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mirai-e-jump · 3 months ago

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Boonboomger/Gotchard Film Pamphlet ft. Main Cast & Staff Interviews (translations below, long post)

Publication: July 26, 2024

Iuchi Haruhi (Taiya Hando)

For this film, the guests are HIKAKIN-san and Irei Himena-san. I'm together with HIKAKIN-san during the opening scene. I started watching Youtube when I was in my second year of elementary school, and have been watching him ever since, so I was really tense at first. Because HIKAKIN-san was playing himself, I was as nervous as I was during filming of the first episode, and it was hard for me to interact with HIKAKIN-san as Taiya Hando, not as Iuchi Haruhi……

In between filming, I had a chance to talk with him for alittle bit and told him, "I'm glad to meet you," to which he replied, "Same here, I'm also glad. Thank you!," and I was extremely moved.

Irei-san has a long career in acting, and I was particularly impressed by the delicate expression she showed when she was listening to the other's lines. Even when it wasn't my turn to appear, I was always studying Irei-san's performance. Initially, Princess Nicola's in a state where she can't clearly decide on what she wants to do, but then there's a scene where Taiya asks her, "Where do you want to deliver yourself?" This is a scene that shows a glimpse of Taiya's kindness and conviction, so I tackled it carefully. Before the performance, both Irei-san and I were quiet and concentrated the entire time, and I'm glad that we were able to perform this scene. Eventually, when Princess Nicola's prepared to make a decision, I felt that it overlapped with Mira in the first episode……I was really happy to see that Taiya's way of thinking was conveyed to Princess Nicola through Mira.

Also, a memorable scene during filming was when Taiya protects Princess Nicola. Since filming continued after this scene, I had to act as if I was properly protecting Princess Nicola, while also moving around to make sure her wig and hair accessories didn't fall off. In many ways, this one scene caused me some mental strain (laughs).

The climax of the film is the first six person simultaneous Boonboom Change, which includes Sakito Homura. Since it's a movie, I believe that one of its features is that there are many shots that show all six members. While filming, I had the feeling of, "I definitely want to see this on the big screen in theaters!"

Sakito's Miyazawa Yu-kun has alot of experience in stage plays, so I've learned alot from him, including vocalization, and I'm often inspired by him on set. Oh yeah, speaking of Yu-kun, when we shot the ending dance for this film at Fuji Speedway, only one part was filmed for him. He looked like he was ready to dance to the entire song, and seemed disappointed when he asked, "I'm already done?" (laughs).

The list of highlights are endless, from the Used Kurumaju that appear in the beginning of the film, to the wonderful guests, the location filming at the grand Fuji Speedway, the massive action, and the ending dance. It's a very lively "festival" film, so please make sure you have fun! _

Hayama Yuki (Ishiro Meita)

Chasshiro's highlight in the film is the part where he rewrites the program of the "Large Planet Destroying Missile" in order to disable it. Chasshiro's supposed to be super impressive, but lately, his crazy side tends to be what we focus on (laughs). Of course, that's what makes him interesting to play, but I believe that this film will reaffirm Chasshiro's superiority. Nevertheless, only in Boonboomger can such scenes be played out in an interesting way, like when Shirabe-san and Boonboom were fooling around, Chasshiro suddenly intervenes and says, "Give me a hand here!" (laughs). I took my performance extremely seriously, but I have no doubt that the audience will find these scenes interesting to watch. And at the climax, after disabling the missile, Chasshiro's the last of the six to arrive. This part is cool (laughs), so don't overlook it.

The first half of the battle between the Boonboomgers and the army of Used Kurumaju I was able to watch on site. It was almost a full lineup of all the enemies we've taken down so far. I had the impression that in the TV series, they struggled against every enemy, but in the film, they were able to defeat them one after another. I felt that the Boonboomgers had become stronger. Personally, I was happy to see Reizoko Grumer from episode 14 again, as it mainly focused on me and Mira (laughs).

I've been watching Youtube since I was in elementary school, so I was excited when I found HIKAKIN-san's name on the script's cast column. HIKAKIN-san is a very gentle person. However, during the actual performance, he suddenly started improvising, and I thought that this was to be expected of a professional entertainer. And, of course, when we first heard his live performance of "Boonboom Hello Boonboomger!," we all looked at each other. We were like, "It's the real deal!" (laughs). We were very excited. In the scene where we're watching HIKAKIN-san's video recording, Mira asks for his opinion with, "It's amazing, isn't it Chasshiro?," but he responds as if he's not interested. He was happy on the inside, and Mira surely saw right through him (laughs). Miu-chan does her best to play off me, so it's very easy for me to work with her.

I call Sakito Homura's Miyazawa Yu-kun, "Zawa-kun." Zawa-kun and I had been filming together in the TV series for about a month before we started filming the movie. So, I think the "six Boonboomger members" are beautifully captured in this film. Still, since Boonboom and Byundi also call themselves Boonboomgers, there are essentially eight Boonboomger members (laughs).

As this was my first movie, I was alittle nervous in the beginning, but looking back after filming finished, I enjoyed playing Chasshiro. I hope everyone enjoys themselves to the fullest from start to finish! _

Suzuki Miu (Mira Shifuto)

When I first heard from the staff that, "Mira is the main character in this film," I was shocked. When I actually read the script, I realized that everyone plays a leading role, but that Mira was given a very important role. In the first episode, Mira's determined to "take control of her own wheel," and now she tells this to Princess Nicola. I was happy to see Mira's growth, but at the same time, I felt alot of pressure to perform the role properly when we started filming.

I'm from the same agency as Himena-chan, who plays Princess Nicola. I've been in the industry for 12 years, while she has 14 years. I've known her name for a long time, but this was the first time we performed together. My impression of her was that she's dignified and mature. However, the more we talked, the more I could see how cute she was for her age. One day, when she had to choose between two types of bentos, she became seriously distraught. She was like, "Although I'd like to eat this one, the croquettes in the other one are hard to turn down……" I said, "Well then, how about if I take one with the croquettes in it and then give them to you?" She then said very innocently, "Eh, are you okay with that?" The smile on her face at the time was just too cute. It made me so excited that I almost died (laughs).

Still, when it came time to perform, I got alot of inspiration from Himena-chan, who has a longer career. Her reactions were too great, like she was doing them naturally. Her lines had alot of emotion. I was particularly careful not to make Mira's words sound like she was giving a lecture. I didn't want to "tell" Princess Nicola to listen to her story, rather, I wanted to create the image of Mira talking about her past on her own, and having it naturally resonate with Princess Nicola. What would the best way to express this be? I played the role while exploring the tone of my voice and the "pauses" in my performance. There were also scenes with the four of us, including Miyazawa Yu-kun's Sakito Homura and Byundi. When Mira asks for help, Sakito looks at her and Princess Nicola and says, "…Let's do this." At that time, Yu-kun's performance and Sakito's facial expressions were impressive.

I was also happy to be able to actively play as a "driver" in the film. I hadn't had an opportunity to ride in a car in the TV series for such a long time, so I thought, "At last, it's here!" However, I myself don't usually drive a car, so the staff gave me advice on things like how to use the gear stick and how to handle the wheel in a stylish way during the shoot. I think the footage gives a sense of a dynamic race, so please make sure you pay attention to it.

This production has the usual "cranked up" aspects, but as a human drama, it's a film worth watching. If those who watch it get the feeling of, "I also want to take another step forward," then that would make me very happy. _

Saito Ryu (Jou Akuse)

In this film, I was allowed to do flying kicks and backflips on a trampoline. I'd been appealing to Action Director Watanabe Jun-san for a long time with, "I want to do action," and now it's finally been realized. It was my first time stepping on a trampoline, so two days before the shoot, I was given some time to practice flying kicks and backflips so that I could do them before the real thing. Even though I found some parts to be difficult when I actually tried them, I'm happy that I did it. My muscles still hurt though (laughs).

What's more, I also experienced what's known as the "water fall" for the first time. I was surprised at first, but this is one of the best parts of playing a hero, and I thought, "Finally, it's here!" It seems that the staff wanted to give Jou's character a variety of challenges, so for my part, I'm grateful. The water was still cold when we were filming, but it was fun to do.

BoonBlack impresses me every time with the powerful action of Suit Actor Ito Shigeki-san. In the film, there's a scene where he fights one on one with Circuit Grumer, and he does a backspin kick, and his leg goes up very high. In fact, during filming of the movie, Shige-san taught me BoonBlack's role call pose. I'd like to perform in front of the fans someday.

My hobby is beatboxing, and it all began with watching HIKAKIN-san on Youtube. That's why I was very excited to be able to perform with him in this film. In the film, Jou says, "Amazing as usual!" to Genba, who "procured" HIKAKIN-san, but I think that might've been alittle bit of my true feelings coming out (laughs). In the scene where HIKAKIN-san was asked to leave because of the incident, only the two of us acted it out. Jou forces him out of the gate, and I felt really bad……

Director Nakazawa told us to "get excited" in the last scene, so we all got excited (laughs). Mira and Jou take the lead, and then Chasshiro and Genba join them, circling around Princess Nicola. I have no doubt that you'll feel our fun atmosphere. The ending dance was filmed at Fuji Speedway. The place is alot bigger than I had imagined when I stood on the actual course. After filming, we all watched the cars drive around the course, which was also cranked up. It was a very valuable experience.

