ᴇᴠᴀɴɢᴇʟɪᴏɴ ǫ: ʏᴏᴜ ᴄᴀɴ (ɴᴏᴛ) ʀᴇᴅᴏ ᴄᴀsᴛ ɪɴᴛᴇʀᴠɪᴇᴡs

During the 2012 Q premiere, an exclusive interview pamphlet – which had the cast explain their character’s role in Rebuild and their personal thoughts on the Evangelion franchise – was made available to the Japanese audience. Three years later, and here they are – translated in English for the very first time. There’s a lot of information to be gleaned in these, including:

Asuka’s seiyuu is certain Asuka Langley Shikinami will have a happy ending in Evangelion: 3.0+1.0 .

. Mari’s seiyuu claims that it is possible to figure out where Mari “comes from” just by viewing Q .



. Misato Katsuragi is Sakura Suzuhara’s role model, according to information provided by Sakura’s seiyuu.

Koji Takao’s seiyuu verifies that Kaji is indeed alive in the Q !verse.

!verse. Hideaki Anno disclosed Rebuild’s “hidden nature” to Akira Ishida (Kaworu’s seiyuu) way back in 1.0.

And more!

Very special thanks goes out to my friend Freshy (longtime JJBA translator) for tackling these. Enjoy.

Seiyuus/characters interviewed: Megumi Ogata (Shinji Ikari), Akira Ishida (Kaworu Nagisa), Yuko Miyamura (Asuka Langley Shikinami), Megumi Hayashibara (Rei Q), Maaya Sakamoto (Mari Illustrious Makinami), Kotono Mitsuishi (Misato Katsuragi), Yuriko Yamaguchi (Ritsuko Akagi), Fumihiko Tachiki (Gendo Ikari), Motomu Kiyokawa (Kozo Fuyutsuki), Miyuki Sawashiro (Sakura Suzuhara), Akio Ootsuka (Koji Takao), Sayaka Oohara (Sumire Nagara), Anri Katsu (Hideki Tama), and Mariya Ise (Midori Kitakami).



First off, please give us your honest impression of Q.



OGATA: I’m sure everyone in the audience is going “What?” – feeling a lot like Urashima Taro*. Though, honestly, we’re all on that same boat, too (laughs). * Urashima Taro is a famous Japanese legend that tells of a fisherman who visits a Dragon God’s palace for three days, only to leave and find that he’s been missing for 300 years. Ryoji Kaji references this story in 2.0

I bet that you were really surprised when you read the script, right?

OGATA: At the beginning of 2012, I got a call from Miss Megumi (Rei’s seiyuu) for the first time in a long time. She invited me to a party in Kichijouji. It was pretty late when I got there, and Mr. Anno was there with some of the cast. When I walked in, Mr. Anno was talking with Ms. Kotono (Misato’s seiyuu), saying, “this time, Misato’s ended up in this position/Misato’s role is this,” or something like that. Time’s passed for the other characters, but Shinji's still a middle-schooler in both his mind and body. And some new, younger characters are being introduced, so some new seiyuus in their 20s-30s are participating.

What was it like recording Shinji waking up from his sleep?

OGATA: We had most of the visuals for Part A (Shinji waking up through Shinji leaving the Wunder) during our recording sessions. So I had a really clear idea of what was going on, right down to how the other characters were looking at Shinji. At the beginning, I was actually surprised at their fearful expressions. In the script, it was noted that they were treating him “coldly”, but from Shinji’s point of view, all these people were [literally] looking down at him… especially the new characters that didn’t know him yet, who had no real direct connection with him. It’s natural that they were unwilling to forgive him. And all that coldness was delivered directly to me and the actors’ performances really drove it home. So, I spent all of Part A feeling disturbed by how horrifying it was; I was filled with feelings of anxiety and doubt.

So your emotions mirrored Shinji’s.



OGATA: Yes. But I’m sure the audience felt the same way, that same sense of “why did this happen?” It’s scary, being unable to read Misato’s expression under that heavy shade and her sunglasses, and Ritsuko’s hair is suddenly short… I say this as a woman who notices these things, but you can definitely tell that they’ve aged… And let me tell you, having to sit through so many takes – which is Anno-san’s way of doing things, where I had to listen to everyone – new and old cast members alike – speak to me so coldly… The audience only has to hear it once, but I had to hear it over and over! It really made me think “Ah, I’m so alone…” (laughs) The loneliness was really profound… (laughs)

How did it feel to be playing the main character, yet being so isolated?

OGATA: Well, Shinji being isolated isn’t anything new in the framework of this story… (laughs) But this was different. He’d never been in a situation where he had absolutely no one close to him – where everyone was openly hostile towards him. So that sense of isolation was definitely more pronounced. This is even more noticeable since the Rebuild series is different from the TV series, and Shinji’s already been evolving in a completely different direction since the end of 1.0… In 2.0 especially, his emotional development took a drastic turn.

You’re talking about the end scene where Shinji tries to save Rei Ayanami from the Angels?

OGATA: Right. It was very childish, but childish as it was, there was a feeling of accomplishment that’d been dormant inside of him. And then you have your accomplishment be immediately shut down. It was like, “Why?!” (laughs)

Rising up, only to be shot down again. The discrepancy is painful. (laughs)

OGATA: And then he gets pulled further down with what happens with Kaworu. (laughs) It’s rough. In 2.0, there was a lot of yelling and screaming; a lot of scenes where I felt physically hurt recording them. They were fulfilling to complete, but tough. This time, it wasn’t too bad on me physically, but emotionally… it really is the lowest Shinji’d ever gone, so it was emotionally taxing.

From mid-point on, you mostly have scenes with Kaworu.

OGATA: Yeah. Things were still pretty good in the first half. Shinji was still wondering “why did this happen?”; he was growing stronger in his own way – we got a glimpse of his confusion over things he didn’t understand. And when Ayanami came to get him and they left the Wunder together, that was by his own will… but, the hardest thing for him was when Kaworu showed him “the truth [he] wanted to see.” When Shinji was going up the tall staircase, and then the clouds suddenly parted and he could see what lay beyond there, the results of Third Impact… and then being told “everything happened because of you”… That scene was still un-animated when I watched it at home, so Mr. Anno had to describe what was going on at the studio. I listened to his explanation, but… well, we were recording around March, and images of last year’s disaster (the 2011 Tohoku Earthquake) were still all over TV. I just imagined "what if this was all my (Shinji’s) fault?“ I just… it made me go ”Woahhhhhh“…

That must have been tough.

OGATA: When he saw me all shocked and stuff, the always-calm Ishida Akira (Kaworu’s seiyuu) suddenly got up and said "Oga-chan, would you like me to make you some coffee? Do you want it with milk or sugar?” or “Would you like me to rub your shoulders? Ask me anything today!” (laughs) We’ve worked together for such a long time, but he’s the last person I’d expect that kind of reaction from! That’s what I like about him, though. I just said, “N-no… I’m alright, but thanks.” I must’ve looked really freaked out. He said, “You didn’t do it; it wasn’t you. It was Shinji,” and I was like, “You were thinking the same thing…”, and he was like “Yeah…”, and we both hung our heads in shame (laughs). [Ishida] is such a nice person. Like, I started thinking, what would I do if I was 14, thinking “I did this” – I kept those feelings in mind, and at that point, it was no longer acting – I just performed the shock I was feeling thinking that. Of course I felt guilt, but – especially when you feel guilty – you want to seek salvation from somewhere, especially as a child. Shinji’s thinking “But there was no other way, right? I didn’t think it’d end up like this. If even one person was saved, isn’t that alright?”, and that’s how he tries to bear it. But, that one person [he thought he saved] turned out to be someone entirely different. He didn’t save [Rei]… just talking about it makes me feel a bit exhausted. If I, as an adult, felt like I couldn’t bear it, how would I feel if I was told that it was my fault when I was just 14? That thought really stuck with me. And ultimately… doesn’t the person who helps him die? As usual.

Kaworu’s final scene was one of the climaxes of this installment, wasn’t it?

OGATA: During the pre-score, the scene wasn’t very clear in the animatic. However, during the recording touch-ups, they had the keyframes animated. The film wasn’t finished, but I could see all the fine details. I thought it was just too much; it really hit me hard. How is [Shinji] supposed to recover from that? I just can’t see how. Sorry.

No, it’s fine. I really understand what Shinji was feeling.

OGATA: Personally, I was pretty shocked when I performed that scene, so [my acting] might sound kind of traumatic when combined with the finished visuals, but the performance got OK’d and I trust the director. I guess it’s good as long as it evokes the right kind of emotions in the audience.

This is another question about recording, but it’s been a while since you last performed with Kaworu, hasn’t it?

OGATA: It really has. This time, their relationship starts out as “Hey, here’s a person who reached out to Shinji when he was depressed.” I’m just going off my memory regarding the TV series, but I think this is a bit different from how it was originally. I feel like Shinji was a lot clingier before. He had no one to rely on around him, and then Kaworu appears. It’s like, “Oh, you’re being nice to me, what a relief, I’m saved.” But, this time, Shinji – having gone through the events of 2.0 – meets Kaworu on a more level playing field, relatively speaking… Shinji’s like “I don’t really know why, but he’s giving me nothing but good will” or something like that. I think it’s really quite different in the end.

I feel like, this time, it’s more than his attraction to Kaworu or what he learns from him – they’re depicted more as friends gradually closing the distance between each other. He meets a strange boy when he’s feeling down, they play piano together, and little by little the distance closes between them. And in that [context/relationship] he’s told “you did this,” and it shocks him terribly, but when he talks to Kaworu after that, he tells him, “if we pilot Unit 13 together and take out the spears, we can redo everything,” and he’s all like “Yeah, lets do it!” Shinji is playing a much more active role. Even if you slip into depression, it won’t be like that forever, you can find hope in your connections with other people. So, because Rebuild’s Shinji is a bit stronger, his relationship with Kaworu is a bit different.



Both Kaworu and the first two installments serve to indicate that ‘this isn’t the same old Eva.’ Mr. Ishida, what’s your interpretation and how did it influence your performance?

ISHIDA: Actually, while 1.0 was being recorded, the director, Mr. Anno, gave me a lecture about who Kaworu and Shinji are in Rebuild. So, I based my performance [in 1.0 and 2.0] on my own understanding of the information I was given and the situation and lines in 1.0 and 2.0. The same goes for my performance in Q. That said, I didn’t really have many scenes in 1.0 and 2.0. So, in Q it finally hit me, “so, this is what it was all about…” That kind of thing.

