Nana Komatsu & Kentaro Sakaguchi "Life expectancy 10 years" / Photo: Maho Korogi
Turning points, uniform experiences, monument -like works -for Nana Komatsu and Kentaro Sakaguchi, the movie "Life Life 10 Years" that starred in W is a special one in terms of words. rice field. After seeing her completed work, she talked about her impressions with a man of the official who was "Nice to meet you" and watched her work objectively. The two nodded and exchanged words that this was her first experience. [Photo] Nana Komatsu & Kentaro Sakaguchi Cut (14 pieces in total) The 43rd Japan Academy Awards, Director Michito Fujii, directed by Michihito Fujii, is a movie based on the same name by Ryu Kosaka. She suffers from an incurable illness of tens of thousands of people and is informed that her life expectancy has been 10 years, and reunites with Kazuto Shinbe (Mr. Sakaguchi) at her reunion. , The story begins. Although she was attracted to her, she decided not to fall in love, and she struggled to associate with Kazuto and she refused at first. However, her unstoppable love sparks, and the most important days are spelled out. A 10 -year -old and cruel 10 -year -old everyday life is drawn on the flouriness of spring, summer, autumn and winter. Komatsu and Sakaguchi, who were two tripods, rushed in the shooting period, which was held about a year. In the interview, we started with a "reverse question" from Mr. Sakaguchi, "How was the work?" Rather than the ephemeralness of the word life expectancy, the preciousness of living and the dear feelings that spring from the bottom of the belly overflow from the two words. Unprecedented experience, after watching, it was an interview just before the release. How are you feeling now? Sakaguchi: Um ... how was your work? Komatsu: Yeah, I want to hear! Sakaguchi: It's soon open to the public, so I told Nana -chan, "I hope various people can watch it," but since they are watching them as parties, "What is it??" I'm really worried. I think it's a very good work. Komatsu: That's right. ――I'm asking the story that you can't see the performances objectively, but how about the two? Sakaguchi: That's always the case. When I'm out, I definitely watch it subjectively, but this time ... I cried. I was a little surprised. Komatsu: I understand. After watching it in the preview, the man of the person concerned was crying very much while conveying his impressions. While listening to the story, I cried. It was "Nice to meet you", but I felt like I was very close to it next door. After watching with the staff, I was standing for about 2 hours. I thought that experience was never before. Sakaguchi: Not really much, that kind of air after the preview. Komatsu: That's right. At the end of the preview, there is a little embarrassment, everyone is like "Thank you" or "Thank you", but this time it is different. I was very happy to feel that everyone had the same feeling. Sakaguchi: That's really. ――If you express it in words, what was special for the two? Sakaguchi: I feel like "I was Fujii Gumi". Anyway, it will be the heat of the staff who came to this work 10 years of life expectancy. My role (Kazuto) is simple in the story. The key was to like Mari -chan for a long time, and how much affection I could have for Mari -chan. It seems to be simple, but it was very difficult to show the energy as the truth. I took this work over a year, so I was in another work during the time when the shooting was vacant. Still, I thought about Mari -chan and the work somewhere in my heart. On the other hand, because of that time, I was able to take a step back and think that I was not too struggled. I didn't keep a distance from Kazuto, but because of that time, I was able to play the resulting result. ――There was time, and how to snuggle up to roles and how to come to the role was a bit different from usual. Sakaguchi: When I'm being chased by various things, I have to be honest when I have to say the lines before thinking. However, it was very good to use this long period and put about Kazuto and Mari in my head. ――It's the first time with Director Fujii, what was the exchange? Sakaguchi: It was very strange, but Kazuto was like me and Fujii's "common friend." Komatsu: Hey! Sakaguchi: I often talk to Kazuto with the two directors and the two directors. There was almost no production, but instead I took various patterns. "Some Japanese people will have such emotions, and some of them will have this emotion." I remember turning the camera. For example, after talking to Gen -san at a yakitori restaurant (the owner of Kazuto's part -time job, played by Lily Frankie), the scene of running to Mari -chan actually took various ways to vomit. The last expression of the last Japanese man is also taking 3-4 patterns. The director told me, "I think I will choose the best place at that time," and I thought it should be. Because emotions are not one color. I was doing the work of taking various emotions that can be organized in myself and matching the gears in the best way there. "Life expectancy 10 years" is "a proof of living" and "a work that changes big things" - Komatsu -san and Sakaguchi -san have always been eagerly listening to "Yeah, yeah". Once again, is your thoughts on the work? Komatsu: Really, that's right. When I got an offer ... it was already different from the eyes of the director talking. That's why I couldn't say "I'll do it" easily, and it was a very prepared work. After entering the shooting, I told the director, "Let's stop exaggerated production." There is realism, and it is not exaggerated. I was really talking in the work, "Let's burn out to the end without compromise." That's why when she played Mari, she had to take care of 1 minute and 1 second. I couldn't do work -like emotions, and I thought Mari's feelings would not reach in the lying emotions. I did the play over and over again, but I always wanted to be fresh. Sakaguchi: I think it would have been very difficult because I was watching Nana -chan nearby. Kazuto really knows about the illness at the end, but Mari -chan has to keep silent to Kazuto, and Nana -chan has lost her weight ... It was really hard for a year. Komatsu: I was losing weight for the role, so there were times when my feelings and physical strength did not catch up and emotions did not come out. But I want to play so that there is absolutely no lie until I get in my feelings. … I thought too much about the work and roles, and seemed to be unconsciously biting my back teeth, and one in the work was missing (bitter smile). "Director Fujii has won the Japan Academy Awards, what if this work can be lost?" I was thinking about that, and I was overwhelmingly applied to myself. ――I think the “Life expectancy 10 years”, which was completed by pouring all of them, is a work that remains deep in the hearts of the audience. Komatsu: I was able to reconsider my life by living Mari. I was once again aware of the importance of communication with people and the importance of meeting people. If you think it's a limited life, you'll be able to take it positively, "Let's try anything." Sakaguchi: Yeah. Looking at the first issue, I felt, "It's a story that lives very well." How to survive the life expectancy rather than going towards death and going towards the remaining lights of life expectancy. So, rather than being pessimistic, I felt that Mari who survived properly was there, so I felt that it was one of the works of living. Komatsu: That's right. At the age of 25 ( * at the time of the shooting), there was something that stabbed very deeply. For my actor's life, I felt a bit intuitive when it became a work that could make a big thing or a milestone. Of course, the works that have appeared are all affection, but the "Life expectancy 10 years" was a different stage, or it was fierce, so it seems that the way of affection was different. I am thinking. [Nana Komatsu] Stylist: Ayaka Endo Make -up: DAKUZAKU (TRON) Costume Credit: Shirt 22,000 yen Gentique / T -shirt 8,800 yen Stage / Pants 39,600 yen Toga Pullra / Boots 28,600 yen Senno -earrings 57,000 yen Charlotte Sene / Ring (Gold) 30,800 yen Forvillem / (Silver / 2 pieces) 41,800 yen Brancillis / Ring [Left small finger] 30,800 yen Forvillem
Cinema Cafe TEXT: Kyoko Akayama / Photo: Maho Korogi