As for the TV series, Zawa-nii has joined as BoonViolet, and the scenes and story are becoming alot more exciting. Please continue to support us from now on! _

Soma Satoru (Genba Bureki)

The scene where we confront the army of Used Kurumaju was the first thing we filmed for the movie. Simply put, it was spectacular. Given that there were that many Kurumajus lined up in a row, I couldn't help but suddenly exclaim, "Whoa!" Among them, I was personally happy to be reunited with Koinobori Grumer, who I fought in episode 10. Even in such a situation, Genba still shows a relaxed attitude, saying, "It's a revival festival, isn't it?" And even after the Change into BoonOrange, he always has a relaxed vibe to him. That was thanks to Ono Yukimasa-kun, his Suit Actor. There's also something sexy about how he handles his weapon. Since the movie will be shown on the big screen, I think you'll be able to see the differences in the actions of the six Boonboomers, the characteristics of each Suit Actor, the high level of their skills, and so on.

I was surprised at the development of the Boonboom Cars being controlled by Circuit Grumer. However, it's there that Genba shows his cleverness and creates an opportunity to turn the tables. There's a part where he holds up a pit board, but this one was surprisingly large and quite difficult (laughs). Also, since the Boonboom Cars would be added in later, I wasn't sure at the time of filming how the footage would turn out. After talking with Director Nakazawa and listening to his vision for the production, I tried to play the role while letting my imagination run wild. Director Nakazawa's direction was meticulous, and he would give me precise advice on Genba's facial expressions in each cut, such as, "It's like this now, but what will it be next time?"

As for memories of filming, I still really enjoyed being able to go to Fuji Speedway. Standing on a course isn't something you get to do very often, so it was a luxurious experience. After filming, we were able to observe a race, and every time a car passed in front of us at incredible speed, we all got excited and shouted, "Wow!"

Before filming for the movie began, we all used to talk about, "What kind of guests will be coming?" Sometimes, we'd also try to get the staff to spill (laughs). Then, to our surprise, it turned out to be HIKAKIN-san, and I was totally blown away (laughs). Furthermore, the setting of the film is that I, the "procurer," have procured him. I'm not sure what kind of negotiations he did, but……in any case, I think Genba's amazing (laughs).

Irei Himena-san, who plays Princess Nicola, was very lovely and was a healing presence to all the cast and staff members involved in the film. In the film, there's a scene where Genba sensed Princess Nicola's reluctance to discuss her situation, so he has to tell everyone. Genba's the type of person who acts by "anticipating" various things, so I performed this scene while thinking it was typical of Genba. I'd be happy if you pay attention to that. _

Miyazawa Yu (Sakito Homura)

It made me happy that Sakito Homura and BoonViolet could appear in the film (laughs). Originally, I wasn't informed on whether Sakito would be in the film or not, since I've only been in the TV series since June. When I received and read the script, the first thing I felt was the connection with the first episode and Mira's growth. Since I had watched the first episode as a viewer, I thought that Mira was trying to tell Princess Nicola what Taiya had told her back then. I think the real thrill of the Super Sentai series is that the character development is depicted over the long span of a year, and I thought that was exactly the theme of this year's film.

In this story, Sakito helps Mira and Princess Nicola. Since he works separately from the other five, his appearance is limited compared to them, but I feel that Sakito and Byundi were also able to commit themselves to the drama in a good way. For the scene with Mira, it had a more comedic "flavor" on set than what I had imagined in the script. It was also typical of "Boonboomger." On the other hand, I thought it depicted not only Mira's growth, but also the growth, or rather change, of Sakito, who gets up and says, "Let's do this" after hearing her story. And, there's also a moment of mutual understanding between himself and Byundi in the process of reaching that decision. I'm always conscious of expressing such scenes carefully and precisely.

In the scene where the six of them come together, Sakito's given the cool role of appearing while shooting at Circuit Grumer. It's not just that he's cool though. Sakito may appear to be full of himself on the surface, but I believe he's quite compassionate and loves people. I hope that you'll be able to feel the passionate feelings he has for his friends in this scene.

The weather wasn't very good when we were filming at Fuji Speedway, but when it came time to film the dance, the previously cloudy skies suddenly cleared up. No, it was because we're Boonboomger (laughs). The ending dance features myself trying to dance with the other five for the first time, as well as HIKAKIN-san, Princess Nicola, Boonboom, Byundi, and Shirabe-san, so please pay attention to it.

Thinking back on it again (after filming of the movie ended), when I was selected to appear in Boonboomger's TV show, I still didn't feel like a "hero" yet. When I did my first dub recording for BoonViolet, my feelings changed dramatically. Suit Actor Tsutamune Masato-san's actions were wonderful, and they helped me get my act together. And, of course, Byundi is indispensable for Sakito. With the character Byundi being created by Suit Actor Takada Masashi-san and Voice Actor Hanae Natsuki-san, I hope to express Sakito's relationship with him in an interesting way. _

Hashiyasume Atsuko (Saibu Shirabe)

I didn't know I was going to be in this film until I was given the script. Compared to everyone else in Boonboomger, I have a smaller role in each episode, so I just assumed that they had already finished filming (laughs). When I read the script, I found that Boon-chan (Bundorio) and I are quite close in some parts. When she's praised for her "good points" and becomes ecstatic, Director Nakazawa didn't give me any specific instructions, but I tried to come up with a pose on my own. After a cut was made and I received the OK, the Director copied my pose, so I'm glad I took a risk (laughs).

In the scene where I'm swayed by the vibrations, Boon-chan holds me as I'm about to fall, but at the moment I'm about to fall, I kept shaking my head back. Since my face wouldn't show up, we had to reshoot it multiple times. After that, Shirabe-san faints, but when she wakes up, she's leaning against Boon-chan. It made my heart race alittle (laughs).

Shirabe-san may come across as intimidating at first, but she also has a surprisingly cute side. In the film, ISA proposes a plan of "handing over Princess Nicola to the Hashiriyans," but Shirabe-san takes a stand against that plan. I struggled with how much emotion I should show here. I still didn't feel right as we went into filming the real thing, and Director Nakazawa seemed to feel the same way, as he asked me, "Want to do another take?" In the end, I feel that I was able to do a performance that I was satisfied with.

During filming, there were times when small children would peek over the fence at the site. Because of that, the cast members who had finished filming or who had time to spare took turns visiting them. Everyone was happy, and we had fun too. I thought maybe they wouldn't recognize me, but I was so thrilled when some of the children said, "It's Shirabe-san!"

The final part of the film really shows how close everyone is, and I thought it was a happy ending typical of Boonboomger. Shirabe-san was also in the swing of things, saying things like, "Boon-sama, you're wonderful!" I guess she must've felt a weight lifted off her shoulders after the incident was resolved (laughs). I was also happy that the three of us, Iuchi Haruhi, Boon-chan and I, were able to appear together in the final scene before the ending. I thought it'd be alright to look at the camera at that time, but then I thought it'd be more like Shirabe-san if it ended with her looking at Boon-chan. I discussed this with Fujita Yohei-san, who plays Boon-chan, and we tried to match it up.

It was also my first experience filming the ending dance. Although, I watch the broadcast every week, and I also checked the footage and tried dancing myself, so when I received the video to practice the choreography, I was able to dance to some extent (laughs). For filming, it was decided in detail who would dance each part, but no matter which part was mentioned, I was able to immediately respond with, "That's this one, right?" Please make sure to pay attention to us as we dance with overflowing smiles on our faces (laughs). _

Irei Himena (Nicola Keydoor)

So far, I've had little experience with productions aimed towards younger children. Given this, I was very happy to be able to perform in the Super Sentai series that my younger brother used to watch. Nicola's a kid who's unable to express herself properly, but through her encounter with the Boonboomgers, she's able to grow. I wanted to perform that process properly.

Wigs were prepared at costume fitting, and while it was available in pink and two other colors, among other things, I decided on pink based on the image I had of the role. The costume, which is reminiscent of a space suit, was also very cute. There was some talk along the lines of, "Will the heat be okay during filming?," but once filming actually began, it was neither too hot or too cold, and was very comfortable. That seems to be abit rare on site of productions like these (laughs). I feel that the role of Nicola Keydoor became more solidified in my mind through the costume fitting than the script reading stage.

I come from the same agency as Mira's Miu-chan, who I had many scenes together with in the film. This film was our first time working together, but it was fun that we shared alot of common ground, such as the fact that we had taken lessons from the same teacher when we were little (laughs). She also told me about the vibes on the set and the filming process, which was unique to tokusatsu productions. Miu-chan also had an action scene with Circuit Grumer, to which I thought, "Amazing!" Throughout filming, she watched out for me like a big sister.

