Takumi Saito plays Shinpei, the older brother of Teppei (Kamiki), in the TBS Sunday Theatre drama "Diamonds Sleeping in the Sea" (Sundays at 9pm) starring Ryunosuke Kamiki. In episode 6, Shinpei's relationship with Rina (Elaiza Ikeda) progresses and a son is born. His appearance of bowing his head and expressing his gratitude to Rina, who had just given birth, became a hot topic. We asked Saito about the reactions he has received so far and his thoughts on the series.
The drama is a story of love, friendship and family spanning 70 years, set on the island of Hashima (Gunkanjima) in Nagasaki Prefecture, which developed through coal mining from the beginning of the Meiji era to the postwar high economic growth period, and in modern-day Tokyo. It is written by Akiko Nogi, directed by Ayuko Tsukahara, and produced by Junko Arai, the team behind the dramas "Unnatural" and "MIU404" (same series) and the movie "The Last Mile."
◇Saito Takumi's impressions of the drama's penetration
--What kind of response have you received so far?
I'm reminded of the pervasiveness of TV dramas and Sunday Theatre. We've received a positive response not only from within Japan, but also from overseas, and I think our desire to "create a drama that will be broadcast from Japan to the world" is reaching people. I've also had the opportunity to read comments from overseas fans who are paying attention to the work of lead actor Kamiki, screenwriter Nogi Akiko, and director Tsukahara Ayuko, and I think we're living in a great era where we can enjoy works from all over the world.
-Now that we've got that out of the way, what do you think is the appeal of this work?
In the previous episodes, we have carefully depicted the fact that Shinpei is actually the second son, and the people who lost a lot during the period of high economic growth but continue to live strong lives, and I think the essence of this work has been conveyed to the viewers. The script is truly wonderful, depicting the war and atomic bombing experiences not simply as history, but as the story of people who live with them. Watching the finished film made me realize once again how delicate the depictions were.
--Did seeing the actual footage change your acting in any way?
Through the broadcast, the background of each character was depicted, and I was able to act with an understanding of what they had been carrying. In a place like Hashima, being close to someone and being familiar with them makes for a deeper connection. That's why, by acting with awareness of people I don't know in the setting, I was able to express my feelings for them even in a single scene where we pass each other.
--Having filming and broadcasting happen at the same time has a positive effect on your acting.
That's right. Unlike movies, with a TV series, it's great to be able to go back to filming with the viewers' reactions and the impressions you get from watching the show. All the staff and cast turn the joy of the reactions into energy, and there's a cycle that allows them to focus even more on filming, so rather than just creating a role by themselves, I feel like we've all created it together. It's a really reliable set, and the more filming progresses, the more grateful I am for the wonderful environment.
--It seems like the filming location had a really great atmosphere.
In any case, the entire filming location is well taken care of, making it a truly ideal production environment. In the mine where the coal mine scenes were shot, there was no radio signal and we couldn't use walkie-talkies, but Director Tsukahara rushed over from far away to help with even the smallest of things, relieving our worries. I am always grateful for the efforts and consideration of everyone who works on the set.
◇The love between Shinpei and Rina was born from the resonance of sadness
--Your romantic relationship with Lina has also developed, but how do you feel looking back on your relationship?
The directors have made the exquisite distance between Lina and Shinpei, which was vividly depicted in the script, even more three-dimensional with the visuals. The relationship between the two is not just the distance between the actors, but is even more highly resolved by having them cut it out objectively. When I watch the broadcast, I feel like I'm checking the answer and thinking, "So this was the right distance." The romance between the two has a different humidity than Teppei and Asako, or Yuriko and Kensho, and I think that's what creates their unique charm.
--It's the kind of love that only adults can have.
That's right. Before Shinpei and Lina were in a romantic relationship, they both shared the same grief of losing a loved one, which resonated with them deeply. That's why I think the atmosphere is more bitter than the other characters' love affairs.
-What was it like working with Mr. Ikeda?
I saw Ikeda-san and Director Tsukahara talking frequently on set. Ikeda-san herself said, "I think the role of Lina is a challenge from Nogi-san to me," and it was clear to see how seriously she poured her soul into each scene. Personally, I was impressed by the scene where there was no dialogue and the two of them were gazing out at the sea, expressing their emotions through their gazes and expressions.
--Producer Arai Junko is particular about creating the cute points of characters. Did you have any requests for Saito-san?
I talk to Producer Arai more than I do to the directors, but we always just chat and he has never told me what makes me swoon (laughs). However, I have seen the work of the production team, including Arai, so I have a sense of the direction of the character Shinpei. In terms of position, I think I am closest to Nakadou Kei, played by Iura Arata in "Unnatural" (2018). I'm not conscious of it, but Shinpei also has messy hair (laughs). I wish I had a hint of what makes me swoon. Director Tsukahara praised my appearance during the first shoot, saying, "Let's go with this! Cute!", and I felt that those words solidified the direction of the role.
--What about the other characters did you find appealing?
In episode 4, when Kensho gives Yuriko a necklace, it really hit me. That kind of gentle empathy is wonderful. Characters like Teppei and Kensho, who have a bright and easy-to-understand A-side, have a stronger contrast with their B-side and really hit me. I think it makes you feel the heart flutter when you see the true nature of the character.
--By the way, were there any settings in the story that got you excited?
The Bon Festival, which appeared in episode 4, reminded me of the song "Bon Festival" sung by Masashi Sada, who plays the priest, and Hairi Katagiri, who works as a ticket taker at Kineka Omori (the only remaining movie theater in the town of Omori, Tokyo), appears in the role of Omori. I was surprised that even these small details were filled with meaning, and that there was nothing meaningless about them. I think it is because of these elements that the work resonates so deeply with the viewers.
