[Translation] SMAP Magazine: Cross Talk--Tsuyoshi and Kagawa Teruyuki
Cross Talk: Kusanagi Tsuyoshi and Kagawa Teruyuki
An Actor’s Way of Life
“An actor’s job is not to act.” “Acting is self satisfaction.”
These zen-like answers were shared between Kusanagi Tsuyoshi and Kagawa Teruyuki. It has been six years since they have acted together in the movie “Hotel Venice.” This is the first time since then that they have sat down to talk. Even if the paths they have taken were different, the path they walked as actors were the same.
Their reunion after six years consists solely of conversations about acting.
We have Kagawa Teruyuki who debuted in a Taiga drama (NHK’s historical drama) and Kusanagi Tsuyoshi who started his career as an idol. They met while filming the movie “Hotel Venice” where all the dialogues were in Korean. At that time, Kusanagi-san was also filming two other dramas-“Boku no Ikiru Michi” and “Taikoki-The Man They Call Monkey.” Kagawa-san was also working on two other projects-the movie “Quill,” and an NHK morning drama.
The two met again in the waiting room for the first time in years. Using both hands they engaged in a firm handshake, after that they started talking. They were so engrossed in the conversation it was as if the six years have not passed at all. And acting was the only thing they kept talking about. “How was that drama?” “What kind of person is that director?” Their conversation was all about the staffs, the casts, the filming environment, and ways of getting into a role. It wasn’t just reporting about what they have been up to. By talking about their mutual hobby-acting-conversation just kept flowing. That was the atmosphere in the room. The two of them, who have gotten close, never acted like they were talking for the sake of the cross talk. We think that even in private they will probably still talk about the same things. This is how we get to hear them talk so naturally about acting.
Kagawa Teruyuki (K): “Hotel Venice” was the first project we did together. I think Kusanagi-san is the first member from SMAP that I have worked with. What left an impression on me at the filming site was how you have this quiet energy in you that you didn’t let out.
Kusanagi Tsuyoshi (T): I was so happy that I got to work with Kagawa-san. Even before I have met you I have seen your works and thought, “This person loves acting.” Since I also love acting, I just went ahead and identified that as what we have in common.
K: I got the same vibe from Kusanagi-san. At the end of the movie there was a scene where the police poured in. There Kusanagi-san threw himself in front of the police to try to stop them, “Stop!” You did not have to go all that length to act out that scene, causing your body all sorts of pain, but you did. It was OK even if you did not fall down that way, but you did. But I think that’s your approach to acting. Seeing you giving your all, the staffs and the casts were all motivated to do better.
T: Yes that kind of thing happens. I think it’s important to overcome that pain, even though the pain might not be necessary in the first place, and be able to inspire others through that.
K: For example, if someone offered me a role, I will definitely perform in a way that can’t be repeated by other actors. Sometimes the script says, “fall off from a chair.” Really in that case you can fall off from the chair any way you want. During the rehearsal I would just do a normal fall, falling down on my side. But I would want to see the cameraman’s facial expression when all of a sudden I fall over on my back for the actual filming. Even though I know it would hurt if I fall over on my back, but if I do that, from the next take on all the staffs will all be motivated and will all get on my ship.
T: Yes that is really true. In the beginning even when everyone has not yet been impressed by my acting, doing an action like that can change the whole atmosphere immediately. I always put it upon myself to be responsible for that. I want the staffs and casts to get on the flow with me. Kagawa-san has quite a strong attracting power that draws people to him. You are one of those actors where we know we will get a lot of stimulations from working with you.
K: Not at all, thank you so much.
Learned from experienced actors-how to get into the emotions of the roles
T: Even now I still check out Kagawa-san’s works such as “Golden Slumber” and “Kisaragi.”
K: Then you saw me wearing that headband (laugh).
T: Yes, the headband. Normally you would think that’s a little bit over the top, but with Kagawa-san I did not think that way. You are truly awesome.
K: Lately I have been trying to make some time for the “non-acting” part of my acting. For example, if there is a line that really links to what I really want to express as someone living in the year 2010, when I recite that line I definitely will not act. Instead I utilize things like headband or eye patch to show the realness of the situation. This is something that took me years to finally understand.
T: The gap between your appearance and your emotion.
K: Right. With the lines being the intention and motive of the plot outside of acting, your appearance becomes the shape of what you want to express. If you see something and you don’t think it is a bit over the top, that’s probably because we really were cutting our skins and bleeding.
T: Amazing. Truly an actor…
K: What I am doing now was learned from acting with Yamazaki Tsutomu and Matsuda Yuusaku. One time I acted with Watanabe Ken in the movie “Kita no Reinen.” Before filming a crying scene Watanabe-san kept smiling and laughing. He didn’t try to get everyone into the mood of the scene, but when filming started he just cried instantly. It was a new way of acting for me, when I cautiously tried that approach, surprisingly it worked nicely.