Taiya's Iuchi Haruhi-kun was very calm. During the film, Nicola's at a loss when Taiya asks her, "Where do you want to deliver yourself?" That was a very important scene, and I could feel how serious Iuchi-kun was, so I naturally became more focused. After that, in the scene where Nicola makes up her mind, I acted it out after creating the flow in my mind leading up to her decision. In any case, everyone in the regular cast was always working hard. I was very impressed by that. Director Miyazawa's the type of person to ease your nerves, and he also explained to me in precise words the goals of his direction. Because of that, I was able to take on the daily filming without any fear.

One of the most memorable moments was riding in the Boonboom Super Car. We filmed the scene of my conversation with Miu-chan in the car, but the actual driving scenes were done by a professional driver. The location was also surrounded by nature, with scenery just as great, and the speed was fast and felt exhilarating, so I fully enjoyed the fun drive (laughs).

Performing in this film sort of reminded me of how I felt as a child. At the end, it seems that Nicola was given a Boonboom Changer (laughs), so if I get a chance someday, I'd like to Boonboom Change too! _

Director Nakazawa Shojiro

"This is the seventh Super Sentai series where Director Nakazawa was in charge of the first episode. What are your current impressions of Bakuage Sentai Boonboomger?"

Nakazawa: The characters on the hero side are each professionals with a rather mature image. In contrast, the bad guy's side is always developing some kind of ridiculous strategy every time……It's not that this is unusual to see in the Super Sentai series, as this kind of contrast has been around for a long time. However, from the point of view of a creator, there's no sense of "taking the high road" or "returning to basics." I'm not taking the approach that, "This is what Super Sentai's all about," rather, I'm working to create heroes in Boonboomger that are appropriate for this generation. The productions of the last few years have had strong personalities, and people may think that we've "gone back to the old days" if we do role calls every time, but we don't intend on trying to "go back" (laughs), we're trying to present new hero figures for the children of today's generation.

"The film has alot of content to take in, but one of the guest characters is a "space princess." Looking back on past Super Sentai series films, it would seem that this too is considered another "standard"……"

Nakazawa: There've been so many princesses, that I wonder how many there have been so far (laughs). Still, what I wanted to depict in this film was Mira's growth since the first episode. When princesses appear, they mostly interact with Red (laughs), but not this time. Mira, who was taught by Taiya the importance of "taking control of your own wheel" in the first episode, now conveys the same message to Princess Nicola, who's come from space. I wanted to create a character who's lost, who doesn't know where she belongs or what she should be doing, and as a result, she became a princess character, but she didn't have to be a princess. Such a character is changed through her encounter with the Boonboomgers. These days, I think there are many people in the world who are struggling with similar problems, so I hope that this film will give such people a supportive push. That in itself is one of the themes of Boonboomger, and as a movie, I wanted the story to appear as "Boonboomger" as possible

"When talking about "individuality," the film being shot on location at Fuji Speedway, the appearance of the peculiar Kurumaju known as Circuit Grumer, and the Boonboom Cars becoming the enemy, we thought that those ideas were interesting."

Nakazawa: Filming on location at Fuji Speedway was done around the time it had a tight schedule of races, so while we caused them an inconvenience, we managed to make it happen. To those who worked hard for us, I'd like to state my gratitude. We had a limited number of days, so we "targeted" that and went on location. Things were so tight, that if we didn't finish filming in 5 minutes, we wouldn't be able to wrap up in time (laughs). As for Circuit Grumer, since it's for a movie, we had the discussion of large scale Kurumaju, and so we thought, "If this is the case, why don't we make it a circuit monster?" It was unanimously agreed that it was "good," but I think it was such a grand idea, that we ended up restricting ourselves later (laughs). I think the conception for the Boonboom Cars to be the enemy initially came simply from the desire to see footage of the Boonboom Cars lined up at Fuji Speedway. Of course, with this being Boonboomger, I also wanted to do some car action, so I decided to have a setting where the Boonboom Cars are controlled by the enemy. The key point was how to intertwine footage of real cars and the CG Boonboom Cars. I hope you look forward to it.

"We were surprised by HIKAKIN-san's guest performance."

Nakazawa: While we received consent for him to perform in the film, we had a hard time deciding what kind of role we'd have him play. We thought about having him drive the Boonboom Cars in some way or another, but since he's not an actor in the first place, it was decided that him making an appearance as himself would be a better use of his talents than playing someone else. I was also grateful for his participation in the ending dance.

"Demon Thunder's voice is by Kishi Yuji-san, who was RedRacer in Gekisou Sentai Carranger (1996)."

Nakazawa: Kishi-san's been contacting me since the beginning of Boonboomger and asking me, "Call me in (for this series)" (laughs). However, I was trying to find the right role and right timing to call in Kishi-san. Then, since I also wanted Demon Thunder to have a profound feel in the film, I thought, "Let's ask for him here." It was as expected of him. He was a perfect fit.

"Seki Tomokazu-san is Circuit Grumer. He constantly says, "Vuuun! Vuuun!" (laughs)."

Nakazawa: Seki-san in particular was allowed to do whatever he wanted (laughs). On the other hand, due to the nature of his role, Kishi-san was often asked to hold back. However, there is one part where he messes around, so please try to find it (laughs).

"We heard that the voice of the "Large Planet Destroying Missile" was selected through auditions from among the main cast members."

Nakazawa: That's right. Originally, we had talks about whether the missile would speak, but then Scriptwriter Tomioka-san wrote in its dialog (laughs). We did an audition like event for the project through the TTFC. Watch the film to find out who was chosen.

"At the end, it seems that Princess Nicola's taken a Boonboom Changer back to her planet?"

Nakazawa: That was also Tomioka-san's idea. In Boonboomgers case, if Taiya makes a new one, it'll resolve that problem. Princess Nicola will surely be able to Change. However, we don't know whose Changer she ultimately took back. She may have gotten Mira's Changer and can Change into BoonPink, or maybe it'll be some other color (laughs).

"The army of Used Kurumaju also appear, but each and every Kurumaju is unique."

Nakazawa: The Voice Actors for both the Kurumaju and the Sanseaters have an amazing flow. That's how Seki-san was in this film, without fail, he always expands on the script. Of course, the script by Tomioka-san and his team, which were used as the basis, are also interesting, so everyone seemed to have enjoyed their performance.

"BoonViolet and Byun Diesel have also joined the series."

Nakazawa: In the film, Director Hayama, who shot the episode where Sakito Homura made his entrance, worked with me as Chief Assistant Director, and he helped me with the direction of Sakito and Byundi. Miyazawa-kun is very skilled at acting, and I hope that the original five members will become motivated by him. I'm sure that Sakito will stir things up in the film, and I'm looking forward to seeing the chemistry that's likely to occur on set with Miyazawa-kun's inclusion. Also, with the entrance of Byundi, I wondered if stuff like the relationship between Byundi and Boonboom will expand. From now on, the various rapid developments will continue, and I think it'll become harder to pass on. Without fail, please continue to support Boonboomger!

Motojima Junsei (Ichinose Houtaro)

-Towards the Future of Possibilities-

"Finally, the Summer film is here. How did you feel about the project?"

Motojima: The first thing I was conscious of was working together with DAIGO-san. He had already participated in the TV series as the voice of Kamen Rider Gotchard Daybreak, and when I heard that he'd not only be voicing, but also appearing in the film, I was thrilled to be able to work together with him. The first scene we filmed for this movie was the last scene. Houtaro's anxious about Future Houtaro parting ways on his own to defeat the Dark King, but he feels at ease after reading the picture book that Kudo showed him. I'd be happy if the audience could sense what happened to Future Houtaro, not from the dialogue, but from the expressions on Houtaro and Kudo's faces.

"The two major themes of this year's film are "the present" and "the future." Furthermore, the "future" is "another future" created by Houtaro's defeat in a past battle, and Houtaro's going to meet his future self there."

Motojima: The process of heading towards the future was very exciting. The scene where alchemy creates the Gigantliner was particularly impressive, and it features Kudo, Spanner, Sabimaru Senpai, Renge-neesan, Kyoka-san, Minato Sensei, and even Fuga-san. It's a scene that was truly created by "everyone's power," so I have a strong emotional attachment to it. I was also thrilled to perform the part where everyone shows their rings while standing in a circle, and after filming, we all took pictures of the rings together (laughs).

"However, the "other future" was already in a desperate situation."

Motojima: Kudo and the rest of his friends at the Alchemy Academy are no longer alive in that future. When I read the script, I was incredibly shocked. Furthermore, in the scene where Kudo loses her life, it's not Houtaro played by DAIGO-san, but me. During that shoot, Reiyo-chan was really crying as she played the role……Kudo always calls Houtaro "Ichinose," but only in that scene does she call him "Houtaro." I thought alot about what sort of feelings Kudo had put into that scene, and even I couldn't hold back my tears. We filmed that scene on the last day on location in Shimane, and we filmed it until the very last minute when we were getting ready to return to Tokyo.