I think everyone’s most interested in the 'mystery’ at the core of all of this.

ISHIDA: If you’ll allow me to take a more circumspect approach, I think the background information Mr. Anno gave me in the beginning is something better left unsaid. Back during 1.0 and 2.0, people around me kept asking, “Is this another rehash of the TV series in movie form?” and the like, and I couldn’t say anything but “Please, see for yourself.” I don’t think anyone will think it’s a rehash after seeing Q…

It’s kind of funny, that Kaworu seems to be acting on information only he knows, and the same situation seems to be replicated among the cast. I’m sure many people will be shocked by the content of Q.

ISHIDA: What the rest of the cast was surprised about this time were the very things the director revealed to me alone in the beginning – and my role and what I knew sort of lined up neatly. On one hand, I kept having, “Ooh! You guys didn’t know this?” moments. I had to be evasive with anyone looking for explanations up until now, and I guess I kind of miss the feeling of, “oh too bad, they think it’s a rehash,” and “Heh, they totally fell for it” – since that was kind of fun.

With all these complicated feelings about it, you must have really been looking forward to [getting it over with], Mr. Ishida.

ISHIDA: It’s less a 'looking forward’ to it kind of thing, and more a “man, that was hard!”* As I’m sure you all know, I didn’t really appear much in 1.0, but after recording, Mr. Anno came up to me and told me “We’ve got a lot to talk about regarding what comes next.” Though, I guess if we’re gonna open that can of worms, I didn’t appear much in 2.0 either, did I? So when I went in to record Q, I was all tense, it finally felt like the 'real thing.’ To no one’s surprise, I started speaking more and talking about things no one would have expected up until now. Of course, I’d expected it to go off the established Eva route. Even if they talk about different things, the feelings Kaworu has for Ikari Shinji… they won’t change. I knew the world was different this time, but, on top of that, I was worried about how to best approach Ikari Shinji this time so that everyone would understand. That was a tough hurdle. I was thinking about how to handle it from the very beginning. How should Nagisa Kaworu behave after he’s accumulated several different cycles in his past? And Eva itself has a very precise strike-zone; we have to get it just as it should be. I couldn’t lose sight of my goal. *A play on words here, 待望 (long-awaited) and 大変 (difficult)

What was recording like?

ISHIDA: Well, it’s been 10-something years of realtime for me, and it’s been a while since I voiced the original series and the spin-off games. I’ve slowly internalized the role [over the years], I guess you could say it’s ripened inside me. But, I can’t let that change Kaworu’s original image. It’s been really difficult to live up to the various demands of the staff putting this Eva installment together.

What kind of exchange did you have with Director Anno?

ISHIDA: We had to do quite a few takes to fully realize the scenes and get Nagisa Kaworu – as a character – just right. Some takes took a whole day to get right. It was a very carefully acted piece. The image of Nagisa Kaworu inside Ishida Akira and the image of him when the audience saw him for the first time on TV are now one and the same again… that’s kind of how recording went. –Actually, that would just make it episode 24 of the TV series, and I tried not to just merely reproduce the same exact performance. When you look at the TV series again, everyone was doing their best back then, but I didn’t want to just amend and copy that. Honestly, once the recording for Q was over, I came to the conclusion that [the end result] was neither just the 'Nagisa Kaworu’ of the past or the 'Nagisa Kaworu’ I know, now, in 2012. Everyone’s impressions of a character are always changing and evolving, and they each have their own hopes and desires for characters, so I think we were sort of realigning those hopes and desires with Q.

I see. And this is the first time in Rebuild that we’ve seen [Kaworu] interacting with Shinji.

ISHIDA: The first conversation with Shinji was huge for me. Up until now, Kaworu has just been one-sidedly expressing his feelings, bit by bit, about Rebuild’s seize-the-moment Ikari Shinji. And finally, he gets to talk to him in person… I’m sure Kaworu was anxiously awaiting that moment… yeah… I guess that’s what a face-to-face meeting is all about after all. [It’s more important to him to] spend time talking to Shinji in the flesh than it is to support him, secretly from the shadows. It reminded me how central of a theme 'communication’ is in Evangelion. When you look at it like that, once Shinji’s been estranged from everyone and has no one to lean on, that’s when he meets Kaworu. The fact that they manage to have a conversation at that point is incredibly significant. I feel like first two movies were the perfect set up for that meeting.

That being said, Kaworu is a bit of a tragic figure, isn’t he?

ISHIDA: The first two films in Rebuild were used to vividly remind the audience of specific scenes and nuances in the original TV series. No matter how many times it happens, it always ends the same way. It should’ve turned out differently from the previous cycle, but the same mistakes are repeated once again. Kaworu has an unfortunate destiny. But, it’s like he switched tracks at a different point this time. It’s like he struggles against the flow [of his fate] and sacrifices himself so that Shinji can survive, because Shinji has to survive.

Seeing the always-aloof Kaworu acting more agitated was quite refreshing.

ISHIDA: Nagisa Kaworu understands most things; he knows everything and has absolute freedom of action. He seems rather capricious, don’t you think? He acts on the knowledge of the purpose of his existence, but it’s not like he can control everything. He clashes with Gendo and SEELE and Co. who are acting on their own understanding of the world. Kaworu has a sort of bird’s-eye-view of it all, but even in that role, he’s not in a position of control.

I get the impression from our talk that you really put your all into playing Kaworu.

ISHIDA: All of the staff, not just Director Anno, are very invested in the current series under the Eva title, so I’m putting my best effort. Even recording, we were trying to get everything down very precisely. So everyone was always going, 'not this, or that,’ and so on. When I was standing in front of the microphone, it was just me and Ms. Ogata alone in the booth together, we spent much more time interpreting scenes and lines than would be allowed on other projects. There was this atmosphere of, 'let’s do it right after we understand it’. The work itself was actually really hard, but no one ever started shouting, 'hurry up and finish it!’ There was a real feeling of everyone working together on it. It wasn’t just pressure, but there was this [strange] sense of security in the knowledge that we were all working on it together to create a perfect end product. I was really happy to be able to perform in the same scenes with Ms. Ogata this time around. Up until now [in Rebuild], I’d been recording all alone.

Piloting an Eva in tandem with Shinji is a first for Kaworu, isn’t it? I think you could interpret it as a sort of 'love scene’ in a sense.

ISHIDA: I don’t know if I can make that interpretation (laughs). I think you should wait to hear from the director or leave it to the really involved fans. But, at the very least, them getting in the same unit is different, as they both pursue the same goal together. It seems representative of the depth of their connection.

Any other impressions?

ISHIDA: I think the biggest shock, visually, was how the moon ended up. From the very beginning, the world of Q is depicted beautifully, so it was quite a shock. Even though you could see everyone living their lives in the intricately crafted environment, what Shinji wants to see stands out, like 'bam!’ appearing from a thick haze. It’s like, you thought you knew everything about the world, and then [Q] just slaps you in the face with, 'this is the reality you wanted to see,’ it was quite impactful.

Alright then, how about a final message for the fans?

ISHIDA: I’m sure those of you who have been thoroughly invested in 1.0 and 2.0 will think Q was a rather 'fast development.’ But, 1.0 and 2.0 already developed the sense of malaise leading into Q. It’s like, 'It looks the same right? But it’s not.’ To those of you who saw Q, please go back a few times and figure out, 'just what is the meaning of this?’ But, if you were to ask 'how to prepare for it?’ I’d ask that you return to 1.0 and 2.0 and watch them again, right?

If you watch these movies very carefully, you’ll see, 'oh, this is where that’s from’ for sure. I think, if you watch it over from the beginning again, you’ll see how Q fits into the story for sure, and I know you’ll be even more interested in 'where does it go from here?’ after Q’s rapid development. Since, at this point, we’ve just jumped past the established canon with a 'bam!’ there’s no way it’ll end like the TV series or [EoE] now. At least, that’s what I believe. If you look at it like that, I’m sure you’ll all be really excited to ask 'what happens now?’ and 'then what?’ for the next one.

: I’m sure those of you who have been thoroughly invested in 1.0 and 2.0 will think Q was a rather 'fast development.’ But, 1.0 and 2.0 already developed the sense of malaise leading into Q. It’s like, 'It looks the same right? But it’s not.’ To those of you who saw Q, please go back a few times and figure out, 'just what is the meaning of this?’ But, if you were to ask 'how to prepare for it?’ I’d ask that you return to 1.0 and 2.0 and watch them again, right?If you watch these movies very carefully, you’ll see, 'oh, this is where that’s from’ for sure. I think, if you watch it over from the beginning again, you’ll see how Q fits into the story for sure, and I know you’ll be even more interested in 'where does it go from here?’ after Q’s rapid development. Since, at this point, we’ve just jumped past the established canon with a 'bam!’ there’s no way it’ll end like the TV series or [EoE] now. At least, that’s what I believe. If you look at it like that, I’m sure you’ll all be really excited to ask 'what happens now?’ and 'then what?’ for the next one. Please, look forward to the conclusion.

What was your first impression when you read the script?

MIYAMURA: The first time, I didn’t understand anything. I just figured it’d be something new. It’s like the phrase, “You finally started walking on your legs, and finally your day has come” – I had a feeling like that. Usually, the more you’re in contact with the character, the more you understand the role – but when I received Q’s script, I probably felt the same thing the audience felt at the first screening: “What the hell is this?” “What am I doing?” And it hasn’t changed. As time went on and I read and reread, I still didn’t understand. Only during the post recording was I finally able to notice a logical thread. Evangelion was always like this: confusion, continuing so that no one can find peace. But, it’s thanks to Evangelion that I’ve learned to deal with any situation while keeping my nerve together. I had to get used to it… or something like that (laughs). However, I was excited … I felt a sort of premonition, you could say. Or maybe it’s the same disgust you feel when you have to throw away something gross. I’ve decided. Whatever happens, I will do my best.

What did you feel about Asuka?

MIYAMURA: I was very impressed that there were fans worried about her, because in 2.0 it wasn’t clear whether she was alive or not. You can say that to be alive is to fight. Being alive and living is a fact, but compared to the Asuka of 2.0, the 3.0 Asuka is now a completely new person – so very different from the previous one. “She’s finally started to stand on her own legs.” She’s stopped yelling “Anta baka?!”. It’s strange to say, but I believe that Asuka will find happiness, and I think she is taking the first steps towards it. I have not spoken directly with Studio Khara, but I’m really convinced of it.

