“I’m glad that I chose this career” (Mirai no Hahen last section, p 122)
I’ve translated the last section of interview in p 122 of “Mirai no Hahen” (“Fragments of the Future”). I’m guessing the context of some of the translations, so if you spot any mistakes, please let me know. 日本語の分は英語の後で。
Is it not so? Many directors would say that there are different ways of directing, arranging and filming a performance. Every time, I would look at a performance with a fresh spirit. Each time, I would feel nervous as a new primary school kid. Gradually, I would make the role my own. Thus, whatever role I take, I see it as a part of my body and soul.
In addition, I am really grateful that I became an actor since I was 17 years old, since I would have not been able to do those things at that age (had I not been an actor)."
Is that because you were able to attract so many offers at that age?
“Yes. I was so delicate as a teenager. I had to absorb many things, but there were things I didn’t want to absorb. Although I understood it in my head, I still didn’t want to accept it. At my current age, whenever I’m told about something, I can say “Yes, understood”. However, when I was at my teens, I’d say “No way! I’m not doing it!” (laugh).
Teenagers, eh? (laugh)
“I think I was indeed rather impertinent in my teens.
The director would ask if I cannot see it from a different angle, but I would keep saying “No!” in a piercing anger. I thought there was only one correct interpretation for a role.”
Despite your stubbornness, what made you become a little more flexible?
“There are many ways of portraying a play, there is no right or wrong way to do that, however strange that idea to me at that time.
I started to realise that when I played in “Otomen” (2009). Because it was such a great pressure, I saw the production from many angles. Although I originally just steadily worked on my own, later I started to think that it was more interesting to make the production with everyone.
I’ll follow you, I also want to be followed. I want to love, I want to be loved, something like that (laugh). I then thought of how to improve the work itself and its performance organisation.
Currently as a 27 years old actor, do you have any vision for the future as an actor?
“At the moment, if I can still be an actor when I’m 30 years old, is that not truly a fulfilment? Thus, I’d like to keep up the spirit.”
Will you pursue that goal?
“I will pursue it. I don’t usually say it out loud, but I have no desire to lose it. I don’t want to make my thirties the same as what my seniors have made of their thirties. The most interesting part to me is that, because my roles keep changing (with age), I need to grow as well, I need to collect various experiences as well. I’m looking forward to those changes.”
Would you tell us again “what type of person Okada Masaki is?”
“Well, first of all… how shall I put it… I am really a weak person, a frail person. But I don’t think I can change that anymore. Thus, I am not scared to expose that I am such a frail person. I feel that accepting this fact is better than creating a façade.
Of course I don’t think it’s going to hold true forever, I might change my mind later, but at the moment that’s what I think.”
So, what do you think about you living a life as an actor like this? I don’t think you ever imagined that before your debut, right?
“I’m glad that I chose this career. As years go by, I grow to like this job more. By receiving encouragements from many people, I can have good projects and I also meet nice people. I recently also remembered the joy of being on stage, I find live stage a very pleasant thing indeed. I still don’t know what I’d like to do, but I’d like to continue communicating various messages through my work. I’d like to do various things with intense, aggressive content.”
