（日本テレビ系）では少し残念な役など様々なキャラクターを演じてらっしゃいました。普段の岡田さんは大人しい性格だそうですが、テンションの高い役はどうやってスイッチを入れているのでしょうか？
岡田将生 『ゆとりですがなにか』の時は現場に入る前からそういう空気を作っておくとテンションがあがりましたし、役に合わせて現場の居方が変わるんです。人それぞれ色んな切り替え方がありますけど、去年、ドラマ『名刺ゲーム』（WOWOW）でご一緒した堤真一さんは「“よーい！”でスイッチを切り替えられないやつは俳優じゃない」とおっしゃっていました。僕は役に入るまでに段階が必要なんですが、堤さんは言葉通り切り替えを瞬時にされていて、見ていて凄いなと思いました。ただ、僕はマイペースにやっていこうと（笑）。役をちゃんと掴んでさえいれば切り替えは瞬時にできるので、段階が必要なのはクランクインして最初のほうだけなのかなと…いま話しながら気付きました（笑）。
―― 一方、番宣でバラエティ番組に出演されることも多いですが、共演者の方や司会者から岡田さんのチャーミングな人柄をいじられることも多いですよね。ご自身はそれを楽しんでらっしゃいますか？
岡田将生 実はいじられるのはあまり好きではないんです（苦笑）。最近は“いじられるのは好きじゃない”と言うようにしているんですけど、番宣のバラエティ番組に関しては出させて頂いている身なので…（笑）。きっとこの葛藤は一生続くでしょうね（笑）。
――バラエティ番組に出演されている岡田さんはご本人の意志に反して視聴者にとっては癒しになっていると思うので、是非今後も出演して頂きたいです（笑）。
岡田将生 そう言っていただけるなら全力で頑張ります（笑）。
20代前半の若手俳優の活躍に「自分もそういう時期があったな」
――ドラマや映画、舞台など幅広く活躍されていますが、オファーを受ける際はどんな基準で作品を選んでいるのでしょうか？
岡田将生 一番は脚本ですかね。どんな役かはその次で、あとはタイミングだったりご一緒する監督だったり。今回の伊藤という役は結構な覚悟が必要でしたけど、廣木監督だから是非やらせて頂きたいと思いました。
――伊藤という役は覚悟が必要だったとおっしゃいましたが、少し残念な役を受ける際にご自身のイメージを気にされることもありますか？
岡田将生 受ける前に考えることはありますが、イメージは特に気にしないです。イメージを気にする時期は終わったと思いますし、イメージ関係なく挑戦していきたいですし、幅広い役のオファーをいただけるようにならないといけないなと思っています。 ――現在28歳の岡田さんですが、共演者の方も年下の俳優さんがどんどん増えていますよね。いまの若手俳優を見て、ご自身の立ち位置について何か感じることはありますか？ 岡田将生 あまり考えないです。でも、みんな大変そうだなとか、自分もそういう時期があったなと彼らを見ていて思いますし、若い人達が頑張っていると自分も頑張らなきゃいけないなと気合いが入ります。
――30代に向けて準備していることや目標はありますか？
岡田将生 先々を考えるタイプなので、なんとなく自分が目指す方向のイメージはできています。というのも、27歳ぐらいから同世代の俳優さんと“30代に向けてどういう仕事がしたいか”という話をするようになって、同時に事務所の方とも色々と今後の仕事について話すようになったんです。ちゃんと先のことを考えているのと考えていないのとでは結構な差が出るんじゃないかなと思っていて。今はまだどんなことを考えているのかは言えないのですが、色んなことに挑戦していくと思うので楽しみにしていただけたら嬉しいです。
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| Source: Oricon |
“Itao” no kōen ni “Yaku no imēji o kinisuru jiki wa owatta”
Sakunen wa entame taisaku eiga “Gintama” ya “jojonokimyōnabōken daiyamondo ha kudakenai daiisshō”, soshite 2016-nen ni hōsō sareta renzoku dorama no supesharu-ban “yutoridesuga nanika junmaiginjō junjō-hen” (Nihonterebi-kei) ya “chīsana Kyojin” (TBS-kei) nado wadai no sakuhin de samazamana yaku o enjita okadamasaki. 2018-Nen saisho ni shutsuen shita shuen-saku “Itō-kun AtoE”de wa, yōshi tanreidakeredo jiishiki kajōde mushinkei, kakawaru josei-tachi no jinsei o honrō suru “itao” koto Itō Seijirō o enjite iru. Son'na Okada ni, konsaku no yaku ni tsuite ya shigoto to no mukiai-kata, sarani 30-dai o mokuzen ni hikaeta genzai no shinkyō nado o kiita.
