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10:06I don't feel like I'm being dragged around.
10:09I don't feel like I'm being conscious of what I'm talking about right now.
10:13Rather, I want you to be conscious of this part, this part, this part, and this part.
10:24I want you to be conscious of that.
10:26I want you to be conscious of that.
10:30I want you to be conscious of this part, this part, this part, and this part.
10:37I understand.
10:40Who would believe such a thing?
10:43It's not that I don't believe it.
10:45It's because I'm dead.
10:48One more time.
10:50It's because I'm dead.
10:52A performance that stimulates the heart may captivate the actors.
11:02Born in 1993 in Osaka.
11:08He was a baseball boy, but in the letter he submitted to his coach,
11:13it seems that he wrote only lies in the mood of a professional player.
11:19He started writing scripts for radio programs in high school,
11:23and started a theater company at the age of 20.
11:27Nine years later, during our interview,
11:30he won the Kishida Country Theater Award.
11:34The award ceremony.
11:36It's rare to see you in a jacket.
11:39That's right. I don't usually wear jackets.
11:42I borrowed it from a friend.
11:44You borrowed it?
11:46I don't have it.
12:10You lost.
12:12I don't have it.
12:15This year's award is
12:17for Takuya Kato's Doudou Ga Rakgasuru
12:21and Sugatsu Kanayama's Pachinko Castle.
12:29I think Mr. Kato is a writer who knows very well
12:34that the body is what creates the lines.
12:38He has the power to choose the words
12:42that are very directly related to the actor's performance.
12:50Unexpectedly, his profile was revealed during the speech.
12:56When I'm nervous, I forget what I was going to say.
13:00So I'll write it down on paper.
13:07I started making films when I was 18 years old.
13:14I came to Tokyo.
13:16The people who lived in Shiawase were acting.
13:19They started asking me to act with them.
13:22I didn't act because they didn't ask me to.
13:27At that time, I was asked to act in a film by an older actor.
13:32They called me every night.
13:35They said,
13:37I'm not good at it.
13:39I got a lot of e-mails.
13:41I got a lot of e-mails.
13:50I didn't want to reply to them.
13:53I didn't want to be blamed.
13:55I didn't want to be blamed.
14:02I didn't want to be blamed.
14:10I didn't want to be blamed.
14:17When I was young,
14:23I had a lot of bad experiences.
14:27When I had a lot of bad experiences,
14:35I thought about how I could continue acting.
14:40I thought about how I could continue acting.
14:44I have a lot of e-mails.
14:47I have a lot of e-mails.
14:49I'll skip them.
14:53I'll skip them.
15:06At the end.
15:12I didn't expect to fly so high.
15:15I didn't expect to fly so high.
15:19You didn't expect to fly so high.
15:21I didn't expect to fly so high.
15:25What do you think of the award?
15:29I don't know.
15:31I don't know.
15:33I don't know.
15:35I don't know.
15:37I don't know.
15:41I don't know.
15:45Is this what it means to be talented?
15:52The interview started in London two years ago.
15:59Do you feel good about coming to a foreign country?
16:04I think it's fun.
16:08I think it's fun.
16:10I think it's fun.
16:11A little bit.
16:13I think it's similar.
16:15I think it's similar.
16:16I think it's similar.
16:21Kato was entrusted with the production of the play.
16:34The new play will be screened in this theater, which has a history of more than 150 years.
16:51This is the first time for Kato to play a play in English.
16:58There was a meeting with the producer of the Japanese version of the play.
17:05It's a story about a couple who are working on a project to build a mansion and move to the moon.
17:13It's a story about a couple who are working on a project to build a mansion and move to the moon.
17:20It's a story about a couple who are working on a project to build a mansion and move to the moon.
17:22It's a story about a couple who are working on a project to build a mansion and move to the moon.
17:24The British guest said,
17:26The British guest said,
17:28I don't care about the play.
17:30I don't care about the play.
17:32I don't care about the play.
17:34You remember it passionately.
17:37It's not about going to a certain country or working in a certain country.
17:41It's a story about a couple who are working on a play in Japan in this style.
17:45It's a story about a couple who are working on a play in Japan in this style.
17:48It's the story of how you feel about this play.
17:53Hey.
17:59This man's life is very healthy.
18:03He doesn't stay up late and doesn't smoke.
18:07And he's so beautiful,
18:09so I feel comfortable around him.
18:16The script was made based on a plot
18:20of a man and a woman who are planning to move to the moon for work in the near future.
18:29The couple's unexpected pregnancy is the deciding factor.
18:33Will the wife stay on Earth for the sake of the childbirth?
18:36Will she give up on the child?
18:40The setting is sci-fi,
18:42but it has a very modern theme.
18:45I don't want to give the character too many details.
18:50I don't like to make a character based on a one-sided approach,
18:55like a little awkward or stupid.
18:59I don't like to build a character based on a one-sided approach.
19:05I want to build a character based on a one-sided approach,
19:11so that when the character arrives at the end,
19:15I would be able to see what kind of person they were.
19:21I don't want to have a one-sided approach.
19:26I'd feel uncomfortable doing that.
19:31I don't want to do it that way.
19:35He continued to fight for a month before completing the plot.
19:56Kato Ryuu writes the lines of the characters in each scene while looking at the plot.
20:05But there are times when the lines just don't come to mind.
20:12There seems to be always a cause for that.
20:17It was the plot that he had to examine.
20:22I don't write the lines by force.
20:27I don't write the lines by force.
20:31I don't write the lines by force.
20:36I do that to make things clear and to make up for the shortcomings.
20:43I do that to make things clear and to make up for the shortcomings.
20:51I do that to make up for the shortcomings.
20:57Kato's work is said to be the reality of his lines.
21:04One day, he only writes two pages at most.
21:14It takes him a month and a half to write.
21:28I'm done.
21:37It took him a year to write and translate.
21:45It took him five weeks to write and translate.
21:48Finally, the day has come.
21:51Is it possible for a relationship between a man and a woman to be fair?
22:00Kato's question opens the curtain.
22:12Kato's world, which took two years to create, is about to evolve.
22:21I think it's odd that we are artificially trying to recreate another Earth in order to leave the current one.
22:27Everyone, everywhere is saying give birth, even the government.
22:31You can't get humans pregnant on the moon before first making sure animals can give birth on the moon.
22:36We have two choices, to give birth or not give birth, baby or no baby.
22:52Kato's wife is trying to choose a baby on the moon, and her husband is not satisfied.
22:57The stage closes the curtain, leaving an uneasy atmosphere.
23:21The actual issues and ideas being brought up, I think, are quite universal.
23:29Kato Takuya seems to have made a lot of friends here in London.
23:38When something new is born, I think it comes from the gap between culture and culture.
23:47I want to see the gap between culture and culture.
23:56I was nervous all the way to the end.
24:01That's how I usually am.
24:06I'm sure he's not trying to be funny.
24:11Going my way.
24:14That's what I like about him.
24:21Next time on Jounetsu Taibiku, the conductor Keitaro Harada.
24:25The world acknowledges his ability.
24:28But the door has always been open for him.
24:32Music is a machine of zero.