ですよね。いろんな監督がいって演出の仕方も違うし、座組も違うし、撮り方も違うから。毎回毎回 新鮮な気時らで臨めて、毎回小学生並みに緊張して、少しずつ役を自分のものにしていう。だから、どの役も全部、自分の身体と感情のビースになってるなあと思います。
それに、その時期のその歳じゃないとできないことをやらせてもらっていたから、１７歳ぐらいから役者を始めてよかったなあって、ほんとに思ってるんですよね」
ーーいろんなことが吸収できる歳だったからですか。
「そう。１０代ってすごく繊細だから、いろいろ吸収しなきゃいけないけど、吸収したくないものがあったり、頭では理解してるけど、理解したくないっていうことがあったりするじゃないですか。
今の歳なると、何か言われたときに、１コ者えて『はい、わかりました』って、言えるんだけど、１０代のときは『ヤなものはヤだ！』って感じだったから（笑）」。
ーー若さゆえですよね（笑）。
「１０代のときは相当生意気だったと思います。
もっと違う角度から見れないの？ って監督に言われでも『こうやりたい！』って突き通して、怒られるっていう。自分が思う役の正解がひとつしかったんです」
——頑なだったのか、桑軟に考えられるようになったのはどうしてだと思います？
「芝居にはいろんな見せ方があるし、正解も不正解もないのに、その考え方はたしかにおかしいなと思うようになったんだと思います。
きっかけはドラマ『オトメン（乙男）』（０９年）で初めて主演をやらせてもらったときでした。すごいブレッシャーだったから、いろんな角度から作品を見て、自分でどんどん工 夫して、“みんなで” 作って行くほうが面白いと思うようになったんです。
ついていくし、ついてきてもらいたいし、愛したいし、愛されたいし、みたいな（笑）。
作品そのものや座組自体が、どうよくなるかを考えるようになったんだと思います」
——現在２７歳ですか、役者としてこの先のビジョンみたいなものは見えていますか。
「今、３０代の俳優さんってすごく充実してるじゃないですか。だから燃えていますよ」
＿＿その背中を追えるからですか？
「追えるし、普段は口に出して言わないけど、やっぱり負 けたくないっていう思いもありまし。先輩たちが作ってきた３０代とは違う３０代になりたいなあとも思います。一番の楽しみは、（年齢とともに）役が変わっていくことだから、その分自分も成長しなきゃいけないし、いろんな経験もしなきゃなあとも思いています。変わっていく自分が楽しみだったりまするし」
——「岡田将生とはこういう人である」というのを、改めて言うと？
「ええ一つ。なんだろう…僕はほんとに弱い人間ですよ。でも、そのはもう変わんないと思います。だから、弱い自分をさらけ出していこうと思うし、さらけ出してるからこそ、怖いものはないっていうか。自分で殻作ってやるよりも、そのまんまぶつかっていったほうがいいやってい感じかなあ。
もちろんそれが正しいとも思ってないんだけど、そのほうが何色にも染まれる気がするし。。。今はそういう考えですね」
——では、こうやって役者として生きている自分についてはどう思いますか？デビュー前はまったく想像していなかったことだと思うんですけど。
「この仕事を選んでよかったなあと思います。年々、この仕事が好きだなあって思う。いい作品にも出会えてるし、いい人にも出会えてるし、自分が刺激を受ける方
々と出会えるから。最近 は舞台に立つ楽しみも覚えちゃって、生ものの芝居ってやっぱりいいんだなあって思うし。自分がどうなりたいかもまだわからないし、これからも作品を通していろんなメッセジを伝えていきたいでし、攻めた内容でいろんなことをやっていきたいなあと思っています」
"Desu yo ne. Iron'na kantoku ga itte enshutsu no shikata mo chigaushi,-za-gumi mo chigaushi, torikata mo chigaukara. Maikai maikai shinsen'na ki toki-ra de nozomete, maikai shōgakusei-nami ni kinchō shite, sukoshizutsu-yaku o jibun no mono ni shite iu. Dakara, dono yaku mo zenbu, jibun no karada to kanjō no bīsu ni natteru nā to omoimasu.
soreni, sono jiki no sono toshi janai to dekinai koto o yarasete moratte ita kara, ichi nana sai gurai kara yakusha ohajimete yokattanā tte , hontoni omotteru ndesuyone"
——Iron'na koto ga kyūshū dekiru toshi datta kara desu ka.
`Sō. 10-Dai tte sugoku sensaidakara, iroiro kyūshū shinakya ikenaikedo, kyūshū shitakunai mono ga attari, atama de wa rikai shi terukedo, rikai shitakunai tte iu koto ga attari suru janaidesu ka.
