Evangelion 3.0+1.0 Assorted Translations

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Evangelion New Theatrical Edition: 3.0+1.0 Records Collection became available at the theatrical release of Evangelion: 3.0 + 1.0 Thrice Upon a Time. It features final character and mecha designs from the film, cast interviews and theatrical posters.

Please note most of these translations are early and are likely to get revised. Many interviews are still undergoing translation.

See also: Resources:Evangelion Q Records Collection

Intro by Hideaki Anno

Translation: Pluto

What were we trying to make three times?

It has been 11 years since we started pre-production, We spent four years from the start of full-scale pre-production, spent a huge amount of production costs, and packed as much fun as possible devoted to various sensory and technical frames of an animated film.

The fun of design. The fun of movie composition. The fun of hand drawn images and motion. The fun of 3DCG movies and motion. The fun of color. The fun of background art. The fun of photography. The fun of storyboarding. (The fun of splitting cuts)（カット割） The fun of changing cuts. （カット代わり） The fun of editing. The fun of voice acting. The fun of music and sound effects. The fun of acoustic arrangement and balance. The fun of directing to integrate these things.

In addition, the fun of adopting the sensation and technique of the special effects I was trying to do around Eva: Jo.

Also, I always searched for what was best for the work so that it would be interesting as a movie, that is, the script and story would be even a little interesting, and I've spent all my sensibilities, skills, and experience until the last minute.

As a result, this work is finished.

To all members of the audience, if you enjoy the fun, charm and comfort of animated films as entertainment even a little and are satisfied, I will be happy.

Finally, I would like to thank all the staff, cast, fans who led the work of Evangelion to completion three times, and my wife who continued to support the work and me both publicly and privately.

Thank you.

Interviews

Megumi Ogata as Shinji Ikari

Translation: Pluto

On July 6, 2019, when the video of Avant 1 was announced, Ms. Ogata participated in the Japan EXPO in Paris, France.

In Paris, I was given a great role. About three weeks before, I was suddenly asked to fly to Paris. I adjusted my schedule and managed to get there, but I was the only one on the last minute flight. Others took an early flight to prepare for the show, but I flew on a midnight flight the day before the show, arrived in Paris at 4AM early in the morning that day, and left my luggage at the hotel. It was a super-forced schedule to go to [the place where the expo was held]. At that time, I was asked, "Ms. Ogata, I'm really sorry, but would you please bring the completed video to be played simultaneously all over the world?" Even though I was the last one, I wasn't worried that I had such a big role. For example, if you fell in the bathroom, you wouldn't apologize to the entire world.

If that’s the case you’re ready to say, "There are two parts to being a manager. Please bring a spare for Ms. Ogata." As expected, I’m ready. (laughs). "I have to do this. I brought it to France” and I said that “I shouldn't run away” (in Shinji's voice). I think I apologized with the manager for the other animations, saying," I can't bear that heavy of a responsibility. "However, the production team of Evangelion knew that it would be a trial and error process until the very end, and they thought that “if Ogata loses it, that's it.”(laughs). No, I can't afford to be spoiled, but if I thought about it, I was likely to be crushed by the pressure. I've been associated with "Eva" for the last 25 years, but it wasn't difficult (laughs). For 25 years, I experienced something that I couldn't experience anywhere else, but every time I talk about [Eva], all the other animation producers turn around and say, "No way? Is that true!?" (Laughs)

––What was it like to directly see the reactions of the audience in Paris?

All the overseas fans are passionate. We were enthusiastically welcomed by everyone in Paris. However, the difficult thing is that I talk through an interpreter overseas, so there is a delay between when I talk and getting it to everyone. In Paris, there was an online broadcast, so Japanese people would understand as soon as I spoke, but since it was live in Paris, it took a long time for the reaction to come back, even while thinking ”Is this okay for a show?” I was also able to do it.

––Was that the first time you saw the video?

I could only see a little bit. The Eiffel Tower was shown a lot. Anyway, it was amazing. Rather than the content, instead, I was really relieved that [the video] was delivered safely (laughs).

––How did you feel when you first read the script?

It was a long time ago that I read the script for the first time. I mean, I wanted to read in advance the scenario in the pre-planning stage before it became a completed script. That's something I've never done before ... Suddenly in the winter of 2018, Mr. Khara contacted me saying "I would like to talk about the scenario." It was the first time I was told such a thing. Voice actors rarely participate in the scenario development stage at the animation studio. Evangelion, especially, is a work that expresses the inner world of director Anno, so in the scenario meeting, I wondered what it would be like to be called on by him. I received a preliminary scenario that said, "I want you to read it when you attend the meeting," I nervously read it, and somehow I understood. Then, when I finally attended the meeting, the first thing Anno said was “I want to hear your opinion on what to do to bring back Shinji who can’t speak anymore at the end of Q”. So I asked, "Why did you ask me that in the first place!?" I don't know if it was instrumental at that time or what it meant, but he said, "Among the members of this meeting only Todoroki (Ikki) and you understand Shinji's feelings”. (laughs). So I had a little discussion with the staff about how Shinji would act.

––What did Ogata think about Shinji's comeback?

