アナザーストーリーズ 2025年3月24日
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
Category
📺
TVTranscript
00:00Samurai Time Slipper won seven awards, including the best work award at the Japan Academy Awards the other day.
00:11Thank you very much.
00:13Thank you very much.
00:16The story is about a samurai in the end of the world who is time-slipping to a modern shooting location.
00:25Ready, start!
00:27Good night, Samurai.
00:29Don't worry, sir!
00:32I love you, Jesus!
00:34Thank you!
00:36The story is about a samurai who is time-slipping to a modern shooting location.
00:44The director is an amateur of time-slipping.
00:50And he made this film with a low budget.
00:57The film, which started with just one issue, became popular through SNS,
01:04and expanded to more than 300 issues.
01:07It became a long-run hit.
01:10I was drawn to the beauty of time-slipping.
01:14When I realized it, it was my 100th time.
01:17I've loved time-slipping since I was a kid,
01:20but I feel like I'm going to fall into it more and more.
01:23Ready, start!
01:26But at first, the professionals of time-slipping said,
01:32This is impossible.
01:34How much money do you have?
01:38Even the leading actor said,
01:41Is it really going to be completed?
01:43I heard rumors that the director sold his car while running.
01:48And in the film, there was a homage to a legendary actor.
01:57Ready, start!
01:58Samurai Time Slipper
02:01It's coming to the back of a historical opening.
02:18Samurai Time Slipper
02:22It was an unexpected counterattack.
02:30The turning point of fate was released on August 17, 2024.
02:36The film, Samurai Time Slipper, was released on that day.
02:43The time is the end of Kyoto.
02:47A samurai time-slipped to Aroko or a modern theater.
02:54He lives his second life as a kirare role, relying only on his trained sword skills.
03:02The first viewpoint is
03:06Director Junichi Yasuda
03:10While working as a rice farmer and a movie director,
03:14He took on the reckless challenge of making a period drama with pocket money.
03:21Another story approaching the back of Samurai Time Slipper production
03:30Toei Kyoto Film Studio, where the movie was shot.
03:35This place has a history of 100 years as a Uzumasa film studio.
03:42This is the place where Toei Kyoto Film Studio was shot.
03:49This angle is very good.
03:52It's fun, isn't it?
03:54I feel like I'm in a factory that makes the world of swords.
04:02Yasuda, who has no experience in commercial films and has been alone in a traditional studio.
04:11Why do you dare to stick to your own production?
04:16I don't have a reason.
04:18No one gives me money, so I just give it to myself.
04:21I spend about 500,000 yen at a time.
04:24When I came to Toei, I didn't have any money left.
04:31I felt like I was in hell.
04:36Yasuda went through this movie until he threw away the material.
04:48Yasuda's family is a rice farmer who has been going on for generations.
04:52He makes rice in a 1.5-hectare rice field that he inherited from his father.
05:01On the other hand, he has a lot of filming equipment in his warehouse.
05:08Since he was a student, he has been involved in video production such as events.
05:14However, when he turned 40, he felt insufficient.
05:20If I'm doing a movie, I'm going to do a good job with just the video.
05:25That's what I felt the most in the movie.
05:30Script, shooting, lighting, production, editing, distribution, etc.
05:37He played many roles by himself and sent two entertainment self-published films to the world.
05:45As an idea for the third film, Yasuda came up with a story about samurai time-slipping.
05:57There was a commercial where a very famous actor played a samurai who had time-slipped.
06:05I thought it was interesting.
06:09I thought it would be interesting if a samurai who had time-slipped tried to play the role of Kirara.
06:16I thought it would be really interesting.
06:18So I made a plot in about 30 minutes.
06:24Yasuda got a project proposal and went around the company looking for funding.
06:31It's because it costs a lot to make a time-slip.
06:35In recent years, there have been a lot of time-slips.
06:39It costs more than 100 million yen.
06:47There are companies that invest in it, but due to the coronavirus, the stock price has fallen.
06:53Everyone pulled out.
06:55In May 2022, when production was not progressing, Yasuda received a phone call.
07:10Yasuda was called by Morinobu Shindo, a producer at the Toei Kyoto studio.
07:20Shindo, who gave him the script, said he could meet Yasuda once.
07:30This is the first room.
07:33Yasuda came here and asked me to help him.
07:38First of all, it's a time-slip, right?
07:41He said he wanted to take a good shot, so I thought about what to do.