-Two Houtaros, their motto is: Gotcha!-

"How was it filming on location in Shimane?"

Motojima: By being exposed to a new environment, I was able to approach the shoot with a fresh outlook. On the first day, we had time for sightseeing and went to the famous Izumo Grand Shrine. The soba we had for lunch was very tasty. The team participating in the "present" couldn't come to this location, so I bought matching necklaces for everyone at the shrine as souvenirs to take back.

"Please tell us about performing together with DAIGO-san."

Motojima: On set, we were together all the time. Whenever something happened, we would say "Gotcha!" to each other (laughs). When the first OK was given, DAIGO-san was the first to say "Gotcha!," and I responded with, "Gotcha!" That kind of exchange was very satisfying. This was also on location in Shimane, but I'll never forget the simultaneous transformation. The two of us discussed and coordinated the timing together. Through this process, I feel as if we've come together as one. Also, in the second half of the film, there's a solo transformation by DAIGO-san, and he did it by watching footage of me performing it, and then copying it perfectly. I feel somewhat grateful…….

-Bonds with our Friends-

"There's a scene where Houtaro and Rinne agitate Future Houtaro. We feel that this was one of the most important points in the film."

Motojima: That location is set up as the future Alchemy Academy. We actually used the same set, but in any case, the atmosphere is completely different. We're based there, and everyone's fighting, so among other things, weapons are placed there, and it's got a gory feel to it……However, that part also helped me to create the mood. As the weight of the past 20 years are weighing on his shoulders, Future Houtaro relentlessly says to him, "What do you know?!" Just imagining that, it makes me want to cry……But, as Houtaro, I can't afford to falter. Without hesitating, it's Houtaro who's able to say, "Let's fight together." I can only imagine the weight of those 20 years, but I don't understand it. No matter what kind of hell he's lived through, as Houtaro, I think he didn't want to give up on him, because it's the same "me" in front of him. I put those feelings into the dialogue in my own way.

"What about "Miracle Gotchard," the new form in the film?"

Motojima: It has a different feel from Rainbow Gotchard, which is all shiny, but I like the shimmer and the slightly extreme feel. Personally, I got the impression that this style is unlike anything that's been seen so far in Reiwa Rider. Furthermore, it's exciting that it'll evolve at the same time as Shining Daybreak. I was very enthusiastic about the recording session. As Platina Gotchard, I was conscious of creating a handsome, or rather, cool look, but this time, I mixed in some nuances of Steamhopper. I had the image of Houtaro, who's incredibly strong, but who also fights while having fun.

"Throughout the film, what message does Motojima-san wish to convey?"

Motojima: If you can feel the bonds he has with his friends, I'd be especially happy. In this film, for some reason, Kajiki also goes to the future with them (laughs), and in the future, he works with Clotho and Atropos. I think that such an unusual combination is one of the highlights of the film. In the future, Minato Sensei, Spanner and Lachesis are completely on the enemy side. Kumaki-san's performance as Alzard was intense. Fujibayashi-kun also told me that he put all his heart into playing Hellcrate. By having the usual enemies become allies, and allies become enemies, I believe that you'll feel the importance of "friends" even more. We're nearing the end of filming for the TV series, and we're taking it day by day, scene by scene, carefully savoring each shot we film. From now on, without fail, please continue to support Kamen Rider Gotchard! _

Matsumoto Reiyo (Kudo Rinne)

-Facing Rinne-

"In the "other future," it was shocking to find that the setting was that Rinne was already……."

Matsumoto: Rinne's final moments were very painful just from the script reading stage. Still, that's what I had to face. I think I was able to face it, but right before we started filming the scene, I couldn't stop crying. It was a scene where both Motojima-san and I were extremely focused. I think I was able to convey my feelings as Kudo Rinne during their final conversation before her passing.

"However, it seems that those words have been tormenting Future Houtaro for a long time."

Matsumoto: That's right. I was conscious of that, but during the actual shoot, my first priority was how directly I could express Rinne's emotions. I believe that because her feelings were conveyed to Houtaro, her words will remain in his heart forever. In that scene, Motojima-san was also completely immersed as "Houtaro," so it was easy for me to work with him. I once again admired Rinne's courage and ability to take action. Although it's the role I'm playing, I'd like to tell Rinne, "You did well."

-Future Houtaro-

"The role of the Future Houtaro was played by DAIGO-san."

Matsumoto: He was just as I'd imagined he'd be from hearing him in the TV series. He's very friendly and helps make his surroundings more exciting. During the filming period, it seems that he was also checking our SNS accounts closely, and when I posted about a local specialty called "akumaki," he asked me the next day, "What kind of food is it?" He said, "I'd like to try some." I was somewhat embarrassed, but I was glad to see such consideration.

"Unlike DAIGO-san's usual image, his role was quite serious."

Matsumoto: He shows a particularly relentless attitude toward Rinne. The weight of what he's carrying, the passionate heart in his chest…….I felt that DAIGO-san performed the role of "Future Houtaro" in a very deep way. It was easy for me to get into the role because there was a gap between when we were and weren't filming. During a test run, when Future Houtaro says, "What do you know?!" and grabs Houtaro by the chest, I cried even though I knew I shouldn't have. The Houtaro she knew wasn't someone who would raise his voice like that……As myself, I really felt that I couldn't control my emotions. Still, when I thought about it as Rinne, I thought she'd want to remind him of the old Houtaro. That's why the line, "I'll never give up or stand still," was said like it was bundled with kindness.

"What are your memories of filming on location in Shimane?"

Matsumoto: I got to ride on the back seat of Golddash during the scene where we're heading to the enemy's base! This was really fun! We also filmed along the coast of Shimane, and the scenery was beautiful. We also had a drone to take footage from above, so we had quite a long ride. I felt like I was on alittle tour (laughs). While I thought I was just acting, it seemed that my excitement came out on my face, and Director Tasaki said, "You were smiling so much!" It was a wide shot, and you can't see my expression, so it was okay……but now that I'm saying it here, you may see it (laughs).

"In the battle with Alzard, Rinne's "passion" could be felt."

Matsumoto: Kumaki-san played the role in a completely different manner from his usual performance as Minato Sensei, and it really moved me emotionally. Rinne must've felt that she and Minato Sensei had overcome many ordeals together, and that she couldn't forgive Alzard's words that trampled on that. What's more, Alzard tried to hurt Ichika-chan and her father. The line "I'm going to take you down!" was said in a rage. This time, there were many important lines spoken after the transformation into Kamen Rider Majade, so I hope that they'll reach everyone. In the final battle against the Dark King, there's a scene where Miracle Gotchard, Shining Daybreak, and Majade took turns saying their lines, and I think we were able to show our strong will to "unite together to defeat the Dark King." I was very particular to live up to the wonderful performance by Shimozono Ayumi-san, Majade's Suit Actor.

-Rinne's growth-

"What are your thoughts after looking back on filming?"

Matsumoto: The film deals with a heavy theme, but I believe I was able to give it my all. The atmosphere on set was great, and I was always able to relax. I even talked with Motojima-kun, who also said, "I'm glad it ended peacefully," (laughs).

"It really conveys the vibes that everyone's working together."

Matsumoto: Now that I think about it, we began filming with the final scene (laughs). I remember thinking about the scenes we were going to shoot, including the encounter with Future Houtaro, because it was the last of many experiences that we had yet to film. I was also happy to be able to film while in a yukata. It's hard to imagine this from Rinne in the very beginning, she was strict and stubborn, wasn't she? (laughs). I thought, "Oh, I see Rinne-chan has started wearing yukatas too."

"Please give a message to the fans."

Matsumoto: During filming of this movie, I always set the goal of, "Cherishing each and every scene while performing." The feelings she had during her final moments, the tolerance Rinne shows to Future Houtaro, and her anger at Alzard……..I also tried my best to play out the feelings of Rinne, who's been watching over Houtaro for a long time, even though she's no longer in his presence. If I was able to express even alittle bit of Rinne's growth, I'd be happy _

Fujibayashi Yasunari (Kurogane Spanner)

-Spanner & Kaguya-

In this film, I also play the role of Hellcrate on the enemy side. It was interesting that Spanner was the foundation of the role, not that he was completely different. I was also conscious of the contrast when transforming, for example, Spanner raises his right hand, while Hellcrate raises his left hand.

Unlike Houtaro and Rinne, Spanner himself doesn't go to the future. He and Kaguya are depicted as abit of a pair. Kaguya's the type that can be pushy, but Spanner's rather reserved. Maybe that's why they got along so well. The relationship between the two of them came about naturally in their own way. At the end of episode 35 of the TV series, Spanner says, "That should quiet things down for awhile," and for a moment, he glances at Kaguya with a smile. This was based on the development of the film. I think I was able to communicate well with Nagata Seiichiro-kun, who plays Kaguya. Coordinating the timing of the double transformation was also done by both of us. I wouldn't say those two are "best friends" (laughs), but it feels like they know each other's personalities very well, wouldn't you say? I hope you'll pay attention to our performance.