Speaking of acting, what parts have you focused more on?

MIYAMURA: This is what the director, the rest of the staff, and I have discussed a lot between us. Actually, in my case, rather than “discuss”, I should probably say I did nothing but ask “Why?” over and over again. And the answer I always got was “Why not?" For example, with the Curse of Eva, the pilots are still 14 years old, although in terms of mental age they’ve well surpassed that. Director Anno only commented: "Now, Asuka is a hired professional.”, and I said, “Oh, she’s an army commander…?” I can’t remember many details of that conversation, but the fact that she’s a mercenary of some kind is pretty logical when you think about it: she wears an eyepatch! At that moment, my mental idea of what Asuka is and should be finally coalesced to completion.

Regarding the post-recording; what has impressed you?

MIYAMURA: The post recording stuff I did by myself, but I can say that is very well suited to Asuka’s situation. The thing that stuck with me the most was the “cat”.* It made me worry; I couldn’t get it out of my head. *She could be referring to either Mari’s Eva or Unit-02 in Beast Mode.

We would like to talk about the changes as a result of your move to Australia, and how that’s affected your view of Evangelion.

MIYAMURA: I’ve been living in Australia for 4 years. During this period, my son was born. He’s now a year and a half… Well, if I think about the changes in my personal life and what has happened in Evangelion, I can almost draw a parallel between this movie and the first steps of my son, right? I said at the beginning of the interview, that Asuka finally seems to possess a mixture of strength and happiness – before she was sad, now she’s happy. Like my child – every time he falls, he stands up again. I think it’s great. And mothers believe in the happiness of their children; protecting them and watching them from behind the scenes. However, sometimes it happens that we go to their aid, even unintentionally! Excuse me, I ended up saying the usual Parent Speech…

How do you think the final chapter will end? Do you have any expectations about Asuka’s future?

MIYAMURA: As I have said many times before, “the future of Asuka is happiness”… I am convinced! Since the very beginning of Evangelion, I did nothing but pray that this will come true. Asuka can be happy*, whatever happens… Who knows! But whatever happens, your mom will do her best! Or at least that’s what I think. So, everything will be just fine.

*Here, Miyamura imitates the cry of a cat (nya) and dog (wan). The dog is a clear reference to (The Puppy) Shinji, while the cat could be both Asuka or Mari.



How do you feel about Q being a completely new story?

HAYASHIBARA: My first impression was “it really destroyed 2.0!”* (laughs) There aren’t any familiar or nostalgic scenes in it at all, and there are no homages or scenes linking this movie to the past. * A play on words, 破 is the Japanese title of 2.0, and 破ぶる, (same kanji) means “to destroy.”

How did you handle the new story and setting?

HAYASHIBARA: To be frank, I don’t know anything other than my parts. When I was recording, there were parts that weren’t fully drawn yet, so I had to ask the director “What’s going on here?”, which is an unusual way to record. For normal movies, you know the entire story and exactly how your character is involved in it when you voice them, but this was just so different. I suppose it’s okay because it’s Eva. But in the end, it doesn’t matter because I’ve been voicing Rei-chan for so long, and in the end Rei-chan is just Rei-chan. I did my lines while thinking of nothing but her and it wasn’t really that difficult.

But some things surprised even a veteran like you, right?

HAYASHIBARA: The first scene definitely surprised me. I thought, “Is this all just a dream that Shinji’s having?” (laughs) Anno-san said “they’re going to ride a battleship this time.” during a meeting, and I thought “Oh, they really do ride one!” It gave me the impression that a lot of time really had passed since 2.0. I was shocked and wondered, “I wonder where Evangelion’s story is heading now?” I think viewers probably had the same impression I did.

How did you manage recording without knowing all the details?

HAYASHIBARA: As usual, I had to do countless takes for short lines. Anno-san knows how he wants it in his head. He doesn’t want lines that are merely spoken; he wants lines to be delivered with emotion. Even for a simple line like “Yes,” he would say “You’re putting too much into it” or “You’re not putting enough into it.” This Rei is a different Rei, so I voiced her as being indifferent. When I asked Anno-san “What’s going on in the scene with the multiplying Reis?” he gave me a clear answer which I can’t disclose here, but Director Tsurumaki and other staff were super shocked. Later on, they said, “Thank you. We were able to understand a lot thanks to listening to that recording session.” Their comments made me think, “Anno-san’s craftsmanship is really something.” That’s what I found most impressive about the whole thing. (laughs)

Having to progress without knowing completely what’s going on is typical Evangelion, isn’t it?

HAYASHIBARA: In the end, it all depends on what goes on in Anno’s head. I wonder if he thinks hard about ideas or if they just suddenly occur to him. If he chases after them, or waits for them to gush out. It’s all based on trust, and that’s why the studio behind Evangelion is completely unique and nobody can equal or imitate it. That’s the air they give off. I’m sure it was hard for the new characters, too. Even I had to repeat lines countless times. I’d be told “You’re doing great, so let’s do it one more time!” and I’d think “Ah, they told me to redo it!” I never had to think hard about it or have trouble understanding what they wanted me to do. It was just “Oh, I didn’t do it correctly.” It was a matter of getting the nuance they wanted. The difference between right, left, or diagonal.

So you’re saying that Anno-san has a narrow strike zone?

HAYASHIBARA: No, I don’t think he’s fanatical about it or anything. He’s just slightly off-center. If a director is completely straight down the center he won’t be able to reach out his hand and catch a legendary ball. He won’t be able to get anything good. At least that’s how it was in my case with Rei. It was important to get the nuance right with her because she’s such an ethereal character.

: No, I don’t think he’s fanatical about it or anything. He’s just slightly off-center. If a director is completely straight down the center he won’t be able to reach out his hand and catch a legendary ball. He won’t be able to get anything good. At least that’s how it was in my case with Rei. It was important to get the nuance right with her because she’s such an ethereal character. I had to take care to convey her feelings of happiness without overdoing it. I think having her feelings expressed through her facial expressions rather than her words is best sometimes. Her emotions are like waves, so if I was off by even one millimeter it would affect her character, and I’d have to redo it.

First of all, how was it like recording Mari in 2.0? Considering that your character was completely new at that time.

SAKAMOTO: To tell you the truth, I didn’t know much about Evangelion and I became part of it without knowing exactly what came before 2.0. I started recording without being aware of the importance of the events in the story, unlike most of the older Evangelion fans. Instead of being surprised about a new character, I was quite excited at the prospect of not knowing what was going to happen. Mari’s appearance was kept a secret for a long time, and when it was made public it caused a stir everywhere I went. The staff, my family, and even old friends of mine, they all kept asking me the same question: “Is there really going to be a new character?”. Only then did I slowly began to realize the importance of my role and Evangelion’s popularity. Maybe it was exactly because I wasn’t too involved in the series that I managed to do this part well. If I had been an Eva fan to begin with, the pressure would have probably been too strong.

We remember back in 2.0, the staff was worried about how they were going to characterize Mari. When you started to record, the atmosphere changed completely…

SAKAMOTO: They called me in for Mari’s role without an audition and without telling me anything about the character beforehand. There wasn’t even a clear idea of how Mari was going to be. That day, there were a lot of people listening to my recording, and I really felt the pressure because of that. But, it was also very fun. I acted freely and I was told that I was doing great, but I wasn’t too sure about that.

You were great. Right then, you gave life to the character.

SAKAMOTO: Before entering the recording lobby, I met Hayashibara (Rei’s seiyuu) and Ogata (Shinji’s seiyuu). They greeted my by saying: “Welcome to Evangelion! You’ll have to repeat your lines 20 or 30 times, but don’t worry too much; that’s how it’s been for all of us!” I was shocked! When it was time to play my part – quite a long one too – I was very worried. And when they gave me the okay after the very first take, I couldn’t believe it. Instead of being happy about it, I couldn’t relax. I was a bit insecure… the best thing about that scene was that it didn’t involve any other characters; I could concentrate only on myself. That was Mari’s first battle, I could feel her tension and excitement and I managed to “synchronize” with her. I think being nervous actually helped me.

In Evangelion, “synchronization” and “vitality” are very important.

SAKAMOTO: Anno told me that he left the solidifying of Mari’s concept to Tsurumaki, and Tsurumaki helped me understand how to better voice my parts. Back then, I didn’t know what was going to happen after 2.0, but I knew that Mari would be perceived in multiple different ways by the fans. That’s what I though.

What was your personal approach to Mari’s character?

SAKAMOTO: Anno provided me with one little “hint” to better understand Mari: “Showa no Oyaji” [Father of the Showa Period/ The “typical” Japanese parent from the '70s and '80s]. After realizing what he meant, I managed to improve my performance totally. Mari is completely different from everyone else; that was immediately clear to me. I was born during the Showa period, and the usual saying of that time was: “Keep calm and don’t overdo it”. Mari is quite an unusual character: she often says “nya”, she’s very energetic, very self-confident, she lacks common sense in the way she talks, and she’s cute in a cartoony-kind of way. I used my normal voice and I managed to get used to her quickly. While keeping “Showa no Oyaji” in mind, I managed to make even the “nya~” feel even more natural. Using my normal voice for Mari definitely helped me feel more confident.

How would you compare your role in Q to that in 2.0?

SAKAMOTO: In 2.0, Mari’s songs and her “nyas” were pretty major. In Q, it’s more or less the same thing. I’m still singing and saying “nya~” all the time. There are a lot of new characters, new situations, and so on, but there are no big surprises as far as Mari’s concerned.

On that same topic, we all feel like Mari fit very well with the cast.

SAKAMOTO: I have the same feeling. At the beginning, I didn’t know how Mari was going to be received. But even though Mari’s a new character, I feel that she’s always been part of the cast; it makes me happy. In Q, there are many new characters, and I feel like I’m their senpai.

It’s been 14 years since 2.0. Now Mari is capable of fighting in perfect synchronization with Asuka. How do you explain that?

SAKAMOTO: To be honest, I didn’t understand much of [Q’s story]. I mostly appear in action scenes, and all I was thinking about were my “opponents”. I don’t know much about the story and its structure. I don’t interact much with the new characters, but I know they have a key role in the battles. As usual, I didn’t worry too much and I did everything my way.

You sing yet another song from the Showa period, right?

SAKAMOTO: Even when Mari isn’t on screen, you can hear her singing. It’s what she does most of the time. I did my best to convey how much fun she has while doing it…

How did staff members explain your role/character to you?