07:47It's been more than 40 years since he was assigned to the recording department at the studio.
07:52Shindo is a famous producer who has worked on many popular TV dramas.
08:00I don't know what I want to do.
08:03My face came out of my body.
08:07I feel like I'm going to do whatever he says.
08:13At this time, Shindo was gathering important costumes, art, katana, and wigs in his room.
08:27One of them is Dai Tsuji.
08:31He is a professional period drama actor who supported the previous century of TV period dramas as an art.
08:39I can feel his enthusiasm.
08:42But he's an amateur, so I don't know if he really understands or recognizes the difficulty.
08:52Mr. Tsujino, a person from the art department, said,
08:55If you want to make a period drama, you have to do your best.
08:59Because it costs a lot of money.
09:02But this book is interesting.
09:06He told me to do my best.
09:12The biggest problem is the budget.
09:16Shindo came up with a proposal to raise the set price cheaply.
09:23I don't usually shoot period dramas.
09:26In short, sweat and wigs are messy.
09:32It's really hard.
09:34But if it's there, it's open, so I'll do my best.
09:38Mr. Tokunaga and Mr. Shindo said,
09:40This is a self-published movie, and the set price is about this much.
09:44The set price was about one-third of what I thought it would be.
09:48When I calculated the total, it was about 25 million yen.
09:52I thought about what to do.
09:54I used up all my extra money.
09:57I took good care of it, but I sold the car.
10:00I thought, if I could get the subsidy, I could do something about it.
10:05With a budget of 25 million yen,
10:09In July, Yasuda started cranking in.
10:16The shooting began with a scene of standing around in an open set.
10:22The day was a fierce battle of over 30 degrees.
10:29I did it here, I did it there.
10:33It was the first day of shooting, and I didn't know anything about standing around.
10:39I filmed in eight places a day, and I stood around six times.
10:44I wanted everyone to breathe with their shoulders.
10:49I wanted everyone to breathe with their shoulders.
10:53I wanted everyone to breathe with their shoulders.
10:56It was really hot.
10:59I'm the kind of person who keeps shooting until I get what I want.
11:06It's like a re-do of the same line.
11:12I did it all over again.
11:17I did it over and over again.
11:20Sakura Yuno, who has served as the heroine of Yasuda's work.
11:27She played the role of a female director this time,
11:30but she didn't have enough people, and she even became a female director.
11:37Even on the day I appear, I have to work as a staff.
11:42I don't have a make-up artist, so I have to do my own make-up, hair, and blow-dry.
11:48I have to do it before the staff get ready.
11:52That was really hard for me.
11:58She was even hired by Sakura's mother, who has nothing to do with this industry.
12:06Her mother, Mari, was entrusted with a difficult task of managing 100 katanas.
12:15The maintenance of the katana, which was injured by the shield, was carried out by her parents every day.
12:24I carried two boxes of katanas by myself.
12:30I carried the katana by myself.
12:35If I were to shoot here, I thought it would be around here.
12:40But if I was interrupted, I had to go further.
12:44I had to go further and further.
12:47I had to take the katana and hand it over.
12:53But I didn't have enough people.
12:59I was really nervous about that.
13:04Everyone was looking at me like,
13:08I have to shoot this movie.
13:13Hello. Nice to meet you.
13:17The actor who played the main character, Shinzaemon Kosaka,
13:22is Makiya Yamaguchi.
13:25The location of this movie, which became the first main work, was a series of confusion.
13:32To be honest, the director has a lot of work.
13:35Camera, lighting, everything is done.
13:39The director spends the most time.
13:43But the director is focused on that, so he doesn't feel the time at all.
13:50Half of the script was left even after a period of promise to use the open set.
13:59It wasn't over until the end.
14:03I was really worried at that time.
14:08I really wanted to finish this.
14:13I was forced to refuse NHK's job.
14:17I couldn't make it in time.
14:20And the stage.
14:22But I really wanted to finish it.
14:26I heard rumors that the director sold the car.
14:31Why did that happen?
14:36What we do is not a big deal,
14:40but there are a lot of amateurs.
14:43Usually, there are three or four people.
14:47But this time, there were 10 people.
14:51It wasn't enough.
14:53But I thought it was the least I could do.
14:59I thought it was the least I could do.
15:04The shooting of Yasuda's group continues in the second half,
15:08despite the fact that he has produced two independent films so far.