Ima no toshi naru to, nani ka iwa reta toki ni, 1 ko-sha ete “hai, wakarimashita” tte, ieru ndakedo, 10-dai no toki wa “yana mono wa yada! ” Tte kanjidattakara (Emi)'.
——waka-sa-yuedesu yo ne (Emi).
“10-dai no toki wa sōtō namaikidatta tomoimasu.”
Motto chigau kakudo kara mirenai no? Tte kantoku ni iwa re demo “kō yaritai! ” Tte tsukitōshite, okorareru tte iu. Jibun ga omou yaku no seikai ga hitotsu shikattandesu.
——Katakunadatta no ka, kuwayawa ni kangaerareru yō ni natta no wa dōshiteda to omoimasu?
`Shibai ni wa iron'na misekata ga arushi, seikai mo fuseikai mo nai no ni, sono kangaekata wa tashikani okashī na to omou yō ni natta nda to omoimasu.
Kitta wa dorama ‘Otomen’ (09-nen) de hajimete shuen o yarasete moratta toki deshita. Sugoi buresshādattakara, iron'na kakudo kara sakuhin o mite, jibun de dondon kō otto shite,“min'nade” tsukutte iku hō ga omoshiroi to omou yō ni natta ndesu. tsuiteikushi, tsuitekite moraitaishi, aishitaishi, aisaretaishi, mitaina (emi). Sakuhin sono mono ya zagumi jitai ga, dou yoku naru ka o kangaeru youni nattanda to omoimasu.
——genzai 27-sai desu ka, yakusha to shite kono mae no bishon mitaina mono ha mieteimasu ka.
“Ima, 30-dai no haiyusantte sugoku jūjitsushiteru janai desu ka. Dakara moeteimasuyo.”
——Sono senaka o oerukaradesu ka?
“Oe rushi, fudan wa kuchi ni dashite iwanaikedo, yappari fu ketakunai tte iu omoi mo arimashi. Senpai-tachi ga tsukutte kita 30-dai to wa chigau 30-dai ni naritai na ato mo omoimasu. Ichiban no tanoshimi wa, (nenrei to tomoni) yaku ga kawatte iku kotodakara, sono bun jibun mo seichō shinakya ikenaishi, iron'na keiken mo shinakyana ato mo omoite imasu. Kawatte iku jibun ga tanoshimidattarimasurushi.”
—— “Okada Masaki to wa kou iu hito de aru” to iu no o, aratamete iu to?
`E e hitotsu. Nandarou... Boku wa hontōni yowai ningen desu yo. Demo, sono ha mō kawannai to omoimasu. Dakara, yowai jibun o sarakedeshitei kō to omoushi, sarakedeshiteru kara koso, kowai mono wa nai tteiu ka. Jibun de kara tsukutte yaru yori mo, sono manmabutsu katteitta hō ga ii yattei kanjikana…
Mochiron sore ga tadashītomo omottenai ndakedo, sono hō ga naniiro ni mo shima reru ki ga surushi... Ima wa sōiu kangaedesu ne'
—— dewa, kō yatte yakumono toshite umakiteiru jibun ni tsuite ha dō omoimasu ka? Debyū mae wa mattaku … shiteinakatta kotoda to omoundesukedo.
`Kono shigoto o erande yokatta nā to omoimasu. Toshitoshi, kono shigoto ga sukida nā tte omou. Ī sakuhin ni mo deae terushi, ī hito ni mo deae terushi, jibun ga shigeki wo ukeru hō hō to deaerukara. Saikin wa butai ni tatsu tanoshimi mo oboe chatte, nama mono no shibai tte yappari ī nda nā tte omoushi. Jibun ga dō naritai kamo mada wakaranaishi, korekara mo sakuhin o tōshite iron'na messeji o tsutaete ikitaideshi, semeta naiyō de iron'na koto o yatte ikitai nā to omotte imasu'.
 |
| Mirai no Hahen p 125 |
"I’m glad that I chose this career. As years go by, I grow to like this job more.