SAKAMOTO: Anno told me: “Mari does exactly what she says.” Fans don’t have to worry about her being a “liar”. There’s a prefect harmony between what she says and what she wants to do. She has a certain depth, but there’s no point suspecting that she may have a hidden agenda, or that she may be “faking it”. She’s a simple person. The first time I read the script, I thought that she was a “suspicious” character, cute and strong at the same time, but I couldn’t understand her completely. But with time, I realized that she’s isn’t the kind of person who would deceive other people. She’s a very simple character to understand compared to the others; that’s what Anno told me, at least. All I had to do was read the script and be as natural as I could. This time around [Q], I had an easier time with Mari. I’m never influenced by what happens around me and I do things my own way. Mari is a character that knows herself and behaves accordingly. I made sure to convey confidence, and that in her eyes, piloting an Eva is fun.

You say that Mari is exactly the way she acts, but she’s shown to have a certain “agenda” that only she knows about.

SAKAMOTO: I just think she’s calm and objective. It’s why she often talks to Shinji alone, or find herself in the same places over and over again. She’s very experienced, that’s probably where the feeling of “freedom” comes from. But I don’t really know anything else.

What do you think will happen next?

SAKAMOTO: Since Mari’s a new character, I’d like her to be used as much as possible! It can be possible, in 3.0, to figure out where Mari comes from, but considering that it hasn’t been officially revealed yet, not even to me, I’d like to know more about it. I think a lot of questions will be answered in Final. Just like the fans, I don’t know anything for sure about the next movie, and that’s why I want to have as much fun as possible for now.

What do you think of Q?

SAKAMOTO: In 2.0, I had the feeling that Mari had always been a part of Evangelion. In Q, with all the new characters, I don’t know what to think, other than: “better just wait until it’s over…”.

There’s an important part that everyone was waiting for. Not only the Showa period songs, but also the others (songs?).

SAKAMOTO: I don’t know any songs that came out before I was born, including “Hawk of the Grand Prix”, but I was told to switch from dialogue to song. Act like nothing serious is going on – I was told – never feel like you were underestimated, keep moving forward, trying to be as active as you possibly can. Mari is very straightforward. She’s different from the others; that’s why I like her.

Do you want to say something to the fans?

SAKAMOTO: I thank everyone who welcomed Mari. It’s been a brand-new experience for me; it taught me a lot. Mari’s become an important part of me. I’m really happy and grateful to everyone for their support. It’s thanks to you all that Mari fits so well in Evangelion. I hope you’ll stick with me 'till the end, to understand why Mari’s character was created.



I thought that the 14 year timeskip was a big surprise. Was it a surprise for the cast as well?

MITSUISHI: It was a surprise among the voice actors who understand the world of Eva and those that don’t understand it. I’m part of the latter group and don’t understand anything. (laughs)

Judging by the way Misato acts around Shinji, it seems like that many things have changed in the last 14 years.

MITSUISHI: I think there’s been a lot of pain and tears shed in those 14 years. It seems that Misato has overcome these hurdles and buried these memories, until Shinji emerges again in her life, that is. They told me to act very cold, but when I started recording, they said: “That’s too cold, it’s scary,” and I said “Oh, not like that?” (laughs). I tried to recall all the difficult moments of my life, but regardless, the 'scary version’ was rejected. Then they told me: “Okay, just act normal and don’t try make something out of nothing.” So in the end, I tried all their suggestions, but nothing was very good. I had to ask “Now what?”.

I would think there would be an explanation from Director Hideaki Anno about her situation and her circumstances…

MITSUISHI: Since my age was close to that of Misato’s, I was told to act normally. For 1.0, I was told to sound younger, but this time, I could be myself. There is an organization called WILLE, who fights against NERV. They’ve have built this fantastic ship, the AAA Wunder, to recover Shinji by force, and so on… all that was in the script, but the rest I had to imagine. Only, I love the new costume. The first impression I had of this new Misato was “Wow, I really like her. She turned so cool… ”, so yes, I like her new costume a lot more. I feel like I’m cosplaying Captain Nemo of Nadia or Captain Okita of Yamato (laughs). It’s really cool.

She really does look bold and elegant. The female fans are expected to grow from this.

MITSUISHI: About that. Since she’s become a captain of the battleship, most of her lines are shouted. Because I was yelling everything, the acting experience was a little lacking for me. Her range of emotions are wide, so it was fun. But you know, if I act coldly to Shinji just upon meeting him, obviously Shinji will close his heart. So I recorded as if I was thinking, “Misato-san, what really happened?” And I imagined something really terrible happened, 14 years ago. Misato had her own code, and she stuck to it . The way I see it: Yes, she’s changed, but she’s still staying true to her sense of justice.

And she’s much stronger than before.



MITSUISHI: Even so, I feel that it’s not by her own will. It’s due to the circumstances around her. I’m just happy she survived, same with Ritsuko. Ritsuko looks like a Russian spy this time! I like how Ritsuko stepped back to support Misato. It seems like all the arguments have settled down by now.

Considering that WILLE is separated from NERV, it looks like the relationship between Misato and Ritsuko is paralleling that of Gendo and Fuyutsuki.

MITSUISHI: Yes, you’re right. Next time, I’ll put my hands in front of mouth, like so. (laughs)



* Ritsuko’s translation provided by nijiyoake​

We knew that the new movie will occur 14 years after the previous one ended from the announcement given. What did the change feel like?



YAMAGUCHI: Actually, the first time I saw the whole thing was at the recording studio. But the movie only had sound effects, before the compilation of the voice recordings, so I only felt the “change” after finishing my own performance. That was also my first time seeing this [the character design]! (laughs).

The new seiyuus were given the character designs beforehand, and they definitely look different from before.

YAMAGUCHI: I’m glad Ritsuko’s style didn’t change at all. She got cooler too. She’s really… a beautiful person.

How did the actual recording go?

YAMAGUCHI: In Eva’s case, it was very different, looking at the still images myself and looking at them while talking to Anno-san. It was far beyond my imagination. It’s impossible to enter the World of Eva when I’m at home. I don’t know the whole story myself, so when I watched the film with sound effects I wasn’t even sure what emotions I should be feeling. When I got to watch the whole thing some time ago, there were some parts which made me think “this is definitely a little different.” And I told Anno-san just that (laughs).

Do you have any thoughts about what might have happened during the time gap this time?

YAMAGUCHI: I don’t know exactly what Ritsuko was doing during the time skip. There were several hints from her lines, but I couldn’t really picture anything myself. I hoped that I’d be provided more information to that end, but maybe they felt there wasn’t really a need to do so…?

Just by looking at her physical appearance - her hair’s been cut. How did you feel about that?

YAMAGUCHI: My first thought was “Thank God; Ritsuko’s still alive!” I mean, I was worried she’d die again. In the gap between the second and third movie, I was worried there might have been conversations about her like “You know, about that person…” (laughs).

With Ritsuko’s case here, I don’t think there’s any part that would make a viewer think “oh, yeah, she should definitely die.” A previous movie killed her before. Ritsuko really did die back then.

Starting from how you felt at the end of [EOE], it looks like you’re coming from a new direction this time.

YAMAGUCHI: The original TV series was my first job as a voice actress. I didn’t really know much about the anime world, and it was the first time I had ever spoken before a mic. From the first episode up until the last, I was nervous. I really love playing Akagi Ritsuko, but due to the pressure and nervousness, I was always so stiff. That’s why I never watched the TV series afterwards. I was always wishing that I could redo my performance, so when there was talk of a New Theatrical Version, I was so happy.

Ritsuko’s performance is that where she’s constantly aware of being a woman.



Ritsuko is a scientist, so her lines are pretty difficult, aren’t they?

YAMAGUCHI: Yes, exactly. Even though I was still a rookie during the TV series, Ritsuko was that kind of role where you had to know the perimeters. Without showing emotion, I had to be calm, strong, because I didn’t want to be dependent on someone else. I had to say a lot of words that I’d never used in my lifetime! (laughs) Still, I knew I couldn’t run away. It was hard.

But you know, Anno-san’s way of doing things… he’s the type that gives very detailed instructions and never allows for any compromise. Likewise, that’s the attitude he had when creating this world. When we were re-recording things, I really wanted to ask for elaboration, but I didn’t want to become an voice actress that couldn’t answer the producer’s demands. I’m horribly prideful and conceited, you see. (laughs)

But it’s all because I still don’t understand Anno-san’s grand worldview. I really wanted to get closer to his line of thinking, rather than depend on my own opinions. That was a huge hurdle for me.

Do you ever wonder what Director Anno’s trying to do with Ritsuko’s character?

YAMAGUCHI: I’m pretty sure that “above all; she’s a woman” is one of them. I believe that’s guaranteed at the very least. Ritsuko is a person who can’t separate herself from women as much as she tries. And that’s precisely why she often considers strange things like death. She was able to fight Misato even while struggling. Ritsuko is completely different from myself; it’s a part of her that I really enjoy.

When Anno-san told me that this time, it’s gonna be a little different, I felt as though my own strength – and I have more strength than Ritsuko – had slipped out from under me.

And it looks like there’s going to be another movie after this one.

YAMAGUCHI: I’m really worried. It seems like there’s no place for Ritsuko to go. If she’s alone, I’m sure she won’t survive. It feels as though there’s nothing she can do by herself.

That’s interesting. Even from the beginning, there are bits where Ritsuko sounds like she’s aware of everything going on. She’ll start talking about things everyone else doesn’t even know about.

YAMAGUCHI: Ritsuko’s knowledge is, you know… she’s smart and all… but it almost makes her seem like a computer, doesn’t it? But as a person… she tries her best to live on; diligently and seriously, you see. She’s very frail on the inside… which may be why she tried to compensate with her knowledge.

I’m sure Ritsuko has her own reasons for cutting her hair, but what does Yamaguchi-san think it might be?

YAMAGUCHI: It’s probably a sign of parting, isn’t it? She must’ve really had the determination to separate from [NERV], I’m sure… everything had to end for her. She must’ve thought she had nothing else left.

Do you think Misato and Ritsuko’s dynamic on the bridge of the Wunder bears a resemblance to that between Gendo and Fuyutsuki?

YAMAGUCHI: That’s what I’m thinking, yes. Ritsuko even says “that’s enough for now” just like Fuyutsuki. I wonder if she’s comfortable in that position. I wish they had elaborated more on what happened in between the timeskip.

Ritsuko should’ve been the one holding the key while Wunder was in development, right? Since EVA-01 is immensely powerful.