Habahiroi yaku e no chōsen wa `haiyū nakama ni “mori ni haitte iru” to omowa retakunai'
Q: konsaku no Itō to iu kusenoaru kyarakutā o dono yō ni yaku tsukurishi, dono yō ni enji rareta nodeshou ka?
OM: Gensaku to daihon o yonda toki ni Itō to iu kyarakutā no imēji ga nantonakude kite itanode, sono imēji o hiroki ryūichi kantoku to suriawasenagara enjite ikimashita. Yaku o enjiru sai ni kimari-goto ga ōi genba mo arimasukedo, konsaku ni kanshite wa min'na de aidea o dashitsutsu jūnan ni omoshiroi mono o serekuto shite iku shuhō o totte imashita.
Q: Jiyū-do ga takakute enji-gai no aru yakudatta node wa?
Sōdesu ne. Omoikitte monosugoku tenshon takame ni enjite mi tari (Emi). Dorama no genbadato `koko de ittan tomatte kara ugoite kudasai' toka `furimuite kudasai' to iu shiji o dasa reru koto ga ōi ndesukedo, hiroki-gumi wa sō iu no ga nainode iron'na basho o guruguru to ugokinagara o shibai sa sete itadakimashita. Okage de yori Itōrashi-sa ga daseta n janai ka na to omoimasu.
Q: Itō ga kimurafumino-san enjiru Yazaki Rei sakura ni “boku wa tatakawanaikara makenai” to iu shīn ga arimasuga, izen kono serifu ni kanshite ukagatta sai ni “kōiu nige-kata mo aru no ka to omotta” to Okada-san wa osshatte imashita. Tatoeba konosaki zettai ni tsurai koto ga matte iru, moshikuwa muri kamo shirenai to iu shigoto no ofā ga kite mo nigezu ni chōsen shimasu ka?
OM: Haiyū to iu no wa kihontekini muzukashī koto ni charenji suru shigotoda to omotte irunode, nigezu ni chōsen shi tsudzuketaidesu. Haiyū nakama ni “aitsu saikin mamori ni haitte iru na” to omowareru no mo iya desu shi, kakan ni semete iru hō ga otoko to shite kakkoīdesu yo ne. Sore ni shippai shite mo “aitsu iku toko made itta na” to, bokudattara sō toraerunode chōsen shite iku koto wa daijida to omou node. Chōsen suru kikai o ataete kudasaru koto jitai ga ureshīdesushi, hādoru ga takai to kotchi mo moerunode, kono shigoto tte omoshiroi na to tsukuzuku omoimasu.
Q: 10-Nen ijō no kyaria o furikaette mite, tenkidatta to kanjita sakuhin ya jinbutsu wa imasu ka?
OM: 10-dai no koro kara deai ni megumarete ite, okage-sama de kō yatte oshigoto o tsudzukete i rareru nda to jikkan shite imasu. Maitoshi kanarazu sutekina deai ga aru node tenki to iwa reruto muzukashī nodesuga, kyonen shutsuen sa sete itadaita dorama “chīsana Kyojin” (TBS-kei) de dai senpai no katagata to issho ni o shibai dekita no ga sugoku yoi keiken ni narimashita. Issai burerukoto naku yaritoge rareta to omoeru sakuhindeshitashi, purode~yūsā no kata kara `Okada-kun ni totte chōsen ni naru yakuda ne' to itte itadaita koto moatte hontōni shutsuen dekite yokattadesu. Kitto kotoshi mo sōiu chōsen ga aru to omou node, norikoenakyato sudeni kakugo shite imasu (Emi).
Q: “Chīsana Kyojin”de wa kūruna yaku,“fuben'na benri-ya” (Terebitōkyō hoka) ya “yutoridesuga nanika” (Nihonterebi-kei)de wa sukoshi zan'nen'na yaku nado samazamana kyarakutā o enjite rasshaimashita. Fudan no Okada-san wa otonashī seikakuda sōdesuga, tenshon no takai yaku wa dō yatte suitchi o irete iru nodeshou ka?