Is it not so? Many directors would say that there are different ways of directing, arranging and filming a performance. Every time, I would look at a performance with a fresh spirit. Each time, I would feel nervous as a new primary school kid. Gradually, I would make the role my own. Thus, whatever role I take, I see it as a part of my body and soul.
In addition, I am really grateful that I became an actor since I was 17 years old, since I would have not been able to do those things at that age (had I not been an actor)."
Is that because you were able to attract so many offers at that age?
“Yes. I was so delicate as a teenager. I had to absorb many things, but there were things I didn’t want to absorb. Although I understood it in my head, I still didn’t want to accept it. At my current age, whenever I’m told about something, I can say “Yes, understood”. However, when I was at my teens, I’d say “No way! I’m not doing it!” (laugh).
Teenagers, eh? (laugh)
“I think I was indeed rather impertinent in my teens.
The director would ask if I cannot see it from a different angle, but I would keep saying “No!” in a piercing anger. I thought there was only one correct interpretation for a role.”
Despite your stubbornness, what made you become a little more flexible?
“There are many ways of portraying a play, there is no right or wrong way to do that, however strange that idea to me at that time.
I started to realise that when I played in “Otomen” (2009). Because it was such a great pressure, I saw the production from many angles. Although I originally just steadily worked on my own, later I started to think that it was more interesting to make the production with everyone.
I’ll follow you, I also want to be followed. I want to love, I want to be loved, something like that (laugh). I then thought of how to improve the work itself and its performance organisation.
Currently as a 27 years old actor, do you have any vision for the future as an actor?
“At the moment, if I can still be an actor when I’m 30 years old, is that not truly a fulfilment? Thus, I’d like to keep up the spirit.”
Will you pursue that goal?
“I will pursue it. I don’t usually say it out loud, but I have no desire to lose it. I don’t want to make my thirties the same as what my seniors have made of their thirties. The most interesting part to me is that, because my roles keep changing (with age), I need to grow as well, I need to collect various experiences as well. I’m looking forward to those changes.”
Would you tell us again “what type of person Okada Masaki is?”
“Well, first of all… how shall I put it… I am really a weak person, a frail person. But I don’t think I can change that anymore. Thus, I am not scared to expose that I am such a frail person. I feel that accepting this fact is better than creating a façade.
Of course I don’t think it’s going to hold true forever, I might change my mind later, but at the moment that’s what I think.”
So, what do you think about you living a life as an actor like this? I don’t think you ever imagined that before your debut, right?
“I’m glad that I chose this career. As years go by, I grow to like this job more. By receiving encouragements from many people, I can have good projects and I also meet nice people. I recently also remembered the joy of being on stage, I find live stage a very pleasant thing indeed. I still don’t know what I’d like to do, but I’d like to continue communicating various messages through my work. I’d like to do various things with intense, aggressive content.”