15:13The artisans involved in the period drama were the ones who supported Yasuda,
15:17who was a complete outsider in the period drama.
15:22The second viewpoint is the staff who were in charge of the samurai time-slipper
15:26at the Toei Kyoto studio.
15:29The staff who were in charge of the samurai time-slipper
15:33at the Toei Kyoto studio.
15:38Uzumasa Kyoto, which produced many period dramas in the previous century.
15:44However, in recent years, the period dramas shot in Kyoto have undergone a decrease.
15:51Another story of the craftsmen who fight to keep the fire of the period drama.
15:58I'd like you to join me as my disciples.
16:03In the scene where the main character becomes a disciple of Tateshi,
16:07Kukyo, the director of the studio, says this.
16:11I wish I had a book on period dramas.
16:14But I can't eat anything.
16:16I can't eat anything.
16:19In the world of reality,
16:22the TV period drama, which lasted for 42 years in 2011,
16:26was decided to be discontinued.
16:31With this, the regular program of the period drama disappeared from the ground wave.
16:38I felt lonely and empty.
16:42I was doing my best, but it was gradually decreasing.
16:46There were many regular programs,
16:49such as Avalenboshon, Zenigata Heiji, Mitokomon, and Okai Shinsen,
16:54but they were all discontinued.
16:58In addition, in 2021 due to COVID-19,
17:03the number of articles about the existence of the studio is also declining.
17:08The number of people who belong to the studio is also decreasing.
17:13In reality, I felt that the spirit of the studio was disappearing.
17:22At that time, he was brought up to talk about self-study movies.
17:28I think I helped because I like this job.
17:31If I didn't like it, I would have helped.
17:35It's interesting to make something.
17:40And the workers of the period drama stood up.
17:49Kyoto, Uzumasa
17:54Many Chambara movies were produced before the war,
17:58and they were called the Hollywood of Japan.
18:02After the war in Toei,
18:05Chiezo Kataoka and Utaemon Ichikawa became stars
18:10and welcomed the golden age.
18:15When the main character of Goraku was shown on TV,
18:18TV period dramas became popular,
18:21and more than 300 movies were shot per year.
18:31Hirotaka Koga
18:36This is the costume of the main character.
18:39This is the costume of the general and the lord.
18:43They are properly separated.
18:46It looks like a maze.
18:49Hirotaka Koga's costume.
18:53He has a 40-year career,
18:55and he knows everything about period drama costumes at the studio.
19:01He was invited by the main character, Hiroyuki Sanada,
19:05to participate in the Hollywood drama Shogun.
19:11Koga made a plan for the samurai time-slipper,
19:15which he didn't have a budget for.
19:20I thought I could make a new costume with what I had.
19:25I thought I could use the costume of the lord.
19:32I thought I could use the costume of the lord.
19:38I thought I could use the costume of the lord.
19:45When I first saw the costume,
19:48I thought it was different from what I had imagined.
19:52He was very friendly.
19:54He was very friendly.
19:56He had a collection of over 10,000 costumes.
19:59He would search for what I wanted on Google.
20:04He would search for what I wanted on Google.
20:08I was very shy.
20:11I was very shy.
20:15I was very shy.
20:20It was difficult, but I was convinced.
20:24It was difficult, but I was convinced.
20:32Koga prepared over 100 costumes.
20:39Do you think it's good?
20:40Do you think it's good?
20:41I think it's good.
20:42I think it's good.
20:43I think it's good.
20:45It's good.
20:50It's good.
20:51Dai Tsujino is in charge of the props in the studio.
20:58I usually leave the props.
21:00I usually leave the props.
21:04I may not use them again, but I leave them here.
21:07I may use them again, but I leave them here.
21:12Tsujino felt the possibility of Yasuda's script,
21:16and asked for cooperation.
21:20I read more than 1,000 scripts.
21:24I read more than 1,000 scripts.
21:29I read more than 1,000 scripts.
21:33I don't have any money.
21:39Tsujino listed the props needed for the script.
21:46Tsujino listed the props needed for the script.
21:49This is what I use in Samurai Time Slipper.
21:52This is what I use in Samurai Time Slipper.
21:53This is what I use in Samurai Time Slipper.
22:05This is...
22:06This is...
22:11The essential item for the period drama is...
22:15the wig.
22:18This time, there was no budget,
22:21so only two main casts were chosen.
