The TV anime " Hana-Kimi, " based on the popular shojo manga by the late Hisaya Nakajo , is currently airing on TOKYO MX and other channels every Sunday at 9:30 PM. The original manga was serialized in " Hana to Yume " (Hakusensha) from 1996 to 2004 and was also adapted into a live-action drama. It's a school comedy about Mizuki Ashiya , a girl who disguises herself as a boy and transfers to an all-boys boarding school in order to meet her crush, Izumi Sano , and tries to live her school life without revealing her true identity. This is the first time the manga has been adapted into an anime. We asked Kikunosuke Toya , who plays Aya Yamane Mizuki Ashiya , Taku Yashiro, who plays Izumi Sano Totani, who plays Shuichi Nakatsu, Yuichiro Umehara, who plays Minami Nanba, and Jun Fukuyama, who plays Hokuto Umeda, to talk about their thoughts on the work and each other's appeal.
◇The enduring energy of the work "HanaKimi"
--The original work is a masterpiece that continues to be loved even more than 20 years after the end of its serialization. What do you find appealing about it?
Since a considerable amount of time has passed since Yamane's original work was completed, the story features some unexpected events that are rarely seen in the Reiwa era. Moreover, the premise of a girl transferring from overseas to an all-boys school in Japan to chase after the boy she admires is itself quite unusual in this day and age. I think it's precisely because there weren't many works with such a bold premise at the time that it became a groundbreaking work.
--The main character, Mizuki, is quite energetic.
Mizuki Yamane possesses all the natural qualities of brightness, energy, power, and bravery, and she inspires Sano, Nakatsu, and the other members around her, driving their own stories forward and moving their hearts. I feel like this kind of dynamic is rarely seen these days. In the Reiwa era, I think there are many moments when we become defensive, moments when we cross a bridge cautiously, but when I look at Mizuki, I think that maybe it's okay for me to take the helm of my own life and move it forward powerfully like that.
Yashiro-san , this is a really fun project to do the voice-over for. I felt that it was meaningful to be animated for the first time in this era. Even after recording started, I've come to realize that there are so many things to enjoy about this project, from the energy it has to the humor of the words.
Mr. Totani, I also think the premise of Mizuki disguising herself as a boy and entering an all-boys school is hilarious, and I thought it was a really great idea. There's the excitement of romance, but also the suspense of "Will she get found out?", and it's a story that makes you want to cheer Mizuki on! However, I was wondering if Mizuki will ultimately have to get found out in order to be with Sano, and I thought the story was really interesting because it made good use of the premise.
Umehara-san, of course, romance is at the heart of the story, but more than that, you can learn about life skills from how the protagonist, Mizuki, interacts with the unique characters. If you live your life as straightforwardly and wholeheartedly as Mizuki, people will naturally follow you. I think the protagonist's human charm is what drives the story.
When Fukuyama-san's series began 30 years ago, I was actually a teenager, and it was around the time I was just starting to realize how interesting shojo manga can be. I was still at the entrance to the fun of romantic comedies in shojo manga, blushing and fidgeting, so I hadn't yet reached "Hanazakari". Now, with the anime adaptation, revisiting the work, going into the recording, and experiencing the story, it's just so much fun. I can't stop grinning. There's a certain enjoyment that I can feel now, including the feelings I had when I was younger. During the recording of episodes 1 and 2, Yashiro-kun said something a little cheesy like, "Masterpieces really never fade, do they?"
Is that what you thought , Yashiro-san ? Well, then you should have said it, it's embarrassing (laughs).
Fukuyama: No, but I thought that was a great thing to say. It's certainly relevant to the times, but it's amazing that its appeal hasn't changed. The unexpected events and the straightforward portrayal of the romance in "Hanazakari" are things that I don't think could be depicted today. I think that's what makes this work so interesting, and I thought it was a very energetic piece.
◇The persuasive power of Mizuki, the "proactive monster": "I go to the set thinking of myself as a man."
--"Hana-Kimi" has been adapted into an anime, and with everyone's voices added, it feels like it's become even more appealing. Including the acting, what do you think are the charms of each character? First, please tell us about Mizuki, the character played by Yamane-san.
Regarding Mizuki Yashiro, I think Yamane herself possesses that kind of energy, but her personality of expressing what she thinks exactly as she thinks it is truly a force that moves people. The fact that she can express that through acting means that she must have that kind of quality somewhere within her, I think. I think that's a really wonderful thing.
I'm so happy, Yamane-san .
Umehara-san , like Yashiro-kun said, I think Yamane-san's natural friendliness fits the role perfectly. Mizuki is quite a difficult role; outwardly she has to be perceived as a man, but if she overdoes it, it becomes strange. She plays it within a natural range, so I have the impression that she's doing something incredibly difficult with ease. I think there must be something that only Yamane-san can do.
I think Mr. Totani and Mr. Yamane are actors who really put weight into their words. I think Mizuki's cool scenes are incredibly difficult to act out, but there are many moments where I feel that their words are truly persuasive, strong, and straightforward. Mizuki has the most lines, but they express every single one of them perfectly. They are also very thorough in preparing for recordings, and I really respect them. Also, Mr. Yamane has an incredible love for the work. He knows everything about "Hanazakari".
I'm starting to feel embarrassed, Yamane-san ...
-- How do you feel about it, Mr. Fukuyama?
Fukuyama- san, Mizuki is a monster of action, isn't she? Nowadays, we have mobile phones and other communication tools, so it feels like we can connect with anyone, but in the days before that, people couldn't connect with each other unless there were people with initiative. So, when Mizuki came to Sakurazaki Academy, people who weren't connected before started to connect. I think that kind of initiative can only be achieved by overcoming fear, and Yamane-san herself must have been in a scary situation, wondering how she would play the heroine in a set full of guys, but she's throwing herself into it wholeheartedly. Even with a single line, she doesn't try to please anyone. Even in the studio, Yamane-san isn't passive, but takes the initiative to get involved, including me, and speaks from each person's perspective. I think the reason we've created a group of friends who can all talk on the same level is because Yamane-san is aware that she's at the center and takes the initiative to act.
Yashiro-san is really paying attention.
I'm so happy, Yamane-san . I feel like I've received a huge gift when everyone noticed and put into words things that I'm concerned about and trying to do my best at, even though I can't put them into words myself.
--What is your own mindset when you approach your work, Ms. Yamane?
Yamane-san , I didn't want Mizuki to be the kind of character that would make people feel jealous, think "I don't like her," "I'm jealous," or "She's annoying." I wanted her to be the kind of girl that people would think, "I wish I could be like her," so I decided not to try to please anyone and even went to the set thinking of myself as a man. It was a unique environment compared to other sets, so I thought the only way to prevent my nervousness from being picked up on the microphone was to become a man. That's why I absolutely refused to wear skirts or heels, starting with the outward appearance. I also thought it was important to talk to everyone on a level playing field, frankly, as a colleague, so I went to the set with that in mind. I'm glad that everyone was able to sense that.
To be continued in Interview (2).