 |
| Mirai no Hahen p 123 (with Okada Masaki's handwriting!) |
この仕事を選んでよかったなあと思います。年々、この仕事が好きだなあって思う。
ですよね。いろんな監督がいって演出の仕方も違うし、座組も違うし、撮り方も違うから。毎回毎回 新鮮な気時らで臨めて、毎回小学生並みに緊張して、少しずつ役を自分のものにしていう。だから、どの役も全部、自分の身体と感情のビースになってるなあと思います。
それに、その時期のその歳じゃないとできないことをやらせてもらっていたから、１７歳ぐらいから役者を始めてよかったなあって、ほんとに思ってるんですよね」
ーーいろんなことが吸収できる歳だったからですか。
「そう。１０代ってすごく繊細だから、いろいろ吸収しなきゃいけないけど、吸収したくないものがあったり、頭では理解してるけど、理解したくないっていうことがあったりするじゃないですか。
今の歳なると、何か言われたときに、１コ者えて『はい、わかりました』って、言えるんだけど、１０代のときは『ヤなものはヤだ！』って感じだったから（笑）」。
ーー若さゆえですよね（笑）。
「１０代のときは相当生意気だったと思います。
もっと違う角度から見れないの？ って監督に言われでも『こうやりたい！』って突き通して、怒られるっていう。自分が思う役の正解がひとつしかったんです」
——頑なだったのか、桑軟に考えられるようになったのはどうしてだと思います？
「芝居にはいろんな見せ方があるし、正解も不正解もないのに、その考え方はたしかにおかしいなと思うようになったんだと思います。
きっかけはドラマ『オトメン（乙男）』（０９年）で初めて主演をやらせてもらったときでした。すごいブレッシャーだったから、いろんな角度から作品を見て、自分でどんどん工 夫して、“みんなで” 作って行くほうが面白いと思うようになったんです。
ついていくし、ついてきてもらいたいし、愛したいし、愛されたいし、みたいな（笑）。
作品そのものや座組自体が、どうよくなるかを考えるようになったんだと思います」
——現在２７歳ですか、役者としてこの先のビジョンみたいなものは見えていますか。
「今、３０代の俳優さんってすごく充実してるじゃないですか。だから燃えていますよ」
＿＿その背中を追えるからですか？
「追えるし、普段は口に出して言わないけど、やっぱり負 けたくないっていう思いもありまし。先輩たちが作ってきた３０代とは違う３０代になりたいなあとも思います。一番の楽しみは、（年齢とともに）役が変わっていくことだから、その分自分も成長しなきゃいけないし、いろんな経験もしなきゃなあとも思いています。変わっていく自分が楽しみだったりまするし」
——「岡田将生とはこういう人である」というのを、改めて言うと？
「ええ一つ。なんだろう…僕はほんとに弱い人間ですよ。でも、そのはもう変わんないと思います。だから、弱い自分をさらけ出していこうと思うし、さらけ出してるからこそ、怖いものはないっていうか。自分で殻作ってやるよりも、そのまんまぶつかっていったほうがいいやってい感じかなあ。
もちろんそれが正しいとも思ってないんだけど、そのほうが何色にも染まれる気がするし。。。今はそういう考えですね」
——では、こうやって役者として生きている自分についてはどう思いますか？デビュー前はまったく想像していなかったことだと思うんですけど。
「この仕事を選んでよかったなあと思います。年々、この仕事が好きだなあって思う。いい作品にも出会えてるし、いい人にも出会えてるし、自分が刺激を受ける方
々と出会えるから。最近 は舞台に立つ楽しみも覚えちゃって、生ものの芝居ってやっぱりいいんだなあって思うし。自分がどうなりたいかもまだわからないし、これからも作品を通していろんなメッセジを伝えていきたいでし、攻めた内容でいろんなことをやっていきたいなあと思っています」
 |
| Mirai no Hahen p 124 |
Kono shigoto o erande yokattana ato omoimasu. Nen nen, kono shigoto ga suki da na atte omou.
"Desu yo ne. Iron'na kantoku ga itte enshutsu no shikata mo chigaushi,-za-gumi mo chigaushi, torikata mo chigaukara. Maikai maikai shinsen'na ki toki-ra de nozomete, maikai shōgakusei-nami ni kinchō shite, sukoshizutsu-yaku o jibun no mono ni shite iu. Dakara, dono yaku mo zenbu, jibun no karada to kanjō no bīsu ni natteru nā to omoimasu.
soreni, sono jiki no sono toshi janai to dekinai koto o yarasete moratte ita kara, ichi nana sai gurai kara yakusha ohajimete yokattanā tte , hontoni omotteru ndesuyone"
——Iron'na koto ga kyūshū dekiru toshi datta kara desu ka.
`Sō. 10-Dai tte sugoku sensaidakara, iroiro kyūshū shinakya ikenaikedo, kyūshū shitakunai mono ga attari, atama de wa rikai shi terukedo, rikai shitakunai tte iu koto ga attari suru janaidesu ka.