-Spanner & Hellcrate-

Director Tasaki told me, "I want you to play a classic villain," in regards to Hellcrate. I wanted to add something of my own, and after consulting with the Director, we decided to add abit of a narcissistic vibe. For example, when I first take off my mask, I was particular about the movements of my fingertips to express a narcissistic look. After that, we just pursued "the exact opposite of Spanner." Spanner learns to play chess from Kyoka-san to help keep his cool, but Hellcrate is the exact opposite. I also immediately imagined a scene where he loses his temper and yells while his face is scarred. The scar is something he feels inferior about, so I also included a gesture to try and hide it. The makeup artist was very particular about the scar itself, and went to the trouble of redoing the initial scar, saying that they weren't satisfied with it. I did my best to respond to their desires. As for the dialogue, I still like the part where I call out, "Kurogane Spanner!" It's not often that you get a chance to call out the name of the role you're playing.

Angel Malgam, transformed by Hellcrate, fights Kamen Rider Valvarad, so I had to do it in two separate recording sessions. What's more, there were also times in which Hellcrate was in a state of being masked, so it practically felt like I did three roles. This was quite a challenge…….I suggested Valvarad's catchphrase "Checkmate!" to Director Tasaki, and he made a place for me to include it. For Spanner, this line is essential. And then, the scream Angel Malgam makes when being defeated was also my doing (laughs). I wanted to express the unsightliness at the end of one's life as much as I could.

-Spanner & Gavv-

As Spanner, or rather, as Kamen Rider Valvarad, I was the only one who got to interact with Kamen Rider Gavv. In last year's Winter film, I also worked together with Kamen Rider Buffa, so the purple Riders seem to be connected (laughs). I was happy to be able to work with Director Sugihara again during the dub recording of Gavv's part. I've been calling myself a "Sugihara fan" ever since he filmed my first appearance as Kamen Rider Valvarad (episode 20 & 21). Oh, and during the Summer festival scene at the end, Spanner is seen eating gummies (laughs). Please make sure you pay attention to that. _

Nagata Seiichiro (Ho-Oh Kaguya Quartz)

-Beyond the Aurora-

Kaguya's first appearance was in an online spinoff, so at that point, I didn't think he'd be in the film (laughs). Later, when I appeared in the TV series, there was a scene where within the Aurora Curtain, I witnessed Kamen Rider Gotchard Daybreak. I wondered, "How is this going to link to the future?," and it turned out to be foreshadowing for the film.

I myself had a cheerful impression of Kamen Rider Gotchard's show. Of course, there are some heavy parts like Spanner's past, but I thought that things like the school story was overall fun. That's why I was excited by the "Future World" setting being depicted in this film. I couldn't believe that all of Houtaro's friends were gone……Still, I felt that it was definitely an exciting setting for a film. It's really hot to turn the tables on the worst situation. I couldn't wait to start filming

-Double Henshin with Spanner!-

In this film, Kaguya has alot of scenes with Spanner. He says, "You can also give me a hand," and I felt that their relationship had gotten closer throughout the TV series. They also do a double henshin, so please be sure to pay attention to it. Kamen Rider Legend has a simple transformation pose, but Valvarad has many movements. Therefore, for Kaguya's part, I tried to kiss my hand more slowly, and I also got the idea from Fujibayashi-kun to make up for the time difference by shaking my body alittle at the beginning (laughs).

Being on location in Shimane was also an unforgettable memory……I didn't have an appearance there though (laughs). However, I really wanted to visit, so I attended by paying out of my own pocket. The performance that was especially inspiring was the scene where Rinne faces her final moments. I could feel the sincerity in Motojima-kun and Reiyo-chan's approach. Fujibayashi-kun too, he played the role of Hellcrate in a lively manner. His performance was so passionate, that his voice echoed through the huge dome. Due to how the story develops, some other cast members were unable to come to this location, so they went to the Izumo Grand Shrine to buy matching necklaces as souvenirs to bring back. Shimane was a wonderful place. I'd definitely like to go back.

-Encountering Decade-

This film depicts not only the showy side, but also the sensitive side of Kaguya. This can be felt in the scenes with Kadoya Tsukasa. I performed with Inoue Masahiro-san before and was acquainted with him, but I've admired him since back in the day. There's certainly some parts that overlap with Kaguya's feelings for Tsukasa. I was impressed by the way Tsukasa recognized Kaguya's growth. That "chin grab" was improvised by Inoue-san. On set, the female staff members cheered (laughs).

That scene was carried by Inoue-san, but I was happy that Kaguya was finally able to call himself a Kamen Rider. Kaguya is originally an inhabitant of a different world from that of Houtaro and his friends, so he leaves everyone at the end of the film. I'm alittle sad about it, but I hope that I, as well as Kaguya, will have a chance to meet Houtaro and his friends again. The message of the film is that "the future can be changed." I think that Kaguya was also able to change through his encounter with Tsukasa. I'd be happy if people who see this film feel cheerful. _

Kabe Amon (Kajiki Ryo)

-To the Future World-

I didn't expect for Kajiki to go to the future with Houtaro and Rinne. Kajiki isn't often involved in the main story, but this time, he sneaks aboard the Gigantliner (laughs). The train scene to the Future World was made possible with the cooperation of Saitama Prefecture's Chichibu Railway, and along with Motojima-san and Reiyo-chan, the three of us were very excited to film it. Following that, the "Future World's Station" is at the site of the Former Taisha Station in Izumo City, located in Shimane Prefecture. This is the second time we've shot on location in a rural area, following Kyoto (episodes 9-10) for the TV series. The devastated world was ultimately created by 3D compositing, so while we were filming on site, we left it to our imaginations, wondering, "What kind of sight is unfolding out here?" I think one of the highlights is the numerous visuals that are different from usual. During our stay, we all visited the Izumo Grand Shrine and did sightseeing together, which was also a fun memory.

-Regarding the Guests-

There were scenes where I performed with DAIGO-san and Kojima Yoshio-san. DAIGO-san's character, "Future Houtaro," is still Houtaro from Kajiki's point of view, but there's still something mysterious about him. On set, when I was wondering how to communicate with DAIGO-san, he started talking to me. He's a very friendly person. Also, my waiting room at the studio this time was on the same floor as DAIGO-san's. When I left my room, I heard a singing voice and thought, "Huh?," and to my surprise, it was coming from DAIGO-san's room. I think I was probably the only one who heard it, so it was a precious experience (laughs). I also had fun filming with Kojima-san. When I arrived on set, he came out wearing those swim trunks (laughs). Of course, I knew that he was going to appear in the film, but the script described Kojima-san's Tajima as a "serious doctor," so to see him make his entrance looking like that……I was surprised.

Also, in the Future World, Clotho and Atropos are on our side. Kajiki's rarely involved in battle scenes, and even when he occasionally meets those on the enemy side, it's only to give a quick greeting, so it was abit strange to be in an environment like this, where we're always together. I remember talking to Clotho's Miyahara Kanon-san and saying, "It's weird for the two of you being together with us, isn't it?"

-Go for it, Riders!-

Normally, Kajiki gets "caught up in the middle of things," but in this film, he's present during important scenes. I also have the line, "As their best friend, it's my duty to help out Houtaro and Kudo." In the second half, I was also given the role of cheering on the Riders. In the script, we were all going to cheer, "Go for it, Kamen Riders!," but when I went to the set, it was changed to Kojima-san's, "Gan gan gan gan ganbare! Go for it, Riders!" (laughs). It seems that Director Tasaki and Kojima-san had a meeting beforehand and decided on that. I only learned about it on set, so I was also surprised. It was also alot of fun to cheer on the Kamen Riders with the children.

Over the past year, Motojima-kun's become a splendid "leader" who pulls everyone along. Reiyo-chan's acting was also wonderful……During the cheering scene, I felt those feelings rising up in me, and I did my best to shout them out with all of my voice. To all of you, I'd be happy if you could come and support us together in the film! _

Kamakari Kenta (Glion)

-How I should act to look scary-

Kamen Riders are figures children look up to. Therefore, I act as Glion with my first priority being to make him look scary so that children will think, "I hate him" or "I don't like him." Even with the way I look, I needed to plan on whether I'd stare coldly or look wide eyed, and after much research, including asking my own daughter, "Which eyes look scarier?," I decided to use the latter as the basis for my performance. I think the scarier Glion looks like that, the more the heroes will stand out.

For this film, when I heard that Glion was going to appear, my first reaction was, "Yes!" He made his "exit" during episode 27 of the TV series, so…..Whenever I heard rumors about the film, I always thought, "That sounds nice," but I never expected to actually appear (laughs). What's more, I was put into a good position again. I'm grateful for that.

-Glion's Secret?!-

I started filming for the movie with the beginning future scene. I haven't had much experience filming with a green screen before, but it was a big studio with alot of staff, so I was very excited about the large scale of the shoot, thinking, "We're filming in such an environment!" And, I was also able to work with our guest DAIGO-san from the first day. As Glion, I'm able to face off against DAIGO-san's "Future Houtaro." DAIGO-san's a very appealing actor as well. DAIGO-san was just as soft spoken as he was on TV.

