This time I combined Yukana’s interview from regular version pamphlet and deluxe version pamphlet.

—How was your feeling before the recording for “Lelouch of the Resurrection”, Yukana-san?

Yukana: I’ve been looking forward to the day of the recording ever since the production was decided. The truth is, because the period between the time I received the script till the recording was short, it made me feel a bit impatient. But I took it as a sign of enthusiasm, focused all my strength, and joined the recording.

—Did you receive explanation about what C.C. was doing after Zero Requiem?



Yukana: Along with the script, I received descriptive materials about the new characters, the world view, the chronology up to this point and the current world situation. There were simple explanations on each individual’s circumstances, but not so much on C.C.’s own emotional points. At the beginning of the movie, there are scenes where I could sense what happened after Zero Requiem and what’s going on now, so there are also things I learned and came to know there. As for the rest, I learned about them as I performed my part.



—What points did you emphasize in playing C.C. in the first half of the movie?

Yukana: In the impression she gave off in the early TV series, she might’ve appeared to be stronger and more independent than she is now. But this C.C. isn’t like that. The Lelouch beside her is like “there” but “not really there”. As if he’s ‘something’ that resembles Lelouch… Because he’s in that “form”, there might be times she feels uneasy when he’s next to her. There’s an indescribable sense of loss. Though she was supposed to believe that “No matter where I am, I’m always alone”, when she realized it, his existence had grown so large. Coming from “one-ness” that consisted of two of them, to “one-ness” that consisted of herself, it must’ve felt lonely. It’s difficult to express that feeling that something is missing… I wonder to what extent I should let that out. It was hard to grasp how much the person herself really aware of what she’s feeling.

—After that she ran into Kallen and the others, and the story starts to put in motion.

Yukana: Because I like action scenes, I’ve been secretly envious of Suzaku and Kallen, but this time I got to join them in a fight, and it was fun. It’s a cool scene too. I also like this kind of story that’s propelled from accidental events. All this time, she must have been traveling under immense mental strain. Being all by herself, she has been safeguarding and constantly holding out vigilance and cautiousness nonstop until she doesn’t need to. Thanks to them, even though on one side it means her and Lelouch existence became known, but she was also able to band together with the people she can trust.

—C.C. protects the pre-“resurrected” Lelouch to the end.

Yukana: I think C.C. changes which part of herself that is in contact with others depend on the other person’s identity, personality, and proficiency. Because she’s multifaceted by nature, in front of the fully developed Lelouch she speaks to him from higher position, in front of the less developed him she turns overprotective. She drives for him, carries his luggage, cooks his meals, puts him to sleep… But, as the sentiment is not reciprocated, it must’ve felt lonely.

—About C.C. who changes depending on the partner, did you change your performance as C.C. again when Lelouch was resurrected?

Yukana: As Lelouch was resurrected, and friends gathered, C.C. also seemed to return to her original self. However, I was surprised when she pointed a gun at Lelouch who seemed to have given up hope*. Even though it’s a scene where C.C. pointing a gun at Lelouch, I feel like if it’s the previous C.C. she wouldn’t act in that direction. It appeared that she’s clearly moved by different kind of feelings than before.

* When they were up against Chamna in the movie

—Chamna from Zilkhstan who appears this time as a new character is conscious of C.C.

Yukana: No one but C.C. can understand Chamna’s feeling of solitude. I think the only one who can surmise the true meaning of always being “there” is also none other than C.C.. As far as I can tell from the story so far, neither V.V., Charles, or Marianne or anyone else would be able do that, and Chamna’s ability itself is something that’s hidden. Also, even though they met in that condition, I’d like to believe there’s a feeling of “I’m glad we get to talk”. A sense of comfort and pity towards the person who can understand them. I believe more than what C.C. harbored towards Chamna, there’s a part of Chamna that was saved.

—Chamna and C.C. also have contrasting ending.

Yukana: She went to send her off until they went separate ways. It’s unclear whether she did it for Chamna, for Lelouch, or for the future, but I think it’s C.C.’s own way of wrapping things up. At the end of the movie, everyone goes back to their respective place. They have a place to return to after all. Then what about herself? Thinking how she’s all alone again only made her feel lonelier. To the extent she had to disappear before someone asked her “What will you do from here?”, otherwise she wouldn’t be able to bear it. Hence when Lelouch came after her, she might kept him in check more than necessary. That right there is a display of emotions. These two, for some reason, looks happy when they call names at each other after all.