YAMAGUCHI: God’s Vessel really is an amazing ship, isn’t it? How was it built? When I was reading the script, I couldn’t fathom how the Wunder fit into the story after the previous movie; it was giving me a lot a trouble. I wish I could transport ahead to a time where I can see the light after this installment…

There’s a 14 year timeskip in the movies. As an actress, how is it similar to how things have past for you in realtime?

YAMAGUCHI: Like I said, I think this is a performance that emphasizes that Ritsuko is truly a woman. I find that it’s easier, when I’m closer to her real age. I think it was at that point where I developed an attachment to this movie and acted accordingly.

How was it like, change your performance without changing the quality of your voice?

YAMAGUCHI: During our first recording, Anno-san would say things like “this doesn’t sound like Ritsuko” and it would be very concerning for me. Acting while constantly taking note of the tone of your voice is a very difficult thing to manage. By chance, they would tell me what parts needed to be re-recorded, and those parts would be the very lines I was concerned about as well. I’m glad they allowed me to re-do.

But even though it was great that I was allowed to re-record, it was difficult whenever I really started getting into my role. Exchanges would be interrupted by a “let’s re-record this little bit right here” – and then I would go, “…alright.”. I never really felt at ease during the whole process.

Because it was such an emotional recording, right?

YAMAGUCHI: It was terrible. This time around, I finished my recording before everybody else. They thanked me for my hard work, and I just looked at everyone’s faces in bafflement. I wasn’t grounded in reality… my emotions had no place to go, so I ran to the studio’s toilet to cry before heading home (laughs).

Even after it’s all done, it’s still a struggle…

YAMAGUCHI: Well, I couldn’t possibly ride the train home in that state. [Once you’re finished recording], it’s impossible to return to reality that quickly. After that final scene with Misato in the bridge; it was like the studio had became a separate world in and of itself.

The World of Eva really is intense. Do you have a message for those in the audience who are still astonished by the movie?



YAMAGUCHI: This is for everyone who loves Evangelion. Thanks for watching. Eva was my debut and Ritsuko Akagi is a role I will never forget for as long as I’m alive; it is with these thoughts that I play her. I’m waiting for the the next installment just like everyone else, wherever Ritsuko and Evangelion may go after here. And after it ends – for those whose emotions are running wild – feel free to cry in the theater toilet before heading home (laughs).

(laughs) But still, it’s that amazing a work, isn’t it?



YAMAGUCHI: I think that the previous movie was gentler of a film, but this one… still, I find that it’s really worth it. I don’t think I would’ve become a voice actress if not for Evangelion, so I’m really, really grateful to be here.



As someone who’s been voicing Gendo Ikari for many, many years, what kind of person do you think Gendo Ikari is?



TACHIKI: Gendo is a character that’s difficult to get a handle of, and there are things about him that I still don’t understand. That difficulty isn’t just from the “mystery” that he presents within the narrative; it also comes from the mystery of his intentions. Of course, I have a vague idea of what they are, but as for where he’s willing to go and what he’ll do, and what he’ll finally find to be the most fulfilling in the end… and as the one behind his voice, I feel like this is my personal journey to find out what those things are. Gendo is very laconic and his lines are quite simple, so I find myself getting clues from other characters’ lines and gaining more understanding through them.

What were your thoughts after reading the script, this time around?



TACHIKI: For me, everything up till 2.0 was a process of tracing the things I’d already done in the past. But in “Q”, it was really… quite literally a “Question mark.“ (laughs) I felt like I was on the side of the audience. But my first impression when I read the script was something along the lines of “aha, so this is how it goes.” I didn’t feel a particular sense of displacement about it. It may be because I’m so entrenched in Eva and because I play such a vital character in this narrative world that I had a strange understanding of it.

Firstly, this time around, I read Kaworu’s lines and really thought, “he’s a good kid, he’d probably grow to become a good adult”. Shinji is Shinji, and I approach him as if I really am Gendo Ikari, so he’ll always be a child to me; there’s no admiration there, but ever since 2.0, I’ve slowly been feeling that unique sense of encouragement that a parent has for their child.

But really, I don’t think I ever struggle when I go into the Gendo role. It’s very comfortable for me, actually. This may be a strange way of putting it, but I don’t think I’ll run into many roles that are this comfortable to play. He definitely has a spot in the best 3 characters I’ve ever played, and he might even be number 1 if I consider how little strain there is to play him.



Can you tell me a little more about this concept of comfort?

TACHIKI: Well, Gendo is a character that really embodies the central core of this narrative. He keeps a lot of secrets—I never knew how satisfying it is to make such vague, loaded statements. (laughs)

I feel as if he’s really at the core of [Rebuild]. But he never reveals the most important things.

TACHIKI: Absolutely. But, I think for me, I actually don’t think I see my relationship with the Gendo role as something where I have to “act”. He breezes through like air… the way I talk, the way I play him, and the way I orient myself emotionally… I completely divorce myself from fluctuations in emotion. It almost feels a bit like narration, sometimes. Honestly, when I first started the television series, I’d only just been exposed to the story. It turned out to be tough; I really agonized about how to make the character come across. I can’t say it was a pleasant experience. But now I’m all the way across the other end of the spectrum, and I really can’t tell you how I got here. I have no idea, myself.

I did hear that there was a lot of nervousness while you were recording for the TV series.

TACHIKI: I think that may have something to do with the atmosphere in the studio and my interactions with Mr. Anno and the other members of the cast at the time. Some of the other cast members were fine with asking questions, but I’m the type of person that doesn’t speak up too often. So when I fell into a rut with “how should I get a handle on this character?” or “how should I say this line?”, I got stuck in the “hmm” stage and often found myself quite frustrated.

It must have been hard to figure out where the story was headed, too.

TACHIKI: Absolutely. I think I got away with what I did only because the era allowed for it. I was still young, myself. But if we were to do the same script on television now, I don’t think we’d be able to reproduce it in the same quality that we did back then. That’s why I think that the Rebuild movies that we’re making right now – on such a grand scale – is a good match for the series. I feel like it’s a natural build on what I’ve been doing, and that meshes well with my continued work in the World of Eva.

In Q’s story itself, the 14 year time-skip almost mirrors our real world time lapse. Maybe the series is maturing, just like you have with what you just told me.

TACHIKI: I think there’s a truth to that. Plus, the story doesn’t end with Q. It almost feels like I’m climbing an insurmountable mountain. (laughs) I feel like I’ll get my answers once I finally manage to scale the length of this great mountain and reach its peak. This is just another point along the way. I’ve gotten older with the years, but I still consider myself incomplete.

As for things getting easier the closer in age I get to Gendo, I really felt it for the first time in 1.0, and in 2.0… In some way, I felt a happiness that only parents can feel about their children. I’d never felt that way before, in all my years being involved with Eva. (laughs)

The audience was surprised as well.

TACHIKI: I’m sure they were. I’m not on the animation team and I’m not in sound production; I’m just responsible for voicing one character. But when I’m playing Gendo, I don’t see it as a job in voice acting, but a role I take on as an actor. I see it as really breathing soul into an individual. Maybe it’s because of that that I’ve recently been finding myself thinking about Gendo’s final moments.

What sorts of things did you feel, taking on this completely new project?

TACHIKI: The long and short of it is that I’d like for the audience to watch Q with a level of seriousness. If we’re talking in technical terms, Part A of the script is probably going to have everyone shaking their heads like “What? What’s going on?” Time will really fly by in the movie theatre.

After doing several of these interviews, I’m getting the sense that the cast’s impression of the story, combined with the characters’ feelings throughout the narrative, mirror each other well.

TACHIKI: When we’re recording Eva, there’s really not much of a chance for any of us to sit down and talk with the other cast members. I think that we all have different thoughts and understandings about the projects that we’ve done for this series. I actually think that that makes it more interesting.

Have you talked to Mr. Anno at all about what might have happened in these 14 years? At the very least, Gendo got new glasses.

TACHIKI: No, I haven’t actually talked much with him about it at all. (laughs) When I’m at the studio getting ready to read my lines, I always wind up telling myself “don’t overthink it”. For me, it’s almost like a ritual, to read my lines methodically and solemnly. That’s just my work process. So I don’t think about the reason for his new glasses or think about what’s changed during those years. If something about his core character’d changed, Mr. Anno would tell me about it.

I think it’s amazing, this understanding that Mr. Anno has with you and the rest of the cast.

TACHIKI: Really, in Gendo’s case, I think the subtle – to use musical terms, I think maintaining cadence is a vital part of his character. If I hear myself slipping out of that cadence, I find myself wanting to redo the take. But it’s usually Mr. Anno that requests a retake, and that kind of unspoken rhythm really puts us in sync. It makes things incredibly easy. I do think that Mr. Anno is a strict person, but I also think that we’re very much on the same wavelength when I’m reading my lines as Gendo. The smallest slip in cadence can ruin Gendo’s character, and I really pay attention to that fact.

On that principle alone, I think playing Shinji would be incredibly difficult…Shinji has all that inner turmoil, all of those uncertainties, the chaos and confusion, the heartbreak, and you’d have to be able to express all of that. Having to do that for Shinji…

The way you describe Shinji is really like a parent talking about his child, it’s wonderful.

TACHIKI: I do think about that, first and foremost. One reason, being that there aren’t a lot of scenes where Gendo is with Shinji. They don’t interact very often. I only met with Ogata once in the studio for this entire project, but I’m sure that [the other cast members] had spend a lot of time alone in the studio, asking “can I do that one more time?” …I think they really have to struggle, and in a good way.

Are there any other things that you pay closer attention to regarding Gendo?

TACHIKI: Whenever I do work for Eva, I get my recording schedule in advance, so I adjust the condition of my voice beforehand. For example, if I have a project immediately before Eva, I do my best not to yell so much during that job. I always try to go into it in with top condition. I’ve been in good form ever since we started the Rebuild movies. I’ve conveniently managed not to get sick for any of them.

Was there anything especially memorable about this recording session?

TACHIKI: The art was so detailed and beautiful, even during the drafting stages. Even without coloring, I was struck by the visuals and how everything was designed. It wasn’t just lineart, because they were made with a clear finished product in mind. I think it was indicative of the kind of quality Evangelion brings to the table. I’m always impressed by how special it all seems.

In terms of Q, from a fan perspective, I’m really excited about all these new characters that were introduced. I’m excited to see the finished product, and I’m excited to see it on screen for the first time.

Q ends with a ‘to be continued’. Is there anything you’re excited about for the future?