OM: “yutoridesuga nanika” no toki wa genba ni hairu mae kara sōiu kūki o tsukutte okuto tenshon ga agarimashitashi,-yaku ni awa sete genba no i-kata ga kawaru ndesu. Hito sorezore iron'na kirikae-kata ga arimasukedo, kyonen, dorama “meishi gēmu” (wauwau) de go issho shita tsutsumi shin'ichi-san wa ` “yo ̄ i! ” De suitchi o kirikae rarenai yatsu wa haiyū janai' to osshatte imashita. Boku wa yaku ni hairu made ni dankai ga hitsuyōna ndesuga, Tsutsumi-san wa kotoba-dōri kirikae o shunji ni sa rete ite, mite ite sugoi na to omoimashita. Tada, boku wa maipēsu ni yatte ikou to (Emi). Yaku o chanto tsukande sae ireba kirikae wa shunji ni dekiru node, dankai ga hitsuyōna no wa kurankuin shite saisho no hō dakena no ka na to… ima hanashinagara kidzukimashita (Emi).
Baraeti de no katsuyaku mo `jitsuwa ijira reru no wa amari sukide wanai'!?
Q: Ippō,-ban sen de baraeti bangumi ni shutsuen sa reru koto mo ōidesuga, kyōen-sha no kata ya shikai-sha kara Okada-san no chāminguna hitogara o ijira reru koto mo ōidesu yo ne. Go jishin wa sore o tanoshinde rasshaimasu ka?
Jitsuwa ijirareru no wa amari suki dewanai ndesu (kushō). Saikin wa “ijirareru no wa sukijanai” to iu yō ni shite iru ndesukedo, bansen no baraeti bangumi ni kanshite wa dasasete itadaite iru minanode…(Emi).
Q: Baraeti bangumi ni shutsuen sa rete iru Okada-san wa go hon'nin no ishi ni hanshite shichō-sha ni totte wa iyashi ni natte iru to omou node, zehi kongo mo shutsuen shite itadakitaidesu (Emi).
OM: sōitte itadakerunara zenryoku de ganbarimasu (Emi). 20-Dai zenhan no wakate haiyū no katsuyaku ni `jibun mo sōiu jiki ga atta na'
Q: Dorama ya eiga, butai nado habahiroku katsuyaku sa rete imasuga, ofā o ukeru sai wa don'na kijun de sakuhin o erande iru nodeshou ka?
OM: ichiban wa kyakuhondesu ka ne. Don'na yaku ka wa sono-ji de, ato wa taimingudattari goisshosuru kantokudattari. Konkai no Itō to iu yaku wa kekkōna kakugo ga hitsuyōdeshitakedo, Hiroki kantokudakara zehi yarasete itadakitai to omoimashita.
Q: Itō to iu yaku wa kakugo ga hitsuyōdatta to osshaimashitaga, sukoshi zan'nen'na yaku o ukeru sai ni go jishin no imēji o ki ni sa reru koto mo arimasu ka?
OM: ukeru mae ni kangaeru koto wa arimasuga, imēji wa tokuni kinishinaidesu. Imēji o kinisuru jiki wa owatta to omoimasushi, imēji kankei naku chōsen shite ikitaidesushi, habahiroi yaku no ofā o itadakeru yō ni naranaito ikenai na to omotte imasu.
Q: Genzai 28-sai no Okada-sandesuga, kyōen-sha no kata mo toshishita no haiyū-san ga dondon fuete imasu yo ne. Ima no wakate haiyū o mite, go jishin no tachi ichi ni tsuite nani ka kanjiru koto wa arimasu ka?
OM: amari kangaenaidesu. Demo, min'na taihen-sōda na toka, jibun mo sōiu jiki ga atta na to karera o mite ite omoimasushi, wakai hitotachi ga ganbatte iruto jibun mo ganbaranakya ikenai na to kiai ga hairimasu.
Q: 30-Dai ni mukete junbi shite iru koto ya mokuhyō wa arimasu ka?
OM: sakizaki o kangaeru taipunanode, nantonaku jibun ga mezasu hōkō no imēji wa dekite imasu. Toyuunomo, 27-sai gurai kara dō sedai no haiyū-san to “30-dai ni mukete dōiu shigoto ga shitai ka” to iu hanashi o suru yō ni natte, dōjini jimusho no kata tomo iroiro to kongo no shigoto ni tsuite hanasu yō ni natta ndesu. Chanto saki no koto o kangaete iru no to kangaete inai no tode wa kekkōna sa ga deru n janai ka na to omotte ite. Ima wa mada don'na koto o kangaete iru no ka wa ienai nodesuga, iron'na koto ni chōsen shite iku to omou node tanoshimini shite itadaketara ureshīdesu.
