2023 Summer Anime] Interview with Tomoyo Kurosawa (played by Rando Rakuya) for the TV anime "Undead Girl Murderfalse": "It was the most difficult work for me, as I learned how inexperienced I was".

Tomoyo Kurosawa plays the role of Aya Rindo, a beautiful immortal detective girl who has no body from the neck down, in the TV anime "Undead Girl Murderfalse," which starts on July 5.

In order to regain her stolen body, she travels around Europe with the half-human, half-demon Shinuchi Tsugaru (CV: Taku Yashiro) and the maid Shizuku Hasei (CV: Makoto Koichi), solving numerous cases as a detective specializing in monsters called "Torigotsukai". In this work, which depicts their journey, she seems to be quite fond of her traveling partner, Tsugaru, saying, "Tsugaru hits my pressure points with pinpoint accuracy. Kurosawa-san, who said she was trembling with excitement before the recording session, told us about her impressions of the recording session, her approach to Raven Night, and Tsugaru's favorite points.
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2023 Summer Anime] Interview with Taku Yashiro (actor of Tsugaru) for the TV anime "Undead Girl Murderfalse": "I consulted with him about the balance between what I wanted to do and what I heard.

Q: When you read the original novel, you commented that you felt a sense of elation and immorality.

Kurosawa: The descriptions of monsters and vampires are vivid and detailed, and the text is very easy to read, so I could picture the images in my mind. It was like watching a circus a long time ago, and although I was there to see it, I felt a sense of immorality in being elated. I had a sense of fear that I would enjoy the feeling of being jiggled behind my ears, and I went back and forth between elation and immorality. I also felt a sense of fear for myself for liking it and for myself for liking it, but I also thought that this must be the origin of entertainment. I also really like the feeling of being toyed with in a place from which there is no escape.

Q: How did you feel about the character of Raven Night, a beautiful girl with a severed head who had her body taken away?

Kurosawa: As a performer, I thought that having a raw head would be interesting because it would give me more room to play the role. The fact that she cannot die and cannot move of her own free will is also an attractive feature for an actor.

Q: I heard that the long lines in the audition were very difficult.

Kurosawa: I just looked at the script for the first time in a while, and I was surprised to see how much I had said (laughs). (Laughs) Most of the lines are from the original work, and the text itself is light and rhythmical, so it was not difficult to read. However, when I thought about providing the director with the sound, I had to fight against my ego and wonder how far I should go in my performance before the images were colored. The theme of the film is "chic," and the amount of dialogue was such that I felt like I was getting lost in the chicness of it all.

Q: What was the battle against your ego?

Kurosawa: With long lines, I wanted to speak in a way that could be understood by the ear without relying on the pictures, but I knew that the director would create wonderful pictures, so I wanted to leave some of the work to him, and I also didn't want the staff to feel that I was slacking off as an actor by leaving things to him. I believe that even if a voice sounds flat, it can be just right when matched with the picture, so I talked with the director about how much color I should add to the voice, and we made adjustments by pushing and pulling. I was able to adjust it by pushing and pulling with the director to see how much color I could add to the voice.

Q: You were able to do the postrecording together. How was Tsugaru played by Ms. Yashiro?

Kurosawa: Tsugaru is like a person who has a fetish that hits my buttons with pinpoint accuracy. My impression of Tsugaru is that he is "unfair" (laughs). I like his long, stumpy, thin hands, his slightly hunched back, his large but slender frame, his high physical ability, his aloofness but glimpses of darkness, his light tone, his lightness of voice but somewhat cloudy, his bloodlust but dripping with blood, and his sex appeal. It's like a sexy thing. It is full of such fetishistic elements, but it is also wonderfully balanced. And then Ms. Yashiro herself chatted, and the Tsugaru's voice was blended with a sense of fondness, gentleness, and loneliness, and I listened to her thinking, "Tsugaru is getting more and more erotic! I was listening to it thinking, "Tsugaru is getting more and more erotic!

Q: What do you think of Tsugaru and Shizukyu, who travel together with you?

Kurosawa: I think Tsugaru is "salvation" because he is the only way for me to die. The hope that Karasuya sees in Tsugaru seems to change its color and shape a lot between the first and final episodes. I have the impression that Tsugaru is a character who is consistently a hope for Raven Night, but the gradation of that hope has changed. Shizuku is still the person to whom I can entrust myself with the greatest peace of mind, but at the same time, he is the one who will never let me go from the past. He is the one whose face makes me feel at ease, but he is also the one who makes me feel hard on some days. I think of him as a character with both sides.

Q: You mentioned that the story is a fairy tale for adults.

Kurosawa: I think it is the way the view of life and death is depicted. There are many characters who shake up our ethical view of life and death, of wanting to live and dying, and of desiring to live and die. I like the fact that the characters are all extreme and there is no justice. They all speak out about their own greed and selfishness. I think the fact that the premise is based on personal justice rather than general justice is a point that I can recommend in the sense that it is a fairy tale for adults.

The gloss and sex appeal of the work. Were you conscious of the adult-oriented nature of your performance?

Kurosawa: It's not something you can bring out just because you want to, so it's impossible for me (laughs). (laughs) But after the recording was over, I thought, "This is kind of erotic. During postrecording, I was conscious of the sexuality of the life force when death is in the air, rather than the sexuality that is completed as an easily recognizable mark of "uh-huh. For example, the eroticism in a war movie that is similar to the eroticism felt in a human drama, a bloody sexuality, or an eroticism that drifts in when there is a sense of life in danger.

You felt that this work would be the most difficult in 2022 (at the time of recording). Now that you have finished the post recording, what kind of work was this for you?

Kurosawa: I think it will be a work that will become a very big opportunity for me. I have not yet been able to look at my own performance objectively, but during the postrecording, I felt that I was able to see more and more scary things. It was like "climbing the stairs to adulthood.

Q: The keyword "adult" appears here as well, doesn't it?

Kurosawa: I recognized that up until now I had been ignorant of scary things. After I saw something scary, I was afraid to open the script, and I truly realized that acting is a difficult thing. They say there is no right answer in entertainment, but I have lived my life thinking that there is still a certain amount of right answer. I have been running toward the doors one by one, but at last the doors are gone and I can only see a tunnel of darkness spreading out. I felt inexperienced, thinking that I had not hit the mountain where I could see (what I was afraid of). I thought it was going to be a challenge, but it turned out to be a challenge.

Q: How did you overcome it?

Kurosawa: It was a great help that Mr. Shinichiro Miki and Mr. Masaki Aizawa, who took part in the postrecording when I was feeling broken, worried with me on the set. I felt the endlessness and challenges of being an actor in this work. I found the endlessness of Raven Night in myself as well, and this work made me think about how I should live my life from now on.

Q: I am looking forward to this film, but I am also looking forward to your work after you get over this film!

Kurosawa: First of all, I want you to fully enjoy this work. I think the battle scenes and the eeriness of the colors are also highlights. The first episode begins with a scene at a freak show, and it is a work that you can enjoy just like being at a freak show. Since it is summer, I would be happy if you could enjoy it at night in a darkened room, as if you were trying out your courage.