TACHIKI: A lot of things change in Q, but there’s not much of a change in Gendo in both 2.0 or Q. Maybe we’ll be really surprised by the next installment. I’m really hoping for that, myself. That’s not to say that there might not be any surprises. (laughs) But I do hope that there’ll be something.

What’s really mystifying about Gendo is that he hardly ever moves, even though he’s a critical character. Everyone around him seems to be… well, it might be incorrect to say the unit of operations, but they’re all working hard. The ones moving around are all people that aren’t him, you know? Including the kids. I think that that contrast is a really compelling part of this series.

How the others 'move’ is also a part of Gendo’s plans. While some tragic things happen on the surface, it also hints to Gendo having some oddly humanist motivations, doesn't it?

TACHIKI: I think you’re absolutely right. He’s not just cold or immoral. I don’t know how to articulate it, but I feel that he shows a strength that’s unique to humans. I think that that’s the one thing I’ve really come to feel most strongly since starting the Rebuild films.

So, maybe that’s why – if Gendo ever meets his end, I wonder what it’ll be like… maybe that’s the moment when I’ll really let my empathy for Gendo bleed into his character. For now, this is all just a big project for me. I’m working towards its’ completion, and I’m reading my lines to get closer to that end. That’s how I feel at this point.

Lastly, please tell us your overarching thoughts upon completing Q.

TACHIKI: Regarding Q – I feel like this is a completely different Evangelion than before. It took several steps forward, instead of just taking one. It’s gone leaps and bounds ahead. As for memorable scenes, I have to say that I’m really looking forward to how they finished the exchange between Shinji and Kaworu in Q. I’m curious to see how they’re going to show it with the addition of music. That’s a moment of respite for Shinji before the story of Q really starts to surge forward and reach its climax. I hope everyone enjoys that transition.

I really feel like there’s a tinge of paternalism here.

TACHIKI: In 2.0, there were moments of contact between Shinji and Gendo in the meal scenes, but this time around, the only point of contact was Gendo giving orders, and certainly not as equals. What does Gendo feel for Shinji in that situation? That’s never explained explicitly in this film, but I hope people read between the lines and form their own conclusions about it. In that sense, everything about Q is fresh, yes.

And maybe I shouldn’t be the one to say things like this, but with respect to Eva… even if the audience reacts negatively to it, I feel like that’s perfectly fine. In fact, going back to my roots, I think that that’s the point of Eva. This is a new series. This is just my take on it, but I think that whatever opinions people form about this movie is fair game.

In a society where people try hard not to step on other people’s toes, I feel like this project is definitely trying to defy that convention in a major way.

TACHIKI: I agree. I think quality entertainment betrays its audience in a good way. The appeal of Evangelion is that it isn’t straightforward. The cast and characterization stays relatively the same, but the pieces in the story start moving differently, and there are setting changes…

I feel that Evangelion is a marriage of adult elements and young adult elements that are made to shake teenage hearts and toss them around a bit, as only animation can. I think the protagonist being a young boy contributes to that, but that isn’t the be-all end-all of its theme. There are mature, stylish elements to the series but also pleasantly childish parts of it, too. I think that might be the reason why it has such a wide appeal, why it resonates with a lot of people.

It’s impossible to describe Evangelion as just an anime. “Evangelion is Evangelion”, a genre unto itself. I do feel that that’s the case.

I feel that this is fate that I’ve been able to participate in this amazing series as a central character. I’ve spent more than 10 years with Gendo, and now I really do believe that I need to think seriously about how I’m going to approach this character in the future.



Tell me your honest opinions; your first impression after reading the script for Q.



KIYOKAWA: I was able to enjoy it with a fresh pair of eyes, since it’s so different from the TV series.

What sort of feelings did you have while voicing Fuyutsuki after the 14 year time-skip?

KIYOKAWA: The story takes place 14 years after the previous film, but the general feeling is that he’s stood the test of time. So I approached his role with the same feel he had in the other installments.

I was still happy to see new sides of Fuyutsuki, though, since the context he’s in is so different.

Please tell us if there’s anything you paid particular attention to while playing this role.

KIYOKAWA: Fuyutsuki is a character that I’ve had the honor of working with for a long time, so I rerecorded my lines until I was satisfied that he, as a character, hadn’t “changed”.

Please tell us your feelings about Q.

KIYOKAWA: I’m very excited to see what the next installment will be like, but for now, I hope that everyone will go see and enjoy the hard work that we put into Q, as many times as they can.

Of all the new characters introduced in Q, I think Sakura’s gonna be the one most talked about. Tell us a little about how you got involved in this project.

SAWASHIRO: I first had the chance to work with Mr. Tsurumaki during Aim for the Top! 2: Diebuster a few years ago. Hiramatsu Tadashi-san was also involved in that project, and apparently my name came up when they were talking about good impressions that’ve been made during that time.

I mentioned Sakura being a new character, but she did appear in 2.0. Literally she just just appeared, though, without speaking.

SAWASHIRO: That’s right. I saw it on DVD.

"Toji has a sister” was always a piece of Eva trivia, but we’d never actually seen her until now, so the fan’s reactions have been something close to “finally!” I think they’ll be even more excited to know that she’s voiced by you, Sawashiro-san.



SAWASHIRO: For me, Evangelion’s always been a social phenomenon, not an anime series. In the social phenomena page in my school’s graduation yearbook, there was a picture of Eva next to a photo of the Olympics. I was shocked—I thought, “Are they allowed to have a picture of an anime series in school handouts?” And now, though it’s a bit embarrassing to say, I finally started watching the series, starting with the Rebuild films. I’d always thought that the series was about kids like Rei Ayanami and Shinji Ikari, but I finally found out that the core of the story really revolves around an adult woman: Misato-san. I – and Sakura, too – really thinks she’s an amazing woman.

I was also struck by Hayashibara-san’s rendition of Tsubasa wo Kudasai*… well, I guess I’m veering away from the movie, aren’t I? That song would be dangerous to hear in person, I’m glad I only heard it in theaters…

*Referring to the song Rei’s seiyuu sung at the tailend of 2.0.

Is that because there’s this aura about the singing?

SAWASHIRO: My instincts are telling me that it’s scary, dangerous…it’s not about me liking or disliking it, or it being good or bad. It’s just something that makes me draw back, something that leaves that kind of impression.

You said that Sakura admires Misato. How did you feel, doing the actual recording?

SAWASHIRO: I thought the best approach would be to ignore the fact that this is Eva – that this is a hugely important project. That’s mostly because Sakura’s identity hinges on youth, the concept of a new generation. I thought it’d just have an adverse effect if I tried too hard. I’d been told beforehand that the whole process would be strict, that it would really be about creating something perfect, but I tried not to let that affect me too much. I tried to be as chill and relaxed as I could, every day.

Misato-san became a superior that I really respected and admired. Anno-san told me that Sakura needed to think of Misato as her role model. And because of that, I really came to dislike Shinji. (laughs) The further I got into recording, all I could think was “How could he keep talking about his own feelings, while there are other people around doing their best to stay alive?” (laughs)

You really got into your role as Sakura.

SAWASHIRO: The Eva that I got to know wasn’t something that I felt was so grandly artistic. My impression of it – or at least, what I took away from it – was precisely the everyday emotions that I shared with everyone, something I’d experience in a normal workplace. It may have been because I experienced it through Sakura’s eyes, but I didn’t feel the same sort of closure that I imagined I would’ve felt before the project.

Part of your role was speaking with Shinji right after he woke up. What sorts of things did you discuss with Anno-san about the background of your character, how to characterize her?

SAWASHIRO: Actually, I’d initially gone to speak with Anno-san about what kind of character Sakura was. All he told me was “Hmm… be cute”. Just that. (laughs) When I tried to ask him for more clarification, about whether or not she was very serious about her job, or if she harbored any resentment towards Shinji, he just said “This is the only thing I have on this character, so it’s probably meaningless to ask me any more questions”. So I started recording thinking “Okay…I think I got it”. (laughs)

Despite that, the number of re-takes kept piling up. The first scene was definitely the hardest. When I played it cute, I was told “make her sound a little more capable”. So, when I tried to make her sound a little more mature, I was told that I’d “made her sound too old”. When I tried to make her sound gentle, I was told to be “more matter-of-fact about her work”. In the beginning, I couldn’t land her scenes at all. In the end, I settled on “plainness” as a motif. But things got a little difficult when we recorded the scene where Shinji says something along the lines of “Take the DSS Choker off my neck, please”, and Sakura replies with, “We’ll never take it off”. We took several variations of that scene, and of all those takes that went for 'cuteness’ or 'plainness’, we took variations where I spoke that line with a lot of malice. I threw everything I had into it, including takes where I expressed a lot of resentment and takes where I didn’t, and at this point in time, I have no idea which one they settled on.

So was it a lot of fumbling around in the dark?

SAWASHIRO: Hmm. For me, it was more like diving into a freezing pool over and over. (laughs) None of that 'slowly dipping your toe into the water business’. I went into this project prepared for what it’d throw at me, so there was no delicate feeling-around process. It was more like, “I’ve never done this before, but is it okay?”, before jumping head first into the water. (laughs) I think this might’ve been the first time I just resigned myself to diving straightfirst like this.

How do you feel, after finishing that kind of recording process?

SAWASHIRO: There are so many directors out there, and they all have different recording techniques. My impression of Anno-san was – well, there was a large blank canvas in front of him, and all the actors just go through the process of throwing paint on it. But the kicker was, only Anno-san could see what that canvas looked like. (laughs) In fact, we had no idea how big the canvas was, or if there really even was a canvas in the first place. No one informed me what kind of painting this was supposed to be. I had no idea how I should be throwing my paint. All I could do was get my hands dirty in Anno-san’s vision. If I fit what he’d imagined in his mind, he OK-ed it, but I’d never really know if I hit the target dead-center or not. Even if I just grazed the side of the canvas, he’d say something like “That’s interesting… OK!” It was a really weird, really refreshing experience.

For example, some directors take an emotional approach to their direction, like asking me to express “this brand of hate” when I’m recording a scene where I need to express resentment. Some directors have a particular cadence in mind, so they tell me to “lift my voice more cutely”. I adjust myself accordingly, in those cases. That’s just another way of going about a project. But with Eva, where I had no idea whether what I was doing was right or wrong – where I was simply told to “do it again” – it’s almost like working collaboratively on an abstract painting.

I see. So that’s why you used the word ‘canvas’.