—Yukana-san, you seem to fully grasp C.C.’s heart.

Yukana: It’s nothing like that… but exchanging needless retorts back-and-forth is fun. Like intentionally choosing strong words. However… harsh comments will be made from time to time. Not in the script, but in the C.C. inside me…

—How was the last scene?

Yukana: It’s exactly in that scene that what I mentioned just now occured. When she’s asked “How about L.L.?” she asks back “Eh?”, but during the rehearsal when she was asked “How about it?” I made a sound with a nuance close to “Huh?”. Because the C.C. inside me took an uncompromising attitude “That’s not something you should let people hear more than once!” that’s closer to a threat rather than a comment… no matter how, I couldn’t utter that single syllable that carries that one single honest feeling. After the rehearsal, I received a guidance from Director Taniguchi “I suppose it’s hard to understand, but this is actually Lelouch-kun’s way of proposing!”… I’m sorry… I think I understood that but I couldn’t get the sound out no matter how. I lost to the uncompromising will “Don’t even do it twice!”. I’d like to take this opportunity to express my deepest apology.

—So what we hear in this movie, is a one-off thing that was done for the actual recording.

Yukana: That’s right. Even in the studio it’s done just once. The scene just before the “Eh?” line (though it’s due to technical reasons) wasn’t recorded separately but together. The feelings of Lelouch in the movie and the love of everyone in the studio were felt quite strongly. After all, that right there is a new determination that is L.L. My chest became so full that I couldn’t fully take everything in.

—As you’ve been watching C.C. for 10 years, how does her life look like from your perspective, Yukana-san?

Yukana: For me it’s been a colorful long 10 years, but in her long long life it’s only been an instant moment. Even so, it must’ve been a moment that leaves a deep impression. Then that’s good.

—What kind of work “Code Geass” has became for you?

Yukana: For this work, I had so much fun in the working site. Before the recording of the first episode of TV series, me and Fukuyama-san were called to the studio to receive explanation. I remember thinking “It sounds like it’s going to be a tough and fun working site” when I heard the story from Taniguchi-san. He explained to us the worldview and the general idea very carefully. However, the recording began without us knowing the characters’ own personal info or how things will develop from here, even since then it had always been like that. It was a style of recording where we weren’t informed of the next development and learned about it for the first time after seeing the script. It was like we the actors were the avid followers of a serial novel. With a feeling similar to the viewers’, we were thrilled with excitement “What will happen next week?”. It’s a work that made my heart pounds over many years.

—Sounds like a working site that drained your energy for every week.

Yukana: Indeed. But I had a lot of fun. Seeing the strenuous effort of everyone who stood firmly in the face of great difficulties, doing this together with the people who looked like they have fun even when they’re saying “this is hard”, I had a really great time. Above all it was a work that required energy, and I also wanted to burn off more, so each week I brought a lot of refreshments to the recording. Back then there was an impression that even Director Taniguchi got skinnier and skinnier. Fukuyama-san always put his everything into his acting, so he entered the studio while bringing a lot of foods so that he could burn as much energy as he needed. Sakurai­-san seemed to be anti-western, so for him it’s onigiri. Koshimizu-san came bringing a lot of waters for about at least several days. Every week, I prepared an amount of refreshments that made me wonder whether it was too many, but by the end of the day almost none would be left. I think everyone strained their energy at least that much.

—Then how about the recording for this “Lelouch of the Resurrection”?

Yukana: Recalling it, it has only been a few months ago, but it feels like a battle that happened long ago. It was a rich period. A period where there was no sense of reality when it passed through, but it certainly happened. A mysterious period that I can never go there again by myself even though as a person I should’ve burned my energy. Everyone in Zilkhstan who joined in this time is also truly wonderful. They faced my cumulative experience over this past 10 years with a vigor that made me seem unworthy. As we face each other to the extent of our ability, with this new contrast, I hope you would have your fill of this beautifully fierce world.