T: The reverse switch.
K: Yep. I think laughing and crying are probably connected like a Mobius strip. Watching Watanabe Ken at a filming site I learned some hints about expressing emotions.
T: Indeed there are ways to express and produce emotions. I have learned something as well from this talk.
Their conclusion is: instead of calculating hold on to a day’s happiness?
K: I want to say something completely opposite: lately I like to tell myself “It’s fine to not be able to do it!” It’s the feeling of, although I can’t do it, it’s my life and I’m running with it!
T: (laughs). Because acting is a form of self-satisfaction too. It is not something evaluated by ourselves, in the end our acting is evaluated by people who watch our works. Sometimes we felt like we did not act satisfactorily, yet others praised us by saying “Such natural acting!”
K: You’re right! Even when actors analyze and understand their parts to the tiniest details, surprisingly audiences don’t really look into all that details. I want to do my work with a grateful heart that thinks, “Once again, today has ended nicely!”
T: Before, Kagawa-san said on a TV show, “To not act is to act.” This has left a big impression on me. Even though I understand what you meant, it is hard to put it in practice.
K: It is quite difficult.
T: Should we call that “non-being.” But this state of being occasionally happens. When thinking about nothing and having no desire, I become my role. Somehow without me knowing, I AM the role.
K: I feel the same. It is such a rare moment. When you have the desire of wanting to act well, you’re already no good. It is difficult to achieve that state of being.
T: And it is not like once we enter our role we will stay in it. Filming drama is hard because we don’t film in the same sequence of the story line. Doing a stage play is also challenging because you have to maintain the same mental strength to perform everyday. You have good days and bad days. Well that is also why acting is so much fun. Really, both ways are the right way.
K: It doesn’t matter if it is a good day or bad day, just the fact that this day exists should warrant us to end the day with a grateful heart. It is actually very important. Speaking of which, you are doing a stage play soon right? Do you like doing stage plays?
T: Yes. I have always had a lot of fun doing stage plays, I like them. Of course right before I go on stage I am terrified. I always dream that I blank out on all of my lines.
K: I feel you. I had the same kind of dream, but with musicals. I have never done any musicals in my life, but in my dream it was the second showing (laugh)! The first performance was starting in 2 hours, and everyone was checking their dance steps. In my case I had not danced one bit, and I could not memorize any lines.
T: In my dream, nothing was prepared and they pushed me onto the stage saying, “just do it ad-lib.”
K: Kusanagi-san does concerts too, so you have more guts than most of us. But when you think about it, isn’t the stage scary? When you get handed a 100 page script, you don’t know how much you will be able to memorize. That’s why I hate the time before the play starts. I just cannot calm down.
T: I actually like those moments. It is quite unbelievable, when I put on the make-up I get excited. It feels good.
K: For stage plays, even before you step onto the stage your fate is decided. On days where I feel strangely calm, after I go on stage I just could not perform well.
T: But those kind of strangely calm days happen and we can’t really do anything about them.
They want the young ones to continue on: an actor's way of life
T: The setting of my next play is on the K2 mountain range, in your movie “Tsurugidake” you also had to hike up a mountain right?
K: Yes. When we filmed at the location there, we had to hike for 6 hours everyday with all of our things and equipments. In the end, I only hiked with 2 pairs of underpants to change into. Because paper is the heaviest, I did not even bring my script with me. I only hiked with the things I needed for survival. (laugh)
T: But if you didn’t hike up there, you couldn’t really film.
K: It is because our director was very strict. But I have been thinking lately, at my age I really should start teaching and being a role model for the next generation. Even when it was cold I still said things like “I don’t need any heat packs!” Doing that in front of the young ones, I want them to feel a positive influence.
T: I see.
K: Lately with the new advanced technologies, there has been more and more filming done with a green background (for computer graphics). I think it is hard to act in this environment since one does not actually physically experience the setting and actions. In order to arrive at the “non-being” state, we have to experience the actual physical pain of getting slapped, for example.
T: I agree. I should probably start setting an example for the next generation of actors too. You got me thinking here.
K: I want to act with you again.
T: Me too. Whether it be a movie or a stage play, let’s act together again.
The blurb next to the pictures:
K: When I filmed the movie “Tsurugidake,” the hiking guide told us, “When you hike everyday, one day your body will become the mountain.” I actually experienced that. After two straight weeks of hiking I became the mountain.
T: Wow! I should carry the same heart for my stage play! Become the mountain!”
Kusanagi-san asked Kagawa-san of this hiking experience to prepare for his stage play “K2.” He was shocked by Kagawa’s episode of hiking the mountain carrying only two pair of underpants and not even his scripts towards the end of the filming.