SAWASHIRO: Right. Anno-san never really looked at us; he was always looking at the canvas directly in front of him. He’d only pay attention to what was being thrown on it. His focus was always on the work, and not on the acting that we provided. But that wasn’t hurtful or upsetting to me, it was – well, I was really able to concentrate. I’m sorry, I’m speaking entirely in terms of my feelings…

No; it definitely matches up with what I’ve heard from the other actors. I understand, it’s very interesting.

SAWASHIRO: The exception was with Ogata-san, I think. I feel like Anno-san really did direct his attention towards her personally. It struck me how they really seemed to be participating in this project as equals.

When I went to see some of the recording process, I remember that you had to provide so many different takes on one scene. The people on our end of the booth were all like, “whoa, this is amazing!”

SAWASHIRO: Really? (laughs) I’d been told before recording that I would be taking several different takes for one scene. So I knew that if I didn’t respond to abstract demands with something concrete, I’d just wind up confusing myself. So from the start, I’d recorded my takes with a clear image of what I wanted to do, even if I had no idea what was being expected of me. If I didn’t, then I’d have no idea how to vary my acting. I was really afraid of thinking “Well, how should I change this?”

I see. So your variations weren’t “A-, A, A+“, but more like “A, B, C, D”.

SAWASHIRO: That’s right. I wanted the differences to be really distinct. But I could sort of tell that everyone on the other side of the glass were thinking “Damn, you don’t have to change it that much”. (laughs) Like, they were thinking, “We just wanted something subtle… don’ change this line from B to C. Alright, let’s do it again”. My plan ended up falling on its face. (laughs)

I don’t think so. I think it was kind of like a “Wow, now we can choose whichever of these we want!” It was amazing. I also wanted to ask – since Sakura is Toji’s sister, how did you factor the Osaka dialect into your characterization?

SAWASHIRO: I prepared myself to be able to act in both standard dialect and Osaka dialect. Right after I got the part, I called Seki Tomokazu, who played Toji, and asked him how he’d done the role. His answer was roughly something like “Oh, it really isn’t an Osaka dialect. It’s a Toji-dialect.” Meaning, he wasn’t speaking with the mindset of a person from Osaka, but rather as himself, speaking with an Osaka dialect. All I could say was “Yeah, I feel you”. (laughs) Even so, I anticipated that I might be told to speak more like a native Osaka resident, so I prepared anyway.

It ended up being that I didn’t have to do any preparation at all – but I did kind of want my consonants to sound more pronounced, so that the audience could maybe hear it and think, “Oh, is she from Kansai?” Maybe because I’d practiced so much, I ended up sounding a little too accented throughout. I had to retake quite a few scenes.

So when you read the script, you had the impression that she spoke in Osaka dialect. But you had to conduct most of it in Standard Japanese?

SAWASHIRO: That’s right. I was told that there could be a few places where I could have a little bit of that Osaka nuance—for example, when Sakura is asked, “Are you Toji’s sister?” and she replies “Uh-huh, tha’s right!” Other than that, I was told that she could speak normally.

Even if her dialect was on and off, it really did remind us of her familial ties with Toji.

SAWASHIRO: I really thought Toji was a good guy, watching the series. Being raised in a family where I had someone like him as a brother, I don’t think there would’ve been room within me to develop feelings like resentment. Instead of negative feelings, I wanted Sakura to be the type of girl who can say “No” when she has to. I didn’t want there to be grey areas for her. If I had to choose between the words “sharp” or “flat” to describe her, I would choose “sharp”. Between the sun and the moon, she’d be the sun. I wanted people to feel some of Toji’s upbeat, 'good-guyness’ from her, too. And I wanted that to come from her character itself, not just from the way she sounds.

That’s very interesting. After all, that “good guy” vibe we get from Toji is largely due to Sakura’s accident. He punches Shinji after Sakura gets injured, and then he apologizes for it. That’s where we get the impression that he’s a good boy, so it feels like we’re coming full circle with this.

SAWASHIRO: When Shinji-kun gets on NERV’s EVA and leaves the Wunder, she says something along the lines of “Give me a break!”. I wanted her to say that without resentment – just pure irritation. I really wanted to separate those two emotions with my acting.

Was that at the core of your characterization for her?

SAWASHIRO: No, I think it was more like a simple rule that I set for myself. (laughs)

Of all the new characters, Sakura has the most lines. I feel like her feelings are very clearly conveyed throughout.

SAWASHIRO: I agree. My angle was not to overcomplicate things. Usually, I get called to do more difficult, convoluted roles, so at first, I’d thought that Sakura wasn’t a role I’d be fit to play. I had an especially tough time working that out with myself.

What I mean by 'difficult’ is that I usually play roles where there’s a big reveal; a 'not who you think they are’ type of character. Or I play characters with very complex goals. Those are the character tropes I’m usually approached for, so this may be the first time I’m playing such a straightforward character.

What do you think about Sakura, on a purely aesthetic viewpoint? I think she’ll be very popular.

SAWASHIRO: I hope so! I was just looking over the character designs, and now that I’m looking at her with a respect to how she fits in the larger picture, I really do think that she’s the one that brings a sense of youth to the story. I really feel like she’s just a normal person. (laughs) Someone that’s very ordinary. She’s the odd one out, in that sense. (laughs)

What were your impressions of the recording process itself? Was there anything notable you want to share?

SAWASHIRO: I learned that even the senior voice actors went into the recording process with very minimal information. Even less than I’d thought. I had the honor of working with Mitsuishi-san, Yamaguchi-san, and Ogata-san…

If we’re talking about things that left an impression, I’d have to say Ogata-san without a doubt. Even though she’s been working for such a long time, her emotional stamina’s been constant throughout. It was amazing to see her maintain such consistency in her role, despite all the years she’s put into it. She played it this way in 2.0, and she’ll approach this scene again for 3.0 in the studio. There was no awkwardness about it, which there might’ve been if it was just a one-time role. She was incredibly logical about it, and she made suggestions based on calm, comprehensive knowledge of the series. It was incredible.

…Also, I really loved the way Anno-san said “Ok, Rit-chan, that’s it” to Yamaguchi-san after she was finished. (laughs) His distance and the way he communicated with each of the voice actors was completely different, so it really gave me a feel for how all of these different actors have been working on this project with totally different styles.

So. There’s going to be another one of these movies after Q. What are your thoughts on that?

SAWASHIRO: First and foremost, I’m really looking forward to seeing Q as a finished work. (laughs) I hadn’t received the script outside of the scenes I had to record, so I have no idea what the movie as a whole is going to be like – I feel like this is what movie actors go through all the time. Us voice actors usually get to put voices on a completed reel, so we have a good idea of what the entire finished product is going to look like. We usually get an understanding of what the story is going to be about, and then start recording our individual bits. But this time, I had no idea how Q was even going to end, so all I could do was throw myself at what I’d been given. It was something I’d never experienced before. I’ve never acted with myself in front of a camera, but I imagine this is what it must feel like.

Anno-san is a stickler about getting that live-action feel, so maybe he wants some of that rawness.

SAWASHIRO: If I had a 100% understanding of the role, I feel like the role would have felt more alive— that is, I was unsure of how alive Sakura would sound if 80% of it just sounded like me talking. I really felt that for this role, because it was less like me being called to do a role that I was fit for, and more like they wanted to change how I act to fit this role. I was nervous. But after recording started and I really gave it my all, I forced myself relax and space out. So in the scenes where Ritsuko-san would call me, I made a conscious effort to space out in front of the microphone for as long as I could. Like, thinking about what I would get for dinner that night. So I’d be able to answer with a “–Whoa, yes!” and really feel the urgency behind it. It was really fun. I was like, “Hey, I’m actually having fun with this”. (laughs)

I think that rawness that Eva has is moreso a sophisticated sort of realness. When thinking about how to make Sakura feel more real, I settled on being spacey. (laughs) I’m really excited to see how everything came together, keeping that in mind.

Now I really believe she’s the one that’ll connect the audience with the world of Eva.

SAWASHIRO: The new characters appearing in this movie had a lot of difficult technical terms to say, but for me, a lot of my lines just came from the heart. I hope I’ll get to appear again in daily conversational scenes. I’m sure Sakura is cute outside of uniform, too.

I’m sure there are a lot of fans that’ve already fallen in love with her at first sight, so if you have any final words – please go ahead.

SAWASHIRO: I really hope you enjoy what you see. That’s all I can say for now, but personally, it really feels like saying “Hi, I’m Sakura, and I’ll be joining you all for the long haul!”. As someone who just started participating in this project in the past year or so, I don’t think I’ve earned the right to say something superficial to all the Eva fans and creators who’ve loved it from the very start, those who’ve really treasured this series. I’m honored that I’ve finally joined all of you in enjoying this series!

I really do think that I would’ve never properly gotten into this series if I hadn’t been approached for this role, so I’m glad that I was able to be a part of this. More than anything, I’m happy to be watching this series with everyone. I feel like just another fan who can’t wait to see what’ll happen next.

You played the part of Captain Nemo in Nadia, the Secret of Blue Water, so your relationship with Anno-san goes way, way back.



OOTSUKA: It has been a long time – the last time we actually worked together on anything was 20 years ago. Nadia was Anno-san’s first time directing a TV series, and back then, he was very young; a real ball of energy. But 10 years ago, when I saw him during an NHK show, I almost didn’t recognize him – he looked so tired. I actually wondered what had happened to him during that time.

How was it, working with Anno-san again after such a long time?

OOTSUKA: It might be because he was working in his element, but he was very lively. It was different from how he was when he was younger, though, of course.

Takao is described as Kaji’s acquaintance. It seems like you and Kaji’s voice actor, Koichi Yamadera, often work together— for example, Batou and Togusa in Ghost in the Shell. It’s almost like your roles strangely mirror friendship in real life…

OOTSUKA: I get a chance to work with Yama-chan quite frequently. It’s been less so recently, but we worked together in Yamato*. We’re both colleagues who’ve worked together in the same era of voiceacting. But applying that to Takao, I’m not sure if he’s been given much detail to his character. I haven’t heard anything to that extent, and even I don’t know the specifics of his character. Judging from looks alone, he seems like someone who’s worked his way up in the field. It might been interesting if he’d been an up-and-coming cadet, straight out of academy. (laughs)

*Referring to Space Battleship Yamato 2199, where Ootsuka played Domel and Yamadera played Dessler).



What was recording like?

