matsuhara

Only translating Nakamura parts. 1 question per post. NOTE: May contain mistranslation. Read at your own risk. I like to translate close to Japanese meaning so the sentence structure might be weird.

Da Vinci 2017 November issue Nakamura Yuuichi, Fukuyama Jun and Irino Miyu interview part 2

Interviewer: I

Nakamura: Y

Fukuyama: J

Irino: M

I: Compared to the first season, how’s the atmosphere at the recording studio?

M: There’s no difference at all with the first season. Just that, this time we already had the foundation, so it was easier to get into character.

Y: At the start of the first season, we couldn’t see which direction we should go for the 6 of them.

J: For the recording sequence, the 2nd episode’s “Let’s Get a Job” and “The Melancholy of Osomatsu” was recorded first for the first season. From there, we listened to Sakurai (Takahiro)-san who voices Osomatsu, and rest of the 5 of us used that as base to think about our characters’ voices.

M: There was a discussion with sound director, Kikuta (Hiromi)-san, and director, Fujita (Yoichi)-san and others, to get the idea.

Y: Although we made our characters as we acted, but the major appearances here and there and when others take the lead, allowed us to go deeper.

M: I didn’t know which direction to go, especially for Todomatsu. For the 3 of us, Karamatsu and Ichimatsu had some characteristics from the start, but for Todomatsu, he was just a “cute youngest child”.

Y: He unexpectedly awakened in the 7th episode, “Todomatsu and the 5 Demons”.

M: From then, they started calling “Totty”. Sometimes, the “Dry Monster” side bulges out.

J: Actually for me too, until episode 5, “Esper Nyanko”, I didn’t really acted Ichimatsu that concretely. At first, he had the position with a weak existence, so I thought I shouldn’t do anything out of the ordinary. But after that episode, people who watched let me understood the character’s personality, that it should be fine even if I do some stuff, thus suddenly solidifying the character.

Y: Up until now, he went the most weird direction. Even worse than Jyushimatsu (LOL).

J: For me as well, before I read the script, I have no idea what he’ll do. I can’t believe he did that at Starbucks (LOL).

M: I absolutely don’t want to give up the lead (LOL), so there’s pressure built up, but it’s exciting. Our characters’ personality being more defined, that is probably what Matsuhara (Shu)-san, the series compositor’s story reflects gradually.

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Only translating Nakamura parts. 1 question per post. NOTE: May contain mistranslation. Read at your own risk. I like to translate close to Japanese meaning so the sentence structure might be weird.

Da Vinci 2017 November issue

Nakamura Yuuichi, Fukuyama Jun and Irino Miyu interview part 6

Interviewer: I
Nakamura: Y
Fukuyama: J
Irino: M


I: By the way, up till the recording, did you do any preparations?

M: I played the edited video a few days before, and watched that to confirm the timing and character’s expressions. After that, it’s all about the spontaneousness during the actual recording.

Y: Although it’s this way in many works, but it’s even more so in “Osomatsu-san”.

M: In comedies and plays, we practice many times. The reason why it feels like a competition where our energy explodes, it’s because in Anime we need to match the drawings, and also the speeches’ tempo and timing, using our minds to determine what to do in that moment. Director Fujita and Series Compositor Matsuhara-san, and the staff of “Osomatsu-san”, used their excellent sense to completely control these factors. We only contributed a little, in order to create this synergism of fun.