In this film, I like the scene where I appear in front of the two Houtaros the most. I was excited about this part even from reading the script. On the actual set, I think it was even more impressive because of the added direction of "coming down the stairs." However, the stairs at the location were rather steep, and it was abit difficult to come down them in Glion's boots. Of course, I was concentrating on the performance, but I was alittle concerned while coming down, wondering, "Are my feet gonna get caught?" (laughs). I also felt that my "loud laugh" was increasing my "synchronization rate" with Glion, so in addition to that, when I tried to make facial expressions while feeling the vibes on set, that kind of laughter just came out naturally.

-Henshin! Kamen Rider Dorado!-

What made me most happy was my "transformation" into Kamen Rider Dorado. When I work on a film, I tend to value the atmosphere on set, and often won't make up much of my performance beforehand. That's why I tried not to think too much about the transformation until the day it was supposed to happen. Then, Action Director Fukuzawa Hirofumi-san came to me with the wonderful plan of, "Transform while avoiding the enemies attacks." I immediately went along with that plan (laughs). Also, I wondered how happy Glion would be when he got the card, since he said, "I'll become complete!" I tried to think about it and performed in my own way.

I also did the dub recording for Kamen Rider Dorado, which I tried to act out as if my emotions were exposed. I think that you'll feel a different side of Glion. When I was first shown the footage, I tried to voice it with an honest reaction and realized, "Ah, I can sound like this……" However, when we first tried the scene where Dorado torments Rinne, Director Tasaki told me, "It's way too scary, please try to hold back alittle more." Well, I understood that, but I wanted to completely go off (laughs).

This film is the story of Houtaro and his friend's efforts to change the worst future. The message is that no matter how hard it gets, it's important to have the courage and strength to take a step forward. As Glion, I played the "bad guy" role. If you have a child who says they prefer Glion or Kamen Rider Dorado more……I'll dye them gold! _

DAIGO (Future Houtaro)

-The Future of Kamen Rider-

"We were also shocked by your surprise "voice appearance" in the TV series, but this time, at long last, you're playing the role of Future Houtaro."

DAIGO: At my age, I never would've imagined that I'd become a Kamen Rider. What are the odds that this would happen, you know? I was happy when I heard about it, and responded with, "By all means, please let me do it."

"In the TV series, the true identity of Gotchard Daybreak was hinted at, but how did you feel when you finally read the script for the film?"

DAIGO: Since I had been following the developments of the TV show, first off, I was very shocked. I couldn't believe that Houtaro's defeat had actually led to the loss of his friends lives, including Rinne, Spanner, Sabimaru Senpai, Renge-neesan, and Minato Sensei. In addition, Houtaro continues to live, and even though he never gives up and continues to fight, he's incredibly burnt out. He's an almost completely different version of the Houtaro everyone knows. Speaking honestly, when I was wondering if I'd be able to play this role…..I was conflicted. However, in this film, Houtaro and Rinne, who come from 20 years in the past, remind Future Houtaro of what he's forgotten. I felt hope there, and as it's a film packed with charm, I decided to try my best to perform. I thought I could convey something that's valuable in life to all the children.

-On set with younger people-

"How were things on the actual film site?"

DAIGO: For me, Junsei-kun is the "Houtaro" I've always seen on TV. That impression didn't change when I came onto the set. Whether the cameras were rolling or not, "Houtaro" was always there. He's so much like Houtaro, that I think I'd be okay for him to change his name to "Ichinose Houtaro" (laughs). So, on the other hand, even though it's 20 years later, I wondered if I could play the role of Houtaro, who's actually 46 years old, but since the setting is that he's, "Burnt out from fighting so much," it was perfect (laughs). And then there's Rinne's Matsumoto Reiyo-chan. Rinne is also Future Houtaro's "hope." I thought she was no longer in this world anymore, and that he'd never see her again. She comes from the past and appears in front of him. That's why his feelings of "I don't want to lose her again" are so strong. Contrary to this, young Rinne's resolve is strong and firm. That's why eventually, Rinne's words will also move Future Houtaro's heart. Reiyo-chan herself is a very reliable and lovely person, and there are parts of her that overlap with Rinne. Even so…….they're both almost 30 years younger than me. They truly felt like the "new generation of young people." When you get to be my age, it's hard to only look straight ahead into the future, but I was under the impression that they were really moving forward with their eyes set on the future. I was able to gain lots of energy by spending time together with them.

-A "bond" with Director Tasaki Ryuta-

"There was also a transformation scene."

DAIGO: Ever since I did the dub recording for Gotchard Daybreak in the TV series, I thought, "I want to see myself transform." Speaking of transformation, it's been a dream of mine since I was a child. I wish I could tell this to my younger self (laughs). The Action Director came up with the transformation pose, and in the first transformation, the pose included my "One hand wish pose!" For a moment I thought, "Is that gonna be okay?" (laughs), but I was very happy to see it being incorporated in a natural way. I hope all the children will imitate it. Following the TV series, Gotchard Daybreak is being played by Asai Kosuke-san. Asai-san's movements and performance are truly amazing. I wanted to do the performance after transforming myself, but as expected, that wasn't possible, so I put alot of energy into the recording. Just watching the footage was hot, and as a result, I hurt my throat quite abit (laughs). After it was over, I sucked on a bunch of throat lozenges.

"Speaking of Directors, this film was by Director Tasaki Ryuta……"

DAIGO: That's right (laughs). 20 years ago, he was filming "Pretty Guardian Sailor Moon," and my wife (Kitagawa Keiko) is very grateful for his help at the time. I never thought I'd be working together with him this time like this……it feels like fate. Having visited Toei's film studio this time, it was alot of fun talking about it with my wife at home (laughs). I always received precise directions from Director Tasaki on set, and he was very helpful in creating the character of "Future Houtaro." And then, I was also impressed by the way he directed the younger actors. By asking, "What were the feelings you felt in that moment?," and getting that person to think, he encourages them to grow. More than anything else, I was also inspired by his "human strength" that was used to powerfully lead the set.

"What are your thoughts looking back on filming?"

DAIGO: It's "SMG." That's "Super Miracle Gotcha." This personal experience was a series of precious "Gotchas" for me. I have a good feeling that I was able "Gotcha" with everyone I starred with and the staff, and personally, I was excited when I'd "Gotcha" in each and every scene. All that remains is to "Gotcha" with the fans. Let's share "SMG" this Summer without fail! _

Kojima Yoshio (Tajima Tetsuo)

-Memories of the Kamen Rider Series-

When I was a student, I vaguely remember that Kamen Rider Black (1987) was airing, and that everyone would play pretend henshin. My love for chameleons may have been influenced by the chameleon monster who appeared in Black's movie.

-Accepting the invitation to perform-

I was incredibly happy. When I started doing live performances for children, I used hero shows as one of my "templates," so I was overwhelmed with emotion. For this film, the character I was asked to play was as similar to me as possible, so it was easy to perform. However, Tajima Tetsuo's set up was that he was also a "brilliant alchemist," so that's where I tried to gather up all the intelligence I had inside me.

-The "That doesn't matter!" scene-

At the time of filming, I actually fractured the base of my right foot's pinky toe and it was still healing. However, I went ahead and did it with the mindset of "That doesn't matter!" Looking back, I thought that was a good thing to say (laughs).

-The "Gan gan gan gan ganbare!" scene-

With jokes, they can come back to life at the right time and place. This joke was created for use in a solo show 15 years ago, but I haven't used it much since then. I finally had the feeling of, "My turn has come." During filming, the "heat" on set rose dramatically. The response I got was satisfactory.

-Memories of Filming-

Since I was almost entirely in swim trunks, I was able to be completely open with everyone. I'm definitely "Piya" friends with all of them now. I didn't want the wrap up to come.

-If you had the chance to perform again?-

Next time, I'd like to play a role in which I was originally on the side of justice, but due to a certain event, I become evil. Through this role, I'd like to convey to children that "there's a fine line between good and evil."

-A Message to the Children-

To all the "Piyas" who came and watched! Thank you! Please "gan gan ganbare" with all your might at the theater! Even if you're worried about what people around you will think, remember, "That doesn't matter!" _

Tarumizu Ayane (Sakaki Ichika)

-Rising above Adversity-

For Ichika, the role I play, she's a very strong girl who loves her father, and who also has the ability to take action. Still, it's not simply about her strength, but the fact that she rose from adversity, and that gave me a sense of her unique strength. I also almost gave up on acting, so in bringing Ichika to life, I really empathized with her feelings. I was offered an audition to perform. I played the role of, "Someone who lashes out in anger towards the enemy who attacked her father." and the emotions naturally flowed out. It was the first time I had a response, or rather a feeling, that was different from the auditions that I attended before. That day just happened to be my actual father's birthday, so maybe it had something to do with that.