22:26Masashi Kawada of Tokoyama
22:29devised a plan for the main character's wig.
22:36This is the wig used by Makiya.
22:40This time, it's a real samurai,
22:43so I wanted to make it as realistic as possible.
22:48I tried to make it as realistic as possible
22:52by reducing the braids and using my own hair.
22:56I tried to make it as realistic as possible
23:00by reducing the braids and using my own hair.
23:07Kawada did the wig and makeup on his own.
23:13Kawada did the wig and makeup on his own.
23:14The Yasuda-class scene was full of energy.
23:21In my usual work,
23:24I have a schedule from start to finish.
23:30But I don't have a fixed schedule.
23:34I have a schedule from start to finish.
23:38I have a schedule from start to finish.
23:40I have a schedule from start to finish.
23:44I think there were times when I felt
23:48that the director was too persistent.
23:50I was afraid of the re-shoot,
23:52so I was worried about the movie.
23:54I didn't want to re-shoot,
23:56but there were some miscalculations.
23:59There were many mistakes.
24:04Even in the fall,
24:06we couldn't see the end of the shoot.
24:09The staff were confused.
24:18It took too long.
24:21I thought I might quit in the middle.
24:25People asked me how long I'd been doing this.
24:28They asked me how long I'd been doing this.
24:31At the end of the shoot,
24:33the director was in charge of the movie.
24:36I thought I might quit.
24:41Even so,
24:43Yasuda continued to shoot in his own style.
24:48Indie movies are the only weapons
24:50that you don't have a brain.
24:52Indie movies are the only movies
24:55that you can do what you want to do.
24:58Indie movies are the only ones
25:01that you can do what you want to do.
25:06What Yasuda was most particular about
25:10was the last touch.
25:14At the climax of the movie,
25:16the main character uses a sword
25:19to challenge the shield.
25:22In Toei,
25:25there is a group of swordsmen
25:28known as Tateshi and Kirare.
25:36They have 70 years of history.
25:39With their skills,
25:41they supported the stars.
25:45The young Tateshi of the swordsmen,
25:48Kazuto Seike.
25:52In this scene,
25:54he has to show Takemitsu seriously.
25:57Seike was particular about the weight of the sword
26:00and put a shield on it.
26:03The moment he pulls out the sword,
26:05he says,
26:07let's put in the waist.
26:09As he pulls out the sword,
26:11the sword should fall like this.
26:14It's heavy.
26:16If it falls like this,
26:18he will lose.
26:20At that moment,
26:22so that it doesn't fall,
26:24at that moment,
26:26let's put in the waist and pull it out.
26:28There are times when you cut in a row.
26:31When you cut in a row,
26:33the weight of the sword should be like this.
26:36After you make the shield,
26:38make it like this.
26:40Let's make it boldly.
26:42After that,
26:44you can put out the weight as you like.
26:47Yamaguchi also had a strong feeling
26:50about this scene.
26:56Samurai Time Slipper
26:58is about the weight of the sword.
27:00I wanted to make it look like
27:02I was cutting seriously.
27:04I was deeply moved by the theme.
27:06But I wasn't actually using the real sword.
27:09I was doing it with Takemitsu.
27:12I wondered what I could do.
27:15When I said that,
27:17it was clear that it wasn't a technique.
27:20I wanted to go beyond
27:23the Takemitsu and the real sword.
27:26I was only thinking about
27:29keeping it.
27:32That's what I was thinking.
27:46This scene is the climax of the movie.
27:49It starts with a long, long sword.
28:04The director was very particular about that.
28:07The director told me
28:09to keep the sword
28:11about this long.
28:13When the sword was ready,
28:15he told me to start moving.
28:18Until then,
28:20we were just staring at each other
28:23and doing what we wanted to do.
28:44The close-up scene
28:47took up to two days to shoot.
28:53I finished around 4 p.m.
28:56I said to Mr. Tokoyama,
28:58I'm sorry.
29:00He said,
29:02it's okay.
29:04We're all making a movie.
29:06It's okay.
29:08He said that.
29:11I was very happy.
29:16We all had a lot of fun.
29:21I think that's the starting point.
29:24We all worked hard
29:27to make the movie.
29:30I think that's the starting point.
29:33I think that's the starting point.
29:38It was a year and a half
29:40after the shooting began
29:42that the film was cranked up.
29:45The artisans
29:47supported this movie
29:49until the end.
