Part 2 of "BEASTARS FINAL SEASON," the concluding season of the anime "BEASTARS," based on the manga by Paru Itagaki serialized in "Weekly Shonen Champion" (Akita Shoten), has been released on Netflix. Approximately seven years have passed since the first season of the anime began airing in 2019, and it has finally come to an end. We spoke to Chikahiro Kobayashi, who played the protagonist Legoshi for about seven years, and Koji Okino, who played the nemesis Melon, who appeared in "FINAL SEASON," about the behind-the-scenes details of the intense recording sessions.
◇Transmitting physical movements directly into sound
--The anime has finally concluded.
Ms. Kobayashi , the "BEASTARS" anime series uses a pre-scoring method where the voices are recorded first, which means there's a long time between recording and completion. So, it's a deeply moving feeling to finally be able to see the completed world. To be honest, I'm very happy.
Okino-san , since I joined from the "FINAL SEASON," I jumped into the latter half of a long-loved and historic series, so I was constantly feeling restless. I was unsettled by the thought of how I could be involved in such a long history, and the feeling that I had to do it with courage. I'm still feeling a mix of anticipation and nervousness as I wait for the day when everyone can see how well I was able to fulfill the role of Melon, who is deeply involved in the life of the protagonist, Legoshi.
--I heard the recording process was unusual.
Mr. Kobayashi is truly unique. There were about four shotgun microphones lined up in the studio, and instead of standing upright facing the microphones, we would make eye contact with each other and sometimes turn our heads to the side while we were talking. We would actually grab each other's clothes or lie down on the floor, and incorporate our physical movements directly into the sound. It felt like we were creating a stage performance.
When I heard about it, Mr. Okino , and went to the set, I instinctively felt that it might actually be a field I was good at, since I have a long career in theater. In anime voice recording, it is common to stand still in front of the microphone, but in this setting, I was able to move my body like on stage, and I was able to use the physical expression I had been doing since I was young. Rather than hesitating in front of the microphone, I was able to move my body and act in my usual style, with the feeling that this is how I would always move.
Ms. Kobayashi and Ms. Okino made excellent use of that environment right from the start. Some actors might be confused by it, but Ms. Okino adapted the moment she stepped in.
Okino-san and I were basically able to do the dialogue together. There was even a scene where we recorded while I was grabbing him by the collar, right?
There were scenes where all five of us, including Ms. Kobayashi , were talking at the same time, and I felt the unique energy that comes from this special recording process. The sound engineer was fantastic and told us, "It's okay if there's a little noise (like the sound of clothes rubbing together or sounds from body movements)." Because we couldn't properly look at the script, we sometimes made mistakes with small particles, but there were also times when they'd say, "Your acting was good, so that's okay!"
I was also impressed when Director Okino said, "It's okay to speak in the middle of what the other person is saying."
Ms. Kobayashi, recording the first episode of the first season took about seven hours. The system wasn't set up yet, so we had to create one first. We experimented a lot, trying different approaches to figure out what worked best for creating a sense of realism.
◇ Complex Melon
-- How did you view Melon, Legoshi's arch-nemesis, Ms. Kobayashi?
In Part 1 of "FINAL SEASON," Legoshi's only goal was to "catch the bad beast," but in Part 2, the more he learns about Melon, the more he wants to know. Melon might represent what Legoshi and Haru's future child might look like if things work out well. In a way, he begins to see Melon as a problem related to his own child or his own future. Ultimately, he confronts it as if it were his own problem, like facing his own child. That's why he tries to be close to him and try to understand him.
It's strange, isn't it, Okino-san ? But Melon is annoyed by Legoshi's desire to "know more and more."
-- How did you approach playing the complex character of Melon, Ms. Okino?
I thought that dividing Okino-san into two wouldn't work. It's abstract, but I had an image of dropping two colors of paint into water and them mixing together on their own. He's trying to find pleasure, or he's trying to hurt himself, and he looks like a different person to different people. That's what I was conscious of.
--What did you keep in mind when you were playing Legoshi, Ms. Kobayashi?
