The TBS Sunday drama "GIFT," starring actor Shinichi Tsutsumi, will air its final episode on June 14th (Sundays at 9 PM). The ninth episode, which aired on the 7th, ended in a shocking way for viewers, and in the final episode, the Bulls will finally face off against "Sharkhead" (hereinafter referred to as "Shark") in the Japan Championship final. Director Shunichi Hirano, who planned, conceived, and directed the series, spoke about the developments in the much-talked-about ninth episode, the highlights of the final episode, and anecdotes from the set.
◇Warm support received at the event -- "Go Tetsu has changed," some say.
-- Are there any comments from viewers that particularly stand out to you?
There were many comments, but the most memorable was the one after episode 6 aired saying, "Gotetsu has changed." Although the show is set in the world of wheelchair rugby, it is also a drama about Gotetsu's family, and I felt that the viewers really understood what we intended.
I am very grateful for the comments I've received, such as "The drama helps us discover a new 'path' that society hadn't seen before." I was also impressed by comments that wheelchair rugby, a parasport, "plays an important role in helping us to move forward hand in hand."
--You appeared as a guest at the special event for the "2026 Japan Para Wheelchair Rugby Tournament" held on May 3rd, along with the players. What was the atmosphere like at the venue?
I had the opportunity to attend an event held just before the final match in which the Japanese national team won. The audience members shook our hands even though we weren't players, and we received many warm cheers such as "Good luck!" We were able to feel their passion and love for wheelchair rugby, and it made us want to straighten up our collars and work hard to create an even better work.
◇The significance of "clashing" and the will to continue questioning
--Could you tell us again what you wanted to convey with this film, Director Hirano?
Especially after the COVID-19 pandemic, I had the impression that there was less of a tendency for people to "clash" with each other. I felt that if we only avoided conflict and tried to get along "politely," we wouldn't actually gain much. I wanted to convey that in order to truly understand each other, we all need to clash, albeit within the bounds of the rules.
Even though we say we want to "find an answer" or "want to find an answer," it's not that easy to find one, and often we don't find one at all. But even then, by continuing to ask questions, we can sometimes gain something unexpected. I've put that feeling into the portrayal of each character, so I would be happy if you could pick up on it.
◇ "I will never take cool-looking photos": Shinichi Tsutsumi's personal rule for Go Tetsu
--As Wu Tie's way of thinking and his interactions with people changed, what kind of conversations did you have with Shinichi Tsutsumi?
I often discussed with Mr. Tsutsumi about the "just right" way Wu Tetsu's transformation would unfold. How much of the warmth of those around him would penetrate someone who had lived entirely in his own world, and how would the distance between them shrink? However, I didn't want to ruin Wu Tetsu's slightly unusual character—someone who seems to exist but doesn't, and doesn't seem to exist but does—so I was searching for that delicate balance.
In the second half in particular, I made sure to tell Mr. Tsutsumi about the underlying theme of Gotetsu's story, which is that "a man who is 'almost past his prime' changes the world." Mr. Tsutsumi said, "No, no, wheelchair rugby is more important than me," but I kept talking about that underlying theme the whole time.
--Regarding that "change," were there any particular aspects of the production that you focused on?
I put a lot of thought into Wu Tie's initial place, his "first position." In the first episode, the stands where he watches the players' movements represent that first position, and it's essentially the starting point from which he gradually becomes part of the group.
This "sense of distance" becomes the starting point for the acting, doesn't it? Especially in the early stages of the story, the distance between Gotetsu and Ryo becomes the "axis," and it determines the actions of the surrounding characters. It also affects the overall position of the characters, so I made sure not to waver in that regard.
Since Mr. Tsutsumi is the one playing the role, if we filmed him normally he would look cool, but since the character is supposed to be a "man who is withering away," we made sure to avoid filming any cool shots. I didn't tell anyone until filming started, but I had decided that from the beginning (laughs).
◇ Yuki Yamada is a "solitary ace," while Kyohei Honda is "the one who has changed the most."
--Could you tell us about any memorable episodes or things that stood out to you during filming with Ms. Yamada?
Yamada-san was like an ace, watching the other actors' performances and then smoothly inserting ad-libs, leading the group. On the other hand, I deliberately tried to tone down each of his spontaneous expressions.
As the story progresses, Ryo gradually regains his former brilliance, but I still wanted him to retain that initial aura of a "solitary ace." I often told Yamada-san that I wanted him to be that kind of character.
Ryo dies in episode 9, but by depicting "death," I hope to reflect on the finitude, preciousness, and value of "being alive." Rather than focusing on Ryo's death itself, I want to illuminate and depict the "present" in which Ryo lived—his encounter with Gotetsu, his reconciliation with his friends, the time he spent longing for his family, and the life he constantly questioned.
--Have you noticed any changes in the cast members playing the athletes throughout the filming process so far?
I think the person who has changed the most is Kyohei Honda. When I first met him, he gave me the impression of being a nice young man who had been practicing kendo for a long time, so I often talked to him about whether he could really play a mischievous character like this.
In the beginning, I kept telling him, "Just don't bottle up your emotions, just let out all the emotions that come out, no matter what they are." And gradually, both his acting and his wheelchair rugby playing transformed wonderfully into Keijiro. In the end, I think Keijiro was the character who changed the most, more than I had anticipated.
◇With the late Ryo's memory in our hearts -- The climax, the "Shark battle," is about to begin.
--Please tell us about your thoughts and particularities regarding the final episode, the fight against Shark.
With Ryo's sudden death, each player carries Ryo's feelings, keeps him in their hearts, and fights alongside him. You'll see not only the wheelchair rugby play itself, but also the "battle" in many other ways, including the feelings of each player.
It's a battle for everyone, including the players' families, Wu Tie, Jin Xiang, and Akihiro Kunimi (played by Ken Yasuda), as well as the coaches and staff of both teams.
The meaning behind this match is different from the semi-final against "Swift Snake," which was Ryo's last battle. Even though it's the same Bulls team, the meaning of the fight is different. Ryo entrusts the Bulls with the answer "beat Shark and become the best in Japan," but Gotetsu and the others fight with other thoughts hidden in their hearts as well. I think the depiction will be different from the previous match scenes.
The cast, myself, and the rest of the staff have all poured a lot of thought and emotion into our performances, so I hope you'll take a good look at them.