The first scene I performed on set was the one where I confront Alzard. Her father's been kidnapped, and Alzard speaks to her in a cruel way, and I was given acting guidance by Director Tasaki, who told me, "Raise the emotional levels like how the water levels in a dam rises." It seems that she didn't take Alzard's words at face value, and was instead trying to manage her emotions and make it work. Still, with that one word, I feel that I was able to erase Tarumizu Ayane and express my feelings as Ichika.

The real challenge was the action. I thought I'd be alright with the machine gun shooting scene since I like online shooters (laughs), but when I actually tried it, it was totally different. Also, there's some action scenes with Alzard, and Ichika's the one who gets beat up, but I learned kickboxing together with my father, so I think that helped. Furthermore, I couldn't believe that I had entered such a world when I saved Majade from fighting with Alzard. I was also given the opportunity to observe the filming of the Riders in action, and was overwhelmed by the speed, sharpness, and power of their movements.

-With my whole Heart and Soul-

In the scene where Ichika tells Rinne-san and the others of her determination of having them take her with them to Glion's stronghold, I received guidance from the Director that there "wasn't enough fuel." When I burned all the "fuel" in my performance, such as the weight of the mouth harp being handed to her, her hesitant state of mind right up to the last minute, and her anxiety about whether or not she'd be taken…….I felt a great sense of accomplishment.

Throughout filming, I became good friends with the lead actor, Motojima Junsei-san, and the heroine, Matsumoto Reiyo-san. Junsei-san was a hero on set as well. Once, during a lunch break, I spilled alittle of my bento on my costume. I was thinking, "What should I do……?," when Junsei-san followed up with me and said, "Ichika's costume is originally designed to be dirty, so I'm sure it'll be alright!" Not only that, he came with me when I went to apologize to the costume designer. I thought he was a really kind person. And now, for Reiyo-san……she's just a beautiful person! She's cute! She's pretty! I love her. I'll never forget the time when we were shooting the scene where I get drenched in the cold underground location, and she put a pocket warmer around my neck. I was also happy to find that we had many of the same tastes in terms of favorite games and music. She's like a big sister.

In my own way, I put my whole heart and soul into playing the role of Sakaki Ichika, who's trying her best to live in the future's devastated world. Please make sure you pay attention to the emotions that overflow when Ichika confronts Alzard, as well as the action scenes. After the battle's over, I'm sure that Ichika will be able to spend a happy life with her father! _

Inoue Masahiro (Kadoya Tsukasa)

-Expanding like the Universe-

For some reason, with the creation of Kamen Rider Legend, a sort of successor to Kamen Rider Decade, my fans were worried about me. They were like, "Inoue Masahiro must have some mixed feelings about this" (laughs). It's not like that at all, as I was actually rather happy about it. To begin with, I think it was the Decade project that led to the creation of Legend. I know Kaguya's Nagata-kun very well, and even though Decade and Legend, and Tsukasa and Kaguya all have similar abilities, everything else about them is completely different. What's more, it makes me happy that the world of Kamen Rider has expanded even further.

In this film, Tsukasa refers to Kaguya as "boy," and says, "You're still no match for me," but the amazing thing about Tsukasa is that that alone gives it a "story" feel. Although it's not depicted in detail, the story regarding Tsukasa and Kaguya alone could be made into a whole movie if it were. In the case of other past Riders, if they were to do a new film on the "XXth Anniversary," they'd first have to think, "I wonder what's going on now?," but in Decade's case, every time a new Kamen Rider is born, in a sense, the world of Decade expands on its own. Although the context is as grand as the universe itself, for this film as well, I only performed in it for a moment. As long as the Kamen Rider series continues, it might expand, but it'll never close.

……However, I only recently realized this (laughs). Producer Shirakura-san is amazing, as he came up with this structure 15 years ago. My comprehension is finally catching up to me 15 years later (laughs).

-Passion of the New Generation-

Similarly, I recently found out about Toei's amazing production capabilities. I painfully realized this when I tried to plan and produce a tokusatsu hero film on my own. It's already at a frightening level that they keep putting new works on the air at this quality, week after week, and for decades on end (laughs). When I went to this film's set, I noticed the rise of the new generation of staff. The Producers and on site staff have changed quite abit too. Still, the warmth with which I was greeted was unchanged. Within them were Director Tasaki and Cameraman Kurata-san, both of whom looked out for me 15 years ago. I was grateful for the opportunity to go back to basics every now and then. I could sense the passion of the young staff members to create something interesting going forward.

This time, I don't even transform into Decade (laughs), I only appear as Tsukasa and speak to Kaguya, but it makes me happy that having Tsukasa appear can be done without having him transform. It's a short scene, but it's one that allows you to imagine the relationship between Tsukasa and Kaguya, so please make sure to pay attention to it.

I also realized that I'm in my mid 30s, and I've begun to think more seriously than ever about how to live my life. These days, I believe that if you're in a public position and are superficial, people will immediately see right through you. From now on too, I'd be grateful if you'd continue to watch over me. When the time comes and you need me again, I'll always come through. _

Scriptwriter Hasegawa Keiichi

-Future Houtaro's "sense of loss"-

I saw the preview just now, and it had an incredibly "voluminous" feeling. There were parts of the script that were further developed on the set, and the results exceeded the imagination of what I wrote. I once again strongly felt that this film is about "combined strength." Houtaro's Motojima Junsei-kun and Rinne's Matsumoto Reiyo-san have grown remarkably compared to when we first started filming. Even when confronting Future Houtaro, played by DAIGO-san, they had a presence that was unrivaled. I felt their strength and resilience more than in the TV series, which really made me happy to watch. It was decided early on that the film would feature Gotchard Daybreak and Future Houtaro, so when writing the script, I started by imagining what Houtaro would be doing in the Future World.

For 20 years, Houtaro's endured loneliness and isolation, living in a devastated world while carrying his sins on his back. He has a great "sense of loss." Even though he's injured, he keeps fighting, almost as if he's torturing himself. The idea for the eye patch came from Director Tasaki. I wrote the scene where Houtaro loses Rinne with the assumption that Motojima-kun, not DAIGO-san, would play the role, since the scene takes place not far off from the present, but it was pointed out to me that this would make it difficult to distinguish between him and present Houtaro. The eye patch is a way to differentiate between the two, but it also instantly conveys that Houtaro's lost more "friends" than just Rinne and the others. It's a heavy setup, but that idea helped. While Future Houtaro's burdened with a sense of loss, Houtaro and Rinne, who have come to the future from the present time, confront Future Houtaro with their honest feelings, even though they face a hellish reality. And eventually, the three of them join forces to confront Glion.

-Both Gotchard's evolving at the same time-

I'm sure that everyone's looking forward to seeing the new film exclusive form in action, but as a Scriptwriter, I wanted to make sure that it made perfect sense. I'm very satisfied with the way we were able to depict both Gotchard's simultaneously evolving in this film, and that we were able to put the Chemies feelings into it as well. It was also difficult to create the climax. Simply fighting a giant enemy isn't enough. So I thought about it, and that's where the development of using the Gigantliner came in. One of the themes of this film is the "departure of young people." Just to clarify this, Producer Minato wanted to use an actual steam locomotive for filming, so we also tried to involve the Gigantliner in the last battle. I also made sure to express the importance of "supportive energy." In Gotchard, it's an element that's been built up from the TV series. In the film, Kojima Yoshio-san's impact was added (laughs), and I think it's the best "support" that says, "We can win this!" My goal was to make "a film that'll make you cry."

Even though I'm the one that wrote it, I cried almost five times during the preview (laughs), but I already can't wait to see what everyone who comes to the theater will think of the film. _

Action Director Fukuzawa Hirofumi

-Action to match the Drama-

As an Action Director, what's always important to me is to create action scenes that don't interfere with the story. I don't like when the flow of a story is broken as it progresses, and is like, "Yep, here's some action." Since action's part of the production, I think the emotions of the characters should be properly included within it. For example, I'm particular about each person's position. In this film, the three of them fight together, that being present Gotchard and Majade who go to the Future World, and Gotchard Daybreak. In such a case, who should be the first to come to the front in this scene? In fact, how will that change the timing? I think it's very important to think about that. To put it another way, instead of positioning the characters according to the action I want them to perform, the flow of the action is first created based on the context of their relationship and where they stand. Here, present Gotchard is the main character, so Daybreak's moving to support him…..among other things.

Even in everyday life, when taking a group photo for example, each person's personality comes out, right? There are some parts that are similar to that. I was always conscious of this when I was in charge of the Super Sentai series. However, in this case, what's difficult was that there are two Gotchards, one from the present and the other from the future. They're both the same person, but are different in age and experience. Still, I also wanted them to feel like they're the same person in some places. This kind of pattern isn't common, so this was one of the areas where I struggled. I also owe alot to Eitoku (Gotchard) and Asai-kun's (Daybreak) ability to play each of these roles. Also, Rinne and Majade are quite important in this film. When both Gotchards and Majade are standing side by side, I also thought alot about Majade, like where she should be and what she should do. On the other hand, Majade's solo fight against Alzard, an enemy with the same face as Minato Sensei, is also a major highlight. By doing it this way, Majade is now also seen as the main character for the entire film. Trying to find a sense of balance in this area was a constant struggle while filming.