I tried my best to speak as naturally as possible. During the audition, the director asked me, "Could you tell me once how to speak in a way that's close to everyday conversation, in a normal way?" When learning to act, you study which parts of the lines to emphasize and which to highlight, but for this project, I tried to make it as close to a documentary as possible. The characters are very distinct, and they don't feel like templates; they work without explanation, and there are parts that have depth.
--By the way, is the howling also performed by Ms. Kobayashi herself?
Mr. Kobayashi does everything himself. He's been getting more dog roles since around the time of "BEASTARS" (laughs). I've always owned dogs myself, so it was helpful. If there are any more dog roles in the future, I'd love to hear from you!
--What impressions did you get of each other through working together?
When Ms. Kobayashi and Ms. Okino are facing each other, they are like melons themselves. Melons radiate from their expressions and demeanor. I feel like I could just do it as is. They are like melons, so it really switched me on.
Okino-san (Kobayashi-san) is truly Legoshi. I had watched "BEASTARS" before I was cast, so when I got to act opposite him face-to-face, I thought, "He's the real deal!" What I particularly like is how the end of his lines gives you chills.
Is that so, Kobayashi-san !?
Okino-san's trembling, or rather, her electrifying intensity, has a core to it. There are many scenes where Melon is stopped by Legoshi saying "Wait" or "Stop," but those lines really hit home. I felt that this power was something only Kobayashi-san possessed. I was helped by the power that came crashing into me. I'm the type of person who gets more fired up when I'm challenged.
I'm so happy, Kobayashi-san ! I really relied on Okino-san. In the unique environment of pre-scoring, Okino-san's presence, who was able to utilize his skills exceptionally well from the start, was invaluable. I think this film turned out this way because of Director Matsumi (Shinichi), including the recording method.
Mr. Okino is truly an amazing director, isn't he?
◇The ending gave me goosebumps
--SEVENTEEN's ending theme song, "Tiny Light," has also been a hot topic.
Kobayashi's video is also really good. It contains everything from the first season, and it evokes a sense of nostalgia and almost brings tears to my eyes.
Mr. Okino, I'm getting goosebumps too. The whole story up to now is condensed into this, and the realization that it's really ending is sinking in, and I'm feeling overwhelmed.
Ms. Kobayashi, this song embodies a strong determination to never let go, no matter how difficult the situation. I really love the scene where Legoshi and Haru grasp each other's fingers before they even hold hands. It's an expression that's only possible because of the size difference between the two, and it made me realize once again how wonderful "BEASTARS" is.
Mr. Okino and Mr. Itagaki also said that it was a "song full of hope." Legoshi has been through a lot since the first season, but watching this video, you can see that he wasn't alone at all.
I feel that everyone followed Legoshi because he faced things head-on, Mr. Kobayashi .
Okino-san , however, Melon is in a position where she has to steer the story in a direction that doesn't allow anyone to imagine this refreshing ending at all (laughs).
--What do you feel are the appealing aspects of this work?
It reflects how Mr. Kobayashi and Mr. Itagaki perceive society, and I was impressed when they said, "This is a story about diversity," even in the first season when the word "diversity" wasn't widely known. Having read the original manga, I wondered how it would end, and at the end, I felt that this was everything "BEASTARS" was about. It affirms, to a certain extent, the different ways in which the animals live. What's wrong is wrong, but the reasons are also clearly depicted. Even with diversity, we may only be able to accept it within the limits of what we ourselves can accept. There are things that are difficult to say, but by putting them in the shoes of animals, we can say them. It's an amazing work. I think it's a work that can become a classic that will still resonate 100 years from now. I've been influenced by it too.
Mr. Okino , do people change, or do they stay the same? Sometimes they change and gain empathy, becoming friends, or people who are supported and admired, but I felt while playing Melon that there are some things that cannot be changed. Legoshi and Louis grow and change, but there are also animals that do not change. So, is society to blame? Is it the way of thinking that is wrong? These are the questions raised. I thought that there are some things that cannot be changed no matter how hard you try. (Mitsuru Anima/MANTANWEB)
