Director Toshio Tsuboi is in charge of the TBS Sunday drama "Reboot" (Sundays at 9 PM), starring actor Ryohei Suzuki. Ahead of the final episode airing on March 29th, we asked him to talk about his experiences filming with the cast and the highlights of the final episode.
◇"This is the first time I've experienced this kind of speed" - Working in sync with Ryohei Suzuki on set
--Director Tsuboi, you have directed works in various genres so far. Was there anything in particular that you kept in mind when directing this film?
I haven't had much experience with suspense stories like this one, where the plot unfolds at an incredibly fast pace in each episode, so I was very conscious of that sense of speed and tempo.
Ryohei Suzuki had also planned his acting to be a little faster than usual, in terms of the tempo of his acting and the speed at which he delivered his lines, so I think we were able to start with a shared understanding from the beginning.
--This series is set in the underworld and features frequent depictions of violence. Given that it airs on Sunday nights at 9 PM, what kind of portrayal did you keep in mind?
From a visual standpoint, I wanted to avoid overly direct depictions, so I used techniques that actually increased the sense of horror by omitting them. For example, I left room for viewers to imagine what might be happening in the back of the room.
While the scenes involving the underworld may have a somewhat darker tone, this film also has family love as a theme, so I made a conscious effort to avoid creating an overall cold atmosphere.
◇What are your impressions of Ryohei Suzuki, Kenichi Matsuyama, and Erika Toda?
--Could you tell us about your impressions of the lead actor, Ryohei Suzuki, after experiencing the filming process?
This was the first time I've worked with Ryohei-san on a TV series as the lead actor, and I was reminded once again of how dedicated and disciplined he is, both during the preparation period and on set. I really respect how much he loves acting and how single-mindedly he studies it; it's a wonderful quality.
His attitude and the high level of his acting skills make him the perfect fit for challenging works like "Reboot," which incorporate new filming techniques. I was once again convinced that he is the actor who should be at the very heart of such a project.
--What are your thoughts on Kenichi Matsuyama, who played Riku Hayase before the reboot?
This was also the first time I'd had the opportunity to direct a scene with Mr. Matsuyama. In the scene with Hayase's son, Takumi (played by Ko Yazaki), he said it was his first time filming a scene where he interacts with his son as a father, but he really took to heart how hard Yazaki-kun worked as Takumi, and I think the result was a very moving performance.
Including the depth of his love for his family, Mr. Matsuyama created the fundamental character of Hayase, so although he's the unsung hero, in a sense, I felt that this was truly Mr. Matsuyama's work.
--What were your impressions of Erika Toda, who, like Ms. Suzuki, played two roles, portraying Ichika Kogo before and after the reboot?
Ichika's role involved a lot of explaining situations and persuading people, so I thought it would be quite challenging with all the long lines. However, during the script reading before filming began, I was really impressed by the strength of Toda's words and her persuasive power—it was so powerful that I thought, "If she said it like that, Hayase would believe it too."
On set, that power was amplified even further, and when it was incorporated into the acting, it became even more powerful, so I thought he was a truly wonderful actor.
◇The charm of Ren Nagase and Ryoka Fujisawa
--Please also tell us your impression of Ren Nagase, who played the role of Fuyuhashi Wataru, the executor of the underground organization.
I got the impression that Nagase-san was so completely immersed in the role that I thought no one else could play Fuyuhashi. When I thought about why that was, I realized it wasn't just the charming side of Nagase-san, but also the way he suddenly becomes a friendly older brother speaking in Kansai dialect, and that original character of his also links to the way Fuyuhashi acts in front of the young people who take refuge at "Shelter" (the NPO where Fuyuhashi and others work).
I'm not sure if "perfectly cast" is the right word, but that's certainly how I felt.
--What impression did you get of Ryoka Fujisawa, who plays Naoto Kiriya, Fuyuhashi's buddy?
During the funeral scene for Natsumi (Sayaka Yamaguchi) in the first episode, Ms. Fujisawa came to the set before filming began, saying she was there "to study," and I was very impressed by how she intently watched the filming and studied.
During breaks in filming, he actively communicated with Ryohei-san and Nagase-san, and he blended into the set so naturally that you'd think it was his first time doing a TV drama series.
◇What are the key points to watch out for in the final episode?
--This film features a variety of quirky characters. Were there any characters that you found particularly interesting when you were directing them?
This time, there were a lot of strong characters, both on the surface and in the underworld, so it was really fun to film. For example, we worked with Mr. Kitamura to create a character like Goroku (Wataru, played by Yukiya Kitamura), who is usually polite and friendly, but who casually says scary things behind the scenes.
In the scene where the executives of the underworld gather, they were all chatting amicably just moments before, but when Goroku switches into his underworld mode, everyone suddenly switches gears. Mr. Kitamura did an excellent job of controlling that kind of dynamic.
--Finally, as this series is coming to an end, could you tell us what points you would like viewers to pay attention to?
The remaining mysteries and plot points that have left you feeling unsettled actually contain hidden feelings and loves of each character, and I think all of that will be revealed in the final episode.
And there's a really big surprise at the very end, so please watch until the very end.