-Realistic Battles-

The story of Glion's transformation into Kamen Rider Dorado involves Glion holding a flask, from which a card is produced, which he then uses to transform into a Kamen Rider……that's how the flow goes, but during that time, Gotchard Daybreak charges at Glion. I think this was in the script. I didn't want to stop the flow, so instead of showing the entire sequence of Glion's transformation, I included some action in the middle of it where Glion dodges Daybreak's attack. Since this is a film is aimed at children, I suppose there's a way to "lie" about it, and just show only Glion's transformation, but thinking about it realistically, the question arises as to whether Daybreak is just waiting on him. I'm always thinking about "whether it can be established or not." Of course, it's also important to make the transformation look cool and impressive, so I try to make it as compatible as possible. In the opening, we had Spanner suspended by a wire and made him hang and jump, but I really wanted to do more things like this. Action isn't just about fighting. It's cool to do it smoothly, not in an exaggerated or superficial way. If the height is too high, the realism will be lost, so if we can find a good place or location, we can do things like this.

In this kind of production, the most difficult part are fight scenes between non professionals, so I often have a stand in for one of them in order to keep the rhythm, but it was reassuring to have Clotho's Kanon. Of course, she's physically strong in her own right, but her ability to pull everyone along during one on one battles were very important. It makes a big difference if just one of them can perform action. This time, since Clotho's on the good guy's side, I was also aware of how she should fight. I hope you'll also pay attention to that. _

Director Tasaki Ryuta

"Please tell us what your goals were when taking charge of Kamen Rider Gotchard's film."

Tasaki: I received a variety of opinions and requests from all sides, and I had to select the best ones and give them shape as I went along, but first off, when I thought about the appeal of the main character Houtaro, and the Kamen Rider called Gotchard, there were many opinions that, "He's a hero you want to cheer for." I thought this was an asset of the show, and with that being the case, I decided to incorporate an element of "cheering." However, if we were going to go with that, I didn't want it to be some half baked, unexplainable production. I thought about how to do it in a way that would appropriately bring the film to its climax. And then, Producer Minato-san was particular about steam locomotives. Gotchard's standard form is "Steam" hopper, and we thought we could handle steam locomotives being on the big screen of this film. Regarding this as well, we felt that it would be a waste to have only a scene of the Gigantliner going to the future, so we decided to have the CG Gigantliner play an active role in the last battle as well.

"As for the filming structure, the fact that it was shot on location in Shimane is a major point."

Tasaki: One of the staff members in the production department is from Shimane, so he took charge in negotiating with the government and the film commission, and he was able to make things happen. The station where the Gigantliner arrives in the Future World is the Former Taisha Station, which used to be the nearest station to the Izumo Grand Shrine. Today, there's a private railway station nearby, and the "JR Taisha Line" itself, which used to end at the Former Taisha Station, has been closed for more than 30 years now, but it was great to be able to film the steam locomotive there. It didn't move, but we could get in and out of it without difficulty, and we also went to a place known as "Tatara Yamauchi." In the past, this area used to partake in iron manufacturing. Here, old tall buildings and tenements still remain, and they served as the exterior of the hideout for Houtaro and the others in the Future World. The take of both Houtaros transforming side by side was also done at this location. There was also bike riding in Shimane. The exterior of Glion's stronghold is the Izumo Dome. There was lots of scenery among other things that could only be filmed by going to Izumo, and it made this production more profound. The scenes of the steam locomotive moving was filmed with the cooperation of Chichibu Railway. We prepared 5-6 cameras and captured it from all different angles.

-The Impact of "Another History"-

"It was exciting to hear that, "Present Houtaro and Future Houtaro meet and fight together," but in reality, Future Houtaro's setting was that the past 20 years for him were extreme."

Tasaki: Since history has split off from Houtaro's defeat by Glion, there was a necessity to depict a clear distinction between the two. Also, we needed to depict a tragic element in the process of turning the tables on a hopeless situation. I believe that many of the visuals will shock those who are Gotchard fans. On the other hand, there are some redeeming features which create a sense of hope, such as Atropos and Clotho becoming allies, and a reliable friend named Tajima, played by Kojima Yoshio-san.

"Houtaro's eye patch, Rinne's final moments, and the three "Dark Death Masks"……Of these, Alzard, who has the same face as Minato, left the strongest impact."

Tasaki: Regarding Minato, he was on Glion's side for a long time in the TV show, and with that impression still remaining, if we did things normally, people would think, "Again, huh?" Besides, Kumaki-san's performance was important, as Alzard's insanity and cruelty draws out the rage of Rinne and the guest character Ichika. Actually, to that extent, I believe that Kumaki-san's efforts had created some positive effects.

"This was the first time for DAIGO-san, who plays Future Houtaro, to make a visible appearance. How did you feel?"

Tasaki: I could tell that he takes his work as an actor seriously. He would also read the book (script) in depth. I'm glad we cast him.

"When we think of DAIGO-san and Director Tasaki, we just can't help but think……"

Tasaki: I understand (laughs). It's because of "Pretty Guardian Sailor Moon," right? Kamakari Kenta-san also appears as Glion in this. 20 years ago, I worked on "Kamen Rider Faiz" and "Sailor Moon" at the same time, and Kamakari-san's wife is Haga Yuria-san, who played the heroine in Faiz, and DAIGO-san's wife is Kitagawa Keiko-san, who played Sailor Mars. I thought it was a strange connection because in this film, there's a scene where Future Houtaro and Glion fight. Kamakari-san……Kenken-san's Glion is also wonderful. Not only is he cool, but he comes up with an interesting performance every time. It's also fun to film him.

"Speaking of those connected to Director Tasaki, Kadoya Tsukasa also makes an appearance."

Tasaki: While Decade is a special Rider who can commit to being in any Rider's world, I think it was inevitable since Kadoya's originally an eternal traveler, but now that Kaguya and Kamen Rider Legend, a kind of successor, has appeared, I think he may have finally found a place where he belongs. Kaguya's also a type of character that's never been seen in the Kamen Rider series so far, and Nagata-kun's got great style, so I think it'll be interesting if we can connect him to future productions. Oh yeah, speaking of Nagata-kun, he came to observe the Shimane location shoot at his own expense. He also helped the staff out with their work.

"We'd also like to ask about Kojima Yoshio-san."

Tasaki: As I stated in the beginning, I wanted the climax of the film to be the scene where everyone cheers for Gotchard and the others. To highlight this point, I approached Kojima-san with an offer, and he was very clever. He immediately understood what we were trying to aim for. We didn't do a costume fitting, mainly due to him wearing his "usual swim trunks" (laughs), but the main cheering scene was discussed remotely in advance. We asked Kojima-san to use his sense of language and rhythm to come up with phrases that would make children want to cheer along with him in the movie theater. Then, I was told that there was a joke he thought of from a long time ago that would fit this scene, and so, "Gan gan gan gan ganbare!" came about. He also did a demonstration on the spot, which I recorded and showed to the children who were going to perform it by saying, "I need you to do this," and they all immediately started imitating it. In Kojima-san's mind, I assume that he's developed a keen "sense of smell" for what kinds of things are popular with children. I'm sure he's had countless experiences doing this, so I'm glad we asked him to help us. I'm now looking forward to seeing the reactions of the children who will watch the film.

-A Glittering Moment-

"It's a film with many elements, but present Houtaro and Rinne are firmly at the center."

Tasaki: There's no doubt that both of them put alot of effort into this film. Before the film, the TV episodes I worked on were episodes 26 and 27, and 36 and 37, which were also stories about pushing Houtaro into a corner, but the film has a greater emphasis on Rinne than Houtaro. I thought the scene where she shows her anger at Alzard was especially good, both in her facial expressions and voice. Also, Tarumizu Ayane-chan's Ichika was great in that scene. In one cut, I felt that take 1 lacked alittle bit of her passion, so I stopped for a moment and explained again about Ichika's feelings at that time. Then, in take 2, her expression changed dramatically. Camera B's Sato-san was surprised when he saw her. He was like, "It's amazing how kids at that age can change so much in an instant." That makes us happy, but it also scares us. If we had compromised and said, "This is good enough," we wouldn't have been able to capture that expression. We would've let a great opportunity slip by. That's why it's important to believe and hang on. It wasn't just the actors, we were also constantly being tested. One difference between stage plays and film productions is that stage plays can be good or bad depending on the performance date, which isn't good, but in the case of film, young actors in particular may show a surprising brilliance only once in the production. For us however, we're very happy to be able to capture that moment.

Rinne's final moments were actually shot about an hour before our plane back to Tokyo from Izumo. The staff was naturally in a hurry (laughs), but both Motojima Junsei and Matsumoto Reiyo were so incredibly focused on their roles, that they didn't think about anything else. That is the wonderful thing about youth, don't you think? I felt it was a very effective scene.

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