29:55The protagonist of the story,
29:57the Samurai of the End of the World,
29:59Shinzaemon Kosaka,
30:01is cast in the film.
30:06The actor,
30:08Seizo Fukumoto,
30:10who is known as
30:12the man who was killed 50,000 times,
30:14is the third protagonist.
30:16Fukumoto joined the cast
30:18of this film
30:20and passed away
30:22in 2021,
30:24the year before the production began.
30:28Fukumoto,
30:30the man left behind
30:32by the Samurai Time Slipper,
30:34is another story
30:36that approaches
30:38the end of the film.
30:44At the end of the film,
30:46there is a message
30:48from Seizo Fukumoto.
30:54He is the actor,
30:56Seizo Fukumoto.
31:01He played the role
31:03of Kirare
31:05for more than half a century,
31:07and was loved
31:09by the crew
31:11as a teacher.
31:20The costume
31:22that Fukumoto wore
31:24in the show
31:26is kept carefully.
31:30I'll take it off.
31:40Mr. Kanaru is black.
31:42Black is his favorite color.
31:44Even if he wore other colors,
31:46Fukumoto would say,
31:48no, black is his hero.
31:50I still have memories of him.
31:52Fukumoto is no longer here,
31:54but he worked with me
31:56for a long time,
31:58and I still have memories of him.
32:01Fukumoto is a treasure
32:03of Toei Kyoto.
32:05He is a shy person.
32:08He doesn't say anything
32:10about other people.
32:12Fukumoto was loved
32:14by the crew,
32:16and everyone worked together
32:18with the Samurai Time Slipper.
32:20I think that
32:22Fukumoto is the hero
32:24of that film.
32:29The Second Part
32:37Put on the salt.
32:40Director Yasuda's
32:42second film,
32:44Gohan.
32:46Yasuda, a fan of the time drama,
32:48offered Fukumoto
32:50to appear in the film.
32:52The tomatoes here
32:54are really good.
32:56Well, I don't think anyone can draw as well as he does.
33:03Fukumoto was impressed by the way he drew, and was inspired to draw this character.
33:12He was also given the opportunity to appear in the film.
33:21In 2021, Fukumoto died of cancer.
33:29I was so depressed that I couldn't make it in time.
33:35At that time, I was determined to quit.
33:40However, Fukumoto, who was supposed to appear in the film,
33:44decided to appear in the film because of the producer, Shindo.
33:52I couldn't do it without Fukumoto, and it all started with Fukumoto.
34:01The main character, Shinzaemon Kosaka, was inspired by Fukumoto.
34:07Makiya Yamaguchi, who played Fukumoto, was also inspired by Fukumoto.
34:14When I first went to Toei, I didn't know which way to go.
34:21I went there as an A, B, C character.
34:25Of course, there was a line somewhere.
34:28Fukumoto told me what to do.
34:35He was the first person I talked to.
34:40I thought, wow, he's so cool.
34:43I was happy that he talked to me, but I was also nervous.
34:47In 1958, at the turn of the century,
34:53Fukumoto became an Obea actor at the film studio at the age of 15.
34:58Kiyotaka Nishiyama, who had worked with Fukumoto since he was young.
35:11I was happy to be able to appear on the set every day.
35:17I was happy to be able to appear on the set every day.
35:22I was happy to be able to appear on the set every day.
35:27It was an action movie.
35:30I was very motivated.
35:36Fukumoto, who was recognized for his ability, also joined the swordfighting world.
35:43Mitsuhiko Seike, who played Tateshi,
35:47saw Fukumoto polishing his sword in a way that no one knew how to do.
35:52Mitsuhiko Seike, who played Tateshi, saw Fukumoto polishing his sword in a way that no one knew how to do.
35:56Fukumoto was good at speed and sharpness.
36:02Fukumoto was good at speed and sharpness.
36:06He did a lot of research,
36:09and tried not to do what people around him didn't do.
36:15With his own ingenuity,
36:19he was able to create the famous Ebizori.
36:23He was able to create the famous Ebizori.
36:26Ebizori
36:44I don't bite off more than a nail.
36:47I don't bite off more than a nail.
36:50As he continued to act,
36:53people started to ask,
36:56who is this guy?
36:59When he was about 60 years old,
37:02people started to know who he was.
37:05I didn't do anything special.
37:08I didn't do anything special.
37:11I didn't do anything special.