An Actor’s Way of Life
“An actor’s job is not to act.” “Acting is self satisfaction.”
These zen-like answers were shared between Kusanagi Tsuyoshi and Kagawa Teruyuki. It has been six years since they have acted together in the movie “Hotel Venice.” This is the first time since then that they have sat down to talk. Even if the paths they have taken were different, the path they walked as actors were the same.
Their reunion after six years consists solely of conversations about acting.
We have Kagawa Teruyuki who debuted in a Taiga drama (NHK’s historical drama) and Kusanagi Tsuyoshi who started his career as an idol. They met while filming the movie “Hotel Venice” where all the dialogues were in Korean. At that time, Kusanagi-san was also filming two other dramas-“Boku no Ikiru Michi” and “Taikoki-The Man They Call Monkey.” Kagawa-san was also working on two other projects-the movie “Quill,” and an NHK morning drama.
The two met again in the waiting room for the first time in years. Using both hands they engaged in a firm handshake, after that they started talking. They were so engrossed in the conversation it was as if the six years have not passed at all. And acting was the only thing they kept talking about. “How was that drama?” “What kind of person is that director?” Their conversation was all about the staffs, the casts, the filming environment, and ways of getting into a role. It wasn’t just reporting about what they have been up to. By talking about their mutual hobby-acting-conversation just kept flowing. That was the atmosphere in the room. The two of them, who have gotten close, never acted like they were talking for the sake of the cross talk. We think that even in private they will probably still talk about the same things. This is how we get to hear them talk so naturally about acting.
Kagawa Teruyuki (K): “Hotel Venice” was the first project we did together. I think Kusanagi-san is the first member from SMAP that I have worked with. What left an impression on me at the filming site was how you have this quiet energy in you that you didn’t let out.
Kusanagi Tsuyoshi (T): I was so happy that I got to work with Kagawa-san. Even before I have met you I have seen your works and thought, “This person loves acting.” Since I also love acting, I just went ahead and identified that as what we have in common.
K: I got the same vibe from Kusanagi-san. At the end of the movie there was a scene where the police poured in. There Kusanagi-san threw himself in front of the police to try to stop them, “Stop!” You did not have to go all that length to act out that scene, causing your body all sorts of pain, but you did. It was OK even if you did not fall down that way, but you did. But I think that’s your approach to acting. Seeing you giving your all, the staffs and the casts were all motivated to do better.
T: Yes that kind of thing happens. I think it’s important to overcome that pain, even though the pain might not be necessary in the first place, and be able to inspire others through that.
K: For example, if someone offered me a role, I will definitely perform in a way that can’t be repeated by other actors. Sometimes the script says, “fall off from a chair.” Really in that case you can fall off from the chair any way you want. During the rehearsal I would just do a normal fall, falling down on my side. But I would want to see the cameraman’s facial expression when all of a sudden I fall over on my back for the actual filming. Even though I know it would hurt if I fall over on my back, but if I do that, from the next take on all the staffs will all be motivated and will all get on my ship.
T: Yes that is really true. In the beginning even when everyone has not yet been impressed by my acting, doing an action like that can change the whole atmosphere immediately. I always put it upon myself to be responsible for that. I want the staffs and casts to get on the flow with me. Kagawa-san has quite a strong attracting power that draws people to him. You are one of those actors where we know we will get a lot of stimulations from working with you.
K: Not at all, thank you so much.
Learned from experienced actors-how to get into the emotions of the roles
T: Even now I still check out Kagawa-san’s works such as “Golden Slumber” and “Kisaragi.”
K: Then you saw me wearing that headband (laugh).
T: Yes, the headband. Normally you would think that’s a little bit over the top, but with Kagawa-san I did not think that way. You are truly awesome.
K: Lately I have been trying to make some time for the “non-acting” part of my acting. For example, if there is a line that really links to what I really want to express as someone living in the year 2010, when I recite that line I definitely will not act. Instead I utilize things like headband or eye patch to show the realness of the situation. This is something that took me years to finally understand.
T: The gap between your appearance and your emotion.
K: Right. With the lines being the intention and motive of the plot outside of acting, your appearance becomes the shape of what you want to express. If you see something and you don’t think it is a bit over the top, that’s probably because we really were cutting our skins and bleeding.
T: Amazing. Truly an actor…
K: What I am doing now was learned from acting with Yamazaki Tsutomu and Matsuda Yuusaku. One time I acted with Watanabe Ken in the movie “Kita no Reinen.” Before filming a crying scene Watanabe-san kept smiling and laughing. He didn’t try to get everyone into the mood of the scene, but when filming started he just cried instantly. It was a new way of acting for me, when I cautiously tried that approach, surprisingly it worked nicely.
