What lies beyond Nino’s line of sight?
The role of Nino | An interview with Kenjiro Tsuda
From Pash! Magazine, March 2017
Translated by Blue Variance
—Where do you feel the charm of “ACCA” lies?
The stylish atmosphere of its distinctively crafted world is really wonderful, but that’s not even where its best charm lies. Characters, as well as their stories, are so well written, and even characters that only appear a little bit, like the section chiefs, have incredibly dense stories. This layered storytelling tries to use a light touch, which gives it a sophisticated look, don’t you think?
—Please tell me about your impressions while watching the anime.
The use of color and even the music really brought the production together. I thought Shimono Hiro (the voice actor for Jean Otus) met my expectations, but when I read the manga, I thought the atmosphere of the images was more calm and composed. Actually, I was surprised by the light “pop” of the colors in the final production, and in this way that I felt like my expectations had been challenged in a good way. “I want to be a director~!” is what I thought. (laughs) And, it’s wonderful how there are so many little details included in the anime, with every one of the sweets being drawn in and cigarette smoke floating all throughout. While the original is captivating, the anime is charming in its own way. However, I think fans of the original will not have their expectations betrayed.
—Isn’t it fun that Nino is always in charge of the next episode preview?
The pressure from the female team is amazing during recording. Let’s do a good job! (laughs) Getting the preview script is especially fun with Ao-chan (Yuuki Aoi, voice actress for Lotta) with her “Ao-chan inspections”. You know, sometimes I think this can be pretty aggressive, but other times I think it’s also a good thing. I feel pressure from both my responsibilities and the staff. However, Ono-sensei (Ono Natsume, mangaka of ACCA) has entrusted this production to us, so naturally the staff is concerned about it. This concern creates a good atmosphere, giving us strength and allowing the overall quality to rise. I always feel that the staff is having fun making this anime.
—There are so many details in the anime that are difficult to figure out, don’t you think?
In the OP, when Nino’s sunglasses fall, even that’s a hidden hint. And, although it can be unclear and you might not understand all the details, I hope you’ll still pay attention to these playful parts. Also, my hobbies happen to be riding a motorcycle and photography, the same as Nino. Because of that, my eyes always follow the camera, and I can’t help thinking, “does Nino use different cameras for work and non-work situations?” In this way, I find it fun to try and imagine myself in his position.
—Where do you think Nino’s charm lies?
The best way I can describe it would be “multifaceted”. There’s a disconnect between the mask he wears as the mysterious Crow and the everyday mask he wears for Jean and Lotta. That’s why, when I act, I take a lot of care in creating balance. To what extent does the mystery remain, to what extent do you act brightly? In the beginning, there was the impression that I was playing the role of the villain a little bit. I must perform very delicately, but it’s not good to over think it either because the process of getting into the mood of the performance is also something to be cherished.
—When I see Nino, it’s extraordinary how he seems to be without a sense of life.
That’s probably what you would call “warmth”, I think. It’s the same for Jean, however Nino’s warmth doesn’t come to the surface, though he properly takes his meals, eats chocolate, drinks alcohol… you don’t feel the warmth overtly, but you know it’s there. And so, in that way, it may lead to a feeling that there may not be a sense of life within.
—No matter how the story progresses, your acting will continue to be thorough and detailed, won’t it?
In my case, I’ve had some especially bold roles in other productions (laughs), as soon as I get a role I cherish the momentum of the performance, and concerning “ACCA”, I feel like I want to get closer to Nino’s wavering feelings so that I can fully realize his character.
Comments from the translator: Thank you so much for reading this translation! This is just the first half of the interview, and I hope I can finish the second part soon! It’s my first time translating, so I hope it was all correct and made sense. Some of it was kinda awkward to phrase properly from Japanese into English… (-_-;)
If you have any comments, criticisms, advice, etc. on my translation, please leave them in the comment section below. I’d love to hear your opinions!
Depending on how busy things are, I’m hoping to continue doing more translations of interviews etc. in the future! Please look forward to it!