Shota Sometani is currently appearing in the TBS Friday drama "Tagusari Brothers" (Fridays at 10 PM). He plays Minoru, who, along with his older brother Makoto Tagusari (Masaki Okada), is pursuing the truth behind the murder of their parents. In episode 8, there is a scene where the Tagusari brothers and Mogi Koki, nicknamed "Mocchan" (Takashi Yamanaka), go to a public bathhouse. This scene garnered attention on social media as "a memorable scene that will go down in drama history." Ahead of the final episode airing on June 19th, we spoke with Sometani about the behind-the-scenes of the bathhouse scene and his feelings about filming it.
◇The public bath scene was "heartbreaking."
The drama follows Detective Makoto and Medical Examiner Minoru as they investigate heinous crimes that occur daily and pursue the true culprit in the murder of two parents, a case that reached its statute of limitations just two days before the abolition of the statute of limitations.
--The story has depicted scenes where the brothers' relationship is shaken. How did you approach portraying that?
Up to this point, the two of them have the same goal and are heading in the same direction. But, even though they are brothers, their personalities are different, so they gradually start to clash. They are fundamentally connected, but they slowly drift apart. I made sure to portray that sense of distance carefully, discussing it with Okada-kun and the director.
--The bath scene in episode 8 with the brothers and Koki Mogi (played by Takashi Yamanaka) was very memorable.
My relationship with Mocchan (Mogi) isn't like that of family; we're practically relatives. He's like a parent to Minoru, and he's someone who takes very good care of him.
As we continued filming, through acting with Yamanaka-san, the bath scene in episode 8 was truly heartbreaking for me personally. It was painful for the character, and it has become a very memorable scene for me as well.
--With the story taking a heavy turn, was your relationship with Okada a major source of support?
That's a fundamental premise. It's a story that's both very simple and very complex. The fact that we were able to expand on the relationship between the two brothers to this extent, and that we were able to create it so enjoyably on set, is all thanks to being with Okada-kun.
It's a brotherly atmosphere that arises precisely because we know each other so well. The fact that we were able to create that atmosphere naturally, without intentionally trying to force it, is connected to our everyday relationship.
◇"A sense of sharing the same pain" - The film set created with the director
--Were there parts of the scene that came about because of the trust you had with the staff?
Yes, I did. This time, Mr. Yamamoto (Tsuyoshi) directed the play as if he were living alongside these brothers. It wasn't just that he was watching from the outside, but that he was also watching from the inside, and I felt like he was sharing the same pain.
I really enjoyed it because everyone on set, including the director of photography, Kenjiro So, was so energetic, and I could feel that we were all steadily moving forward step by step together.
I was mostly just wandering around the set in between takes (laughs), but everyone naturally made a place for me. Being near the set felt comfortable for me, and I was able to relax more that way. It was such a wonderful set to work on.
--Are there any words or feelings from your interactions with Director Yamamoto that particularly stand out to you?
Before we started filming, there was a moment when Yamamoto and I vaguely imagined the ending, wondering, "What will happen to the two of them in the end?"
When we finished the race, there was a moment when we all shared the answer, saying, "So that's what it was all about." The words and emotions we exchanged before it started and at the end are very memorable.
--What aspects of producer Junko Arai's work did you find appealing, especially since this was your first time participating in the project?
First of all, I felt that the story as a whole is incredibly intricate, and that it also places great importance on the characters' emotions and the relationships that develop between people. I felt that very strongly when we talked about the script and our roles on set.
They understood our perspective and have always watched over us. For me, that gave me a sense of security, which allowed me to take on the role. They were the kind of people who made me think, "Maybe what I'm doing isn't wrong after all."
I think the reason the whole work turned out to be such a wonderful piece is because the creators really cherish the love and hatred that arise between people.
--I think this is a work that really conveys that love, even through the visuals.
While filming, I was desperate, and it was a difficult role, so I was just desperately trying to live, but when I saw the finished footage, I felt warmth. I wondered why it felt so warm despite being so sad. I thought it was wonderful.
--What are some points you'd like viewers to rewatch before the final episode?
I think it's the flashback scenes that have appeared so far. I think the story will reach a conclusion in the final episode, but the answer is hidden in the past, or scattered throughout the flashback scenes that have been shown so far.
I think you'll enjoy the final episode even more if you revisit that part and let your imagination run wild while watching it.