37:14I don't know what happened.
37:18But I enjoyed doing Tachimari.
37:22I thought someone would watch me.
37:25I thought someone would watch me.
37:29I thought someone would watch me.
37:32Mine Rantaro
37:35I'm going to cut, so stay away.
37:38After Fukumoto died,
37:41the one who played Tateshi
37:44was his junior, Mine Rantaro.
37:50Pay attention to the back of Mine's grave.
37:56Here,
37:57you can see the name of Fukumoto Seizo.
38:06This is the training suit Mine wore in the movie.
38:11In fact, it was worn by the late Fukumoto.
38:17It's my treasure.
38:23When I read the script,
38:27I asked the director,
38:30even though the name is in the script,
38:33if I could appear with the teacher.
38:36I asked him.
38:40Mine is the actor who played the junior of Fukumoto.
38:47Even when I watched Chambara,
38:50it was unique from that time.
38:53For example, when I played Hideki Takahashi,
38:55I was called Fukuchan at that time.
38:58I felt good when I was called Fukuchan.
39:01I was looking forward to
39:06that kind of thing coming out of the main character's mouth.
39:10I started to like the teacher more.
39:17Mine and Fukumoto
39:20have spent more than 50 years together as Kirare Yaku.
39:27However, in 2021,
39:31when I saw Fukumoto off...
39:35He was our goal.
39:43So, when he left,
39:47I lost my goal.
39:52To be honest, I couldn't reach it.
39:58I thought I shouldn't do this.
40:01After a while,
40:04when I was cleaning up,
40:07I was in the same room.
40:09Suddenly, the teacher's uniform came out.
40:14As soon as I saw it,
40:17I wanted to wear it.
40:21At that time,
40:23I heard this story.
40:26I was very happy that he chose me instead of the teacher.
40:32I told him that
40:35I might not be able to do it, but I will do it.
40:41Jodan!
40:43When he wore Fukumoto's katami,
40:45he had a wish.
40:50If I can wear this and
40:53teach young people
40:56about the beauty of the katami
40:59and the beauty of the shield,
41:02I think that would be the best way to support the teacher.
41:05Young people are very important to me.
41:09I want them to be active in the next generation.
41:12I want them to get the chance.
41:15Fukumoto's Katami
41:20In this scene where the main character appears as Kirare,
41:25all the staff
41:28are thinking about Fukumoto.
41:32I said that I wanted to wear the katami.
41:35When I heard that the motif was Fukumoto,
41:38I thought that I could wear it.
41:41When I suggested it, the director said yes.
41:45I told the director that I wanted to wear Fukumoto's katami
41:49because there was a scene where the katami appeared as Ebizo.
41:52I think that the fans of Fukumoto would notice it.
41:55They would think, oh, it's that costume.
41:58Everyone in Kyoto knows that
42:01that kimono is Fukumoto's kimono.
42:03Everyone can tell when they see it.
42:05I'm really grateful as an actor
42:08to be able to wear that kind of kimono.
42:11I think it's one of the best parts of the period drama.
42:15Fukumoto's Katami
42:32The existence of Fukumoto
42:35is engraved in the scrolls.
42:40About 100 years ago,
42:42the movie Chanbara was born in Kyoto.
42:49Even though the number of productions has decreased,
42:52it continues to convey tradition and technology.
42:57If it weren't for the period drama,
42:59I probably wouldn't have become an actor.
43:01Because of the period drama,
43:03because I had something to learn,
43:05because I was able to learn,
43:07I was able to continue being an actor.
43:09I'm really grateful for that.
43:12I feel like a benefactor.
43:15I don't want to erase the days of the period drama.
43:20Even if it's just a little bit,
43:22I want to continue.
43:24There are many opportunities.
43:26I can do it anytime.
43:28In Toei Kyoto, I can do the period drama anytime.
43:31I don't say that there are a lot of young people,
43:35but I think they will come in.
43:36I want to be able to convey that.
43:39So I'm working desperately now.
43:49The days of the period drama still won't disappear.
43:57Another Stories will start airing in April.
44:01The first episode is the story of the birth of Takashi Yanase, Anpanman.
44:06He's a hero.
44:08What feelings did he have for the hero of the period drama?
44:27Frontiers.
44:29A nation that only talks about sugar.
44:32People who avoid sugar and eat meat.
44:36Is sugar an enemy or ally of health?