T: The reverse switch.
K: Yep. I think laughing and crying are probably connected like a Mobius strip. Watching Watanabe Ken at a filming site I learned some hints about expressing emotions.
T: Indeed there are ways to express and produce emotions. I have learned something as well from this talk.
Their conclusion is: instead of calculating hold on to a day’s happiness?
K: I want to say something completely opposite: lately I like to tell myself “It’s fine to not be able to do it!” It’s the feeling of, although I can’t do it, it’s my life and I’m running with it!
T: (laughs). Because acting is a form of self-satisfaction too. It is not something evaluated by ourselves, in the end our acting is evaluated by people who watch our works. Sometimes we felt like we did not act satisfactorily, yet others praised us by saying “Such natural acting!”
K: You’re right! Even when actors analyze and understand their parts to the tiniest details, surprisingly audiences don’t really look into all that details. I want to do my work with a grateful heart that thinks, “Once again, today has ended nicely!”
T: Before, Kagawa-san said on a TV show, “To not act is to act.” This has left a big impression on me. Even though I understand what you meant, it is hard to put it in practice.
K: It is quite difficult.
T: Should we call that “non-being.” But this state of being occasionally happens. When thinking about nothing and having no desire, I become my role. Somehow without me knowing, I AM the role.
K: I feel the same. It is such a rare moment. When you have the desire of wanting to act well, you’re already no good. It is difficult to achieve that state of being.
T: And it is not like once we enter our role we will stay in it. Filming drama is hard because we don’t film in the same sequence of the story line. Doing a stage play is also challenging because you have to maintain the same mental strength to perform everyday. You have good days and bad days. Well that is also why acting is so much fun. Really, both ways are the right way.
K: It doesn’t matter if it is a good day or bad day, just the fact that this day exists should warrant us to end the day with a grateful heart. It is actually very important. Speaking of which, you are doing a stage play soon right? Do you like doing stage plays?
T: Yes. I have always had a lot of fun doing stage plays, I like them. Of course right before I go on stage I am terrified. I always dream that I blank out on all of my lines.
K: I feel you. I had the same kind of dream, but with musicals. I have never done any musicals in my life, but in my dream it was the second showing (laugh)! The first performance was starting in 2 hours, and everyone was checking their dance steps. In my case I had not danced one bit, and I could not memorize any lines.
T: In my dream, nothing was prepared and they pushed me onto the stage saying, “just do it ad-lib.”
K: Kusanagi-san does concerts too, so you have more guts than most of us. But when you think about it, isn’t the stage scary? When you get handed a 100 page script, you don’t know how much you will be able to memorize. That’s why I hate the time before the play starts. I just cannot calm down.
T: I actually like those moments. It is quite unbelievable, when I put on the make-up I get excited. It feels good.
K: For stage plays, even before you step onto the stage your fate is decided. On days where I feel strangely calm, after I go on stage I just could not perform well.
T: But those kind of strangely calm days happen and we can’t really do anything about them.
They want the young ones to continue on: an actor's way of life
T: The setting of my next play is on the K2 mountain range, in your movie “Tsurugidake” you also had to hike up a mountain right?
K: Yes. When we filmed at the location there, we had to hike for 6 hours everyday with all of our things and equipments. In the end, I only hiked with 2 pairs of underpants to change into. Because paper is the heaviest, I did not even bring my script with me. I only hiked with the things I needed for survival. (laugh)
T: But if you didn’t hike up there, you couldn’t really film.
K: It is because our director was very strict. But I have been thinking lately, at my age I really should start teaching and being a role model for the next generation. Even when it was cold I still said things like “I don’t need any heat packs!” Doing that in front of the young ones, I want them to feel a positive influence.
T: I see.
K: Lately with the new advanced technologies, there has been more and more filming done with a green background (for computer graphics). I think it is hard to act in this environment since one does not actually physically experience the setting and actions. In order to arrive at the “non-being” state, we have to experience the actual physical pain of getting slapped, for example.
T: I agree. I should probably start setting an example for the next generation of actors too. You got me thinking here.
K: I want to act with you again.
T: Me too. Whether it be a movie or a stage play, let’s act together again.
The blurb next to the pictures:
K: When I filmed the movie “Tsurugidake,” the hiking guide told us, “When you hike everyday, one day your body will become the mountain.” I actually experienced that. After two straight weeks of hiking I became the mountain.
T: Wow! I should carry the same heart for my stage play! Become the mountain!”
Kusanagi-san asked Kagawa-san of this hiking experience to prepare for his stage play “K2.” He was shocked by Kagawa’s episode of hiking the mountain carrying only two pair of underpants and not even his scripts towards the end of the filming.