Ima no toshi naru to, nani ka iwa reta toki ni, 1 ko-sha ete “hai, wakarimashita” tte, ieru ndakedo, 10-dai no toki wa “yana mono wa yada! ” Tte kanjidattakara (Emi)'.
——waka-sa-yuedesu yo ne (Emi).
“10-dai no toki wa sōtō namaikidatta tomoimasu.”
Motto chigau kakudo kara mirenai no? Tte kantoku ni iwa re demo “kō yaritai! ” Tte tsukitōshite, okorareru tte iu. Jibun ga omou yaku no seikai ga hitotsu shikattandesu.
——Katakunadatta no ka, kuwayawa ni kangaerareru yō ni natta no wa dōshiteda to omoimasu?
`Shibai ni wa iron'na misekata ga arushi, seikai mo fuseikai mo nai no ni, sono kangaekata wa tashikani okashī na to omou yō ni natta nda to omoimasu.
Kitta wa dorama ‘Otomen’ (09-nen) de hajimete shuen o yarasete moratta toki deshita. Sugoi buresshādattakara, iron'na kakudo kara sakuhin o mite, jibun de dondon kō otto shite,“min'nade” tsukutte iku hō ga omoshiroi to omou yō ni natta ndesu. tsuiteikushi, tsuitekite moraitaishi, aishitaishi, aisaretaishi, mitaina (emi). Sakuhin sono mono ya zagumi jitai ga, dou yoku naru ka o kangaeru youni nattanda to omoimasu.
——genzai 27-sai desu ka, yakusha to shite kono mae no bishon mitaina mono ha mieteimasu ka.
“Ima, 30-dai no haiyusantte sugoku jūjitsushiteru janai desu ka. Dakara moeteimasuyo.”
——Sono senaka o oerukaradesu ka?
“Oe rushi, fudan wa kuchi ni dashite iwanaikedo, yappari fu ketakunai tte iu omoi mo arimashi. Senpai-tachi ga tsukutte kita 30-dai to wa chigau 30-dai ni naritai na ato mo omoimasu. Ichiban no tanoshimi wa, (nenrei to tomoni) yaku ga kawatte iku kotodakara, sono bun jibun mo seichō shinakya ikenaishi, iron'na keiken mo shinakyana ato mo omoite imasu. Kawatte iku jibun ga tanoshimidattarimasurushi.”
—— “Okada Masaki to wa kou iu hito de aru” to iu no o, aratamete iu to?
`E e hitotsu. Nandarou... Boku wa hontōni yowai ningen desu yo. Demo, sono ha mō kawannai to omoimasu. Dakara, yowai jibun o sarakedeshitei kō to omoushi, sarakedeshiteru kara koso, kowai mono wa nai tteiu ka. Jibun de kara tsukutte yaru yori mo, sono manmabutsu katteitta hō ga ii yattei kanjikana…
Mochiron sore ga tadashītomo omottenai ndakedo, sono hō ga naniiro ni mo shima reru ki ga surushi... Ima wa sōiu kangaedesu ne'
—— dewa, kō yatte yakumono toshite umakiteiru jibun ni tsuite ha dō omoimasu ka? Debyū mae wa mattaku … shiteinakatta kotoda to omoundesukedo.
`Kono shigoto o erande yokatta nā to omoimasu. Toshitoshi, kono shigoto ga sukida nā tte omou. Ī sakuhin ni mo deae terushi, ī hito ni mo deae terushi, jibun ga shigeki wo ukeru hō hō to deaerukara. Saikin wa butai ni tatsu tanoshimi mo oboe chatte, nama mono no shibai tte yappari ī nda nā tte omoushi. Jibun ga dō naritai kamo mada wakaranaishi, korekara mo sakuhin o tōshite iron'na messeji o tsutaete ikitaideshi, semeta naiyō de iron'na koto o yatte ikitai nā to omotte imasu'.
