書いたのに全部消えた…何故。I’ve been trying to post this twice but just disappeared for some reason…
but anyways. it was amazing trip to Yugawara. Japanese traditional hotel, nice private outside bath, and pretty flowers. after quite my job, I had a vacation for a month and this trip was perfect to finish my break. now, it’s time to start new adventure and I’m so excited!

(W-wait up― who’s hiding here!?
There’s a demon here―
If you look, your eyes will collapse and burn in the flames of hell―!!)

The Izu peninsula is a treasury of hot springs―.
In any case, there are springs welling up all over the place.
As for famous locations, there are Atami and Yugawara, and Nagaoka and Shimoda.
Of course in Numazu, and even here in Uchiura― there are a lot of bath houses.
Aqours’ very own Chika’s house is one too.
So we’re pretty familiar with hot springs. And that is why―.
Today, we go to the seaside hot springs to relieve our exhaustion from our daily practice♪
Since Izu is surrounded by ocean―.
There are places where springs well up right next to the coast♡
It’s so liberating―!!
―or, I wish I could feel that way.
But in the end I’m a little nervous.
Of course the men’s bath and women’s bath are separate.
But, just separated by a big rock, the opposite side is― comparatively.
Rather, it’s fairly open.
Hey― Mari― aren’t you nervous?
Shouldn’t we go a little higher?
I know you said it’s okay not to be nervous.
Maybe it’s okay for you because you’re confident in your body.
But I’m a little―.
You could say I have problems in multiple senses of the word―.
It just bothers me to be looked at!!
And, the fact that there’s so much left over of this bath towel.
Wait― what!?
What’s that sound!?!?
There was some kind of rustling noise from the cover over there―.
Don’t tell me― a peep― ing― no, there’s no way, right!?
Hey―!! Hold on―!! I don’t know if you’re a cat or a seagull―.
But the great demon Yohane is over here!
If you look over here, and see my original demonic form―
You’ll suffer a divine punishment― no, you’ll receive a demonic curse and your eyes will collapse in, so prepare yourself― hey!!
Get out right now!!


“When a director works with a scriptwriter they must have some habits in common. Otherwise they wouldn’t get along at all. With Noda and me, we see alike about staying up late and drinking, and things like that. That is the most important thing.” — Yasujiro Ozu on Kogo Noda

Lifelong friends and collaborators, Ozu wrote more than half of his films with Noda, including every picture from Late Spring in 1949 to his final film, An Autumn Afternoon, in 1962. Donald Richie detailed their working relationship in his book on Ozu:

Their method of work was always the same: to go someplace and stay up late drinking until the ideas began to come. Noda later remembered the various places they worked: “We used to sometimes work in a bar named Fledermaus in Nishi-Ginza, or we’d go down to an inn called Nakanishi in Yugawara. We locked ourselves in an inn in Chigasaki and wrote Late Spring.” Later Ozu bought a mountain house in Tateshina, and there they wrote all the films from Early Spring on. According to Noda:

One scenario usually took us from three to four months, that is, if we weren’t adapting something [as they did in the case of The Munekata Sisters, Floating Weeds, and others] but were working from scratch. That’s how long Tokyo Story took. We did it at this inn in Chigasaki. It was more a boarding house [yadoya] than an inn [ryokan]. We had this eight-tatami room which looked out on the east and south to a long garden and had good sunshine. The buds came out, then the flowers, then the fruit, and we still weren’t finished. Whenever we went for a walk we’d do the shopping. Ozu used to buy meat and make hamburgers. And we drank a lot, too. By the time we’d finish a script we’d sometimes have over a hundred big empty sake bottles—though our guests would help drink them up, too. Ozu used to number all the bottles. Then he’d count them and say: “Here we are up to number eighty already and we haven’t finished the script yet.”

There is a note of triumph in the diary at the conclusion of Tokyo Story: “Finished. 103 days; 43 bottles of sake.” Ozu not only drank more than perhaps any other major film director, he saw in this habit a source of his artistic strength. Usually Ozu’s comments in the diary that he and Noda (and anyone else who happened to be there) kept were confined to poetical remarks about the weather (in the most arcane of kanji) and an accounting of how much of which kind of alcohol he had drunk that day (he preferred scotch, but he also drank sake and relatively inexpensive Japanese whiskeys). In an entry of July 7, 1959, however, written in elegant imitation of classical forms, he observed, “If the number of cups you drink be small, there can be no masterpiece; the masterpiece arises from the number of brimming cups you quaff.” He descends from these heights in the following line: “It’s no coincidence that this film [Floating Weeds] is a masterpiece—just look in the kitchen at the row of empty bottles.”