OOTSUKA: The last project I worked on with Anno-san was a TV series. Things were naturally different this time, because now, we’re working on a movie. We recorded scene-by-scene, so I’d find myself re-recording very precise details. I think it was to my advantage, that I’d had a year’s worth of past experience with working with Anno-san! Instead of getting caught up in the small details, for me, it was all about “Yeah, let’s do this”. If Anno-san felt the same way, I think there was a little bit of a mutual resonance there.

A battleship makes an appearance for the first time in Eva history… since you played Captain Nemo in Nadia…

OOTSUKA: (laughs) Maybe that made him think of me. I asked Anno-san when we first started, “So, is the engine system for this battleship an annihilation engine*?” He shut me down immediately, saying “No, they’re not using such ancient technology”. (laughs)

*Referring to the kinds of engines used in Nadia.

I definitely see the mutual resonance there. Even among the new characters, it seemed like Koji was really holding the fort in terms of gravitas.

OOTSUKA: Well, Mitsuishi and Hayashibara are also veterans, so I don’t think there was a need for me to hold the fort. (laughs) If we were a band, I’d be the bass player. When working as a team, you have to think about what specific purpose you serve. There’s the lead singer, the lead guitar, the drums.

Maybe because Lieutenant Tokugawa from Yamato is still so fresh in my mind, but I was shocked when I was told that Koji’s beard is still black, and that he’s younger than he looks.

OOTSUKA: Because the animatic hadn’t been colored yet, I first played him as if he was an elderly man. (laughs) In roles like these, I do think that following Anno-san’s instructions was more important than going for personal expression. There’s a limit to how much I really know about this character, and I shouldn’t step out of line and add my own characterization.

There’s a line that alludes to the fact that he’d recently heard about Misato from Kaji.

OOTSUKA: The Kaji line directly links me to Yama-chan in my mind, so it was quite easy for me to get a feel for what kind of relationship they have, like that “Ah, I remember my good friend saying that…” kind of thing. But that’s really where it begins and ends, since a majority of my lines were Koji conducting work, and that’s not something that requires a lot of emotion on my part. On the contrary, he had to sound businesslike and efficient. It’s during the quieter moments that we can just pop those “Oh, so that’s what Kaji meant…” moments.

It’s absolutely the case where sometimes, actors have to fill in the blanks that aren’t on the script. But in roles like these, it’s my job to properly convey what’s on paper. That’s the first step. In that way, this wasn’t a hard role to play, so I enjoyed getting into it.

What kind of vocal adjustments did you make?

OOTSUKA: In my case, I just look at the character spreadsheet and get a quick idea of what I envision them to be like, and then I act accordingly. I gave him a tough sound, judging by his appearances. I can usually get a feel for the sound of a character once I see them, and I trust my instincts. A lot of the time, doing that eliminates any sort of awkwardness. I have a lot of trouble when people tell me to do someone’s voice without giving me a picture of them first. If it’s a character I played for a long time, then I can see them in my mind’s eye.

By the way, in the scene where the Wunder takes flight, an arranged version of the N-Nautilus Theme in Nadia plays in the background.

OOTSUKA: Really? I was a Captain back then, so this is quite a demotion. (laughs)

They’re actually playing the digitally remastered version of Nadia in NHK right now.

OOTSUKA: I can’t watch it; I get too embarrassed. I was 30 years old or so back then, but I was playing a part of a grown father with a daughter and I can just hear myself trying way too hard. Even if the vocal tone is right, I can hear the weaknesses in the emotional side. That’s why I wish they wouldn’t air my old work. (laughs)

I think the fans will be happy to be able to connect these worlds, in some way. Tell us about anything that stood out to you during recording.

OOTSUKA: I feel like I, personally, was given a lot of consideration. For example, I was told that this isn’t a very cool role. Those things don’t matter to me, though. You know, just the fact that Anno-san thought of me and said, “It’s been a long time since I’ve seen Ootsuka, let’s call him down”. That’s enough for me – that’s what made me go, “Alright, I’ll do anything!” I think what stood out to me most was that I got to see a lively Anno-san again.

He almost seems like an old war buddy.

OOTSUKA: In a grand sense, yes, but not quite. Back when Anno-san was doing TV series, he was someone with a definitive eye for things. “I want to do it this way, that way” – you know. When it comes to the audio side of things, there are some things that don’t go the way he wants, and I’m sure he must’ve struggled with that. But on this project, I could really tell that he wanted to get his hands dirty in everything regardless, and it was easy for me to say “Sure thing, I’ll do whatever you ask”.

I think that unspoken trust really helped Q become a finished product. What kind of things do you hope to see from Anno-san, 20 years in the future?

OOTSUKA: In this day and age, the world of animation is becoming very polarized. There’s a micro side of things, where people make something based on the absolute minimum number of DVDs it’ll be able to sell, and a macro side, where people spend as much money as they can on something, so they can show it all over the world. Without more people willing to do the latter – to work on the really big projects – I think the animation industry in Japan will weaken, and there won’t be much work for me to do. I’m not exactly in high demand for the moe genre. (laughs)

Us voice actors are usually preoccupied with the work we have right in front of us, but Anno-san is always looking 10, 20 years into the future. He has that power, he has that capability to move this world… it’s up to people like him, people who others will be willing to give money to, to keep moving forward. I think that’ll be very important for the future of Japanese animation. I want to continue doing my best to that end, and look out for my health.

Please tell us how you got involved in Q.



OOHARA: Actually, I’ve already been involved in this project, in both 1.0 and 2.0. I recorded an enormous amount of background announcements over a long period of time. When I went to audition and finally got a name part, I did feel like I received a promotion. (laughs) The amount of lines I had to record actually lessened drastically, but I was so happy!

How did you go about characterizing your long-anticipated role as Sumire Nagara?

OOHARA: I got a lot inspiration from the character sheet that I’d been given. I was shown all the other new characters along with Sumire, so I could compare her with the others and get a feel for her “Sumire-ness”. Agewise, she’s set at somewhere in her mid-twenties to thirties, and I wanted her to have a secondary 'big-sister figure’ presence, leading the people on the ship and following in Misato’s footsteps. Sadly, all of her lines were operation-related, and I feel like I finished this project never really getting a feel for what she’s like off the job, or how she speaks normally.

There’s been a time skip of 14 years since the last film. How have you interpreted that?

OOHARA: She must’ve had to overcome a lot of things, must’ve lost people dear to her… The look she gives Shinji – there were no lines to go along with it – but I think that moment really defines what kind of person she is. Misato-san is working with Sumire so that she can replace Misato’s position someday – that was my own interpretation going into this role, so her mental energy is similar to Misato’s. She doesn’t flinch at the slightest sound, expresses unspoken emotions through her expressions, and chooses her words calmly and wisely. That’s the image I have of her.

What was the atmosphere like, during recording?

OOHARA: I re-recorded a lot of my lines over and over, and there was really no explanation as to why. At first, it was very nerve-wracking. But it was so they could pick and choose between various slight variations in my acting. I certainly can’t replicate the same line perfectly over and over, so I could tell that they were trying to choose the takes where I showed the kind of vague nuance that they wanted. In the end, I decided not to overcomplicate things and throw everything I had into each take. By the time recording was over, my vocal cords were completely shot. But even that fatigue reminded me, “Ah, as expected of an Eva movie…”

What was it like, finishing recording with all the regular cast members?

OOHARA: I do a lot of roles where I play the proverbial “big sister”. When I was just starting out, I’d been told on more than one occasion to say my lines “like Misato-san from Eva”. (laughs) It’d been a goal of mine to be able to portray strong women like Mitsuishi-san does, and it was like a dream for me to be able to work with Misato-san in the Eva universe. It’s really indescribable… I’d been a fan of Eva since I was in school, and when I was credited in 1.0 and 2.0, my friends from school who I hadn’t talked to in ages emailed me and gave me raving reviews. So really, this entire project’s been like a huge promotion for me.

Even though I’m one of the people involved, I’m really excited for this movie to be released. I never expected there to be a battleship in Eva; I think it’ll really defy expectations and be visually spectacular. Getting a vision of the whole picture is still like grasping at straws, but I think that lack of clarity is also a unique Eva trait.

As for Sumire, I really hope that her characterization doesn’t end here. I want to keep giving her more presence, more emotion. I hope there’ll be an offshoot series where we get to see what the new coordinators were like during the 14 years that we didn’t get to see in this film. I hope everyone falls in love with Sumire so something like that can happen.

Please tell us about how you first got involved in this.



KATSU: I heard that I was chosen from a pool of other voice actors. Anno-san told me to approach the role with “a lack of caution, like a member of the Yutori age*” When I looked at the script, I figured the character really was the type of person who – despite being a professional crew member – always had a manual in his hand for easy reference. Like, “Wait, am I really doing this right?” That type of guy. I thought it was quite interesting that he seemed like he was straight out of university, and it fit in with my own feelings going into this project nervously, among all the veteran Eva voice actors.

*A Japanese cultural reference referring to the generation of sheltered adolescents.

What were your first impressions of Tama, as a character?

KATSU: When I first saw the pictures, I thought he was a pretty good-looking guy, maybe a little irresponsible. But as I started reading his lines, I saw the side of him that took things at his own pace, saw how unprepared he was for fighting, the sides of him that were weak. That made me very interested in his personality. This is all just my interpretation of him, but I don’t think Tama’s a hot-blooded person at all. If anything, he’s by the books, a little cowardly. He doesn’t make bold reports; he makes them precisely, just as they’re written on paper. In times of danger, he shows his cowardliness, but he does what he has to do. He’s been trained to do the absolute minimum. He’s not a professional yet.

How did you feel about participating in an Eva project?

KATSU: When I was first approached for it, I felt my hands shake. Of all the animes I’ve seen, Eva is way up there in terms of rank. Even though I was honored, I was also scared and nervous. I’d worked with most of the other voice actors on different projects before, but it was a completely different sort of workplace tension – having to act next to other Eva characters. And of course, we all heard the rumors about how “recording for Eva is really strict”. But the reality was very different. The workplace itself’s based on multiple takes so that they don’t have to compromise on the final product.

For me, after doing take after take, the nervousness and obligation melted away, and I was able to let go and tap into something that I’d never seen before. I feel like I was able to transcend the conceptions I walked into the studio with, and bring something even better.

Especially for the new characters, their voices seemed to be a major factor in their characterization.

KATSU: I felt that we were all making this character together. The whole process of working under a time limit and going through as many trials and errors as we could within our given frame was refreshing. It’s something you don’t get 