I thought that his conduct was not important and that whatever Shinji's feelings were drawn, it would work. In addition, the result of saying "If anything, this is it" has led to the depiction of some of Shinji in Part A. As an aside, after a very responsible meeting, everyone went out to eat and took a picture there. Then Anno uploaded our first “two-shot” picture I took with him the following new year's. [Two shot picture: a photograph of two people, usu. male and female] By going through that process, when I received the completed script, I knew the rough content a little earlier than everyone else in the cast.

––Did the content that you read the earlier change in the final script?

I just read it roughly, so I knew what had changed and what hadn't changed. In the first place, I didn't really see the scenario during the review stage, and I was worried that if there was a difference in the final draft after provisionally reading it, there would be a problem if it influenced my performance. I read it as if I borrowed it for a meeting, and sealed it away after that.

––How did you feel when the voice recording started?

First of all, do you have multiple scripts? I was surprised that it was the final volume. In the end, there were four parts, but at first I received two volumes, Avant and the A and B Part. The B part is very light and I thought it was like a doujinshi (laughs). The A and B parts were recorded in early 2019. At first, I recorded the A part with Kensuke (Iwanaga Judgment) and Asuka (Yuko Miyamura), but at a relatively early stage, as usual, by like, Take 30 we began to attack it intensely.

––Did Ms. Ogata have to do any retakes?

There weren't many Shinji lines in Part A, and there were many reaction ad-libs (expressions such as breathing) such as "ha" and "fu", so there weren’t many retakes. I sometimes got out of the booth and waited for the other actors to finish. I didn’t talk but I watched the two performances because I thought it would be difficult for them to do it. The C and D parts in the latter half have more lines in the performance, but I think that it was almost like recording by myself throughout the whole story, not with everyone. However, in the latter part, I was told that "Gendou and Shinji want to record together," and I did it with Fumihiko Tachiki. But at that time, when it was Mr. Tachiki’s turn to record, he recorded many takes over and over again, so I waited once more, and in the end, after our recording time was finished for the day, on the way home, I went to drink with Mr. Anno and all the main staff came. "I drank with my dad (in Shinji's voice)" (laughs)

––Were there any diagrams (illustrations) when you were recording alone?

What do you mean? I don’t know but...In any case, at the stage of recording the latter part, it was said that all of Shinji’s parts would be finished recording, except for the scenes that involve Gendo. After all, as I said, the interaction with Gendou was limited to the first few pages.

––Isn't Shinji so special?

I felt that this time Shinji played a major supporting role. In the final act, the conflicts of various characters are drawn abundantly and Shinji as a major supporting character in his line interjects by saying, “So how was it?”Is it a position like "another Shinji" that often appeared in the TV series? Often, when Shinji A shouted, "What the!?", Shinji B replied, "What does that mean? Do you think you're bad?" This time, only B (who asks) feels, and it is not Shinji who is expressing his thoughts but Gendou and Asuka. In that sense, after previously completing the story of Gendou and Asuka, maybe I wanted Shinji to speak with objectivity. This is just a guess.

––Wasn't it difficult to perform by yourself?

To be honest, I like to perform with people rather than acting alone. Obviously, it's best to perform live together. It's more fun to perform together than alone. It’s because [it’s something that] can only be created in the moment. As expected, I don't say the lines without listening to the previous lines, but I perform while listening to the voices recorded by everyone else in advance, but I think it's different from performing together in a scene. But, well, it's a work that has been done for as long as 25 years, and I think the first thing is to be able to do what the executive director wants to do. Since the actors are all veterans, I felt that they were talking with an awareness along the lines of "Ogata would say something like this."

Although it was recorded separately, it seems that everyone formed a LINE group and solidified their unity. I made it when a lot of actors unexpectedly came to the New Year's party hosted by Mr. Khara on New Year's Day 2019. It’s always busy at the launch of [a new] "Eva”, so the actors don't get together so much, but at that time, a lot of people gathered, so I created a LINE group as a contact network. At first, when I made it, I thought that everyone wouldn't actively send messages, but surprisingly, there were many people who reported on their activities. Even during the recording sessions, they would say, "I'm going to record today." Good luck! " Because we bought a lot of Eva LINE stamps, we used the stamps to say "Good luck" (laughs). It's a pity that the picture alone doesn't show up. There are many Eva stamps but unfortunately, there aren’t many “boy stamps”.

––How did you feel about meeting your old colleagues who took a year to live again in this world?

I already experienced the surprise that my acquaintances are getting older before I knew it in “Q”. At first, Shinji couldn't understand the current situation in "Q". Asuka has the same face, but why did she get scared so suddenly? Misato and her crew feel like they're getting older, but he doesn’t understand what they're saying. Black plugsuit Rei Ayanami helped him, but what can I say? And so on, there were only such questions. The reason he finally realized the current situation was when Kaoru showed Shinji the devastated scenery, saying, "This is what you did." After that, Shinji was extremely depressed ……….

––In the "Q" pamphlet, Ms. Ogata's thoughts at that time were spelled out.

During the second half of "Q" Shinji rushed just for the hope that he might return to his original state if only those spears were pulled out. As a result, his friend died in front of him and he lost his will to speak. In short, in "Q", Shinji was informed that the situation has drastically changed, but in the A part of "Shin", in the part where Shinji cannot speak, it took time for Shinji to be able to slowly understand and comprehend that 14 years had passed. That said, as I said earlier, I have never spoken about the scenes where Shinji is silent, and I haven't seen any pictures, so at this point, I've only imagined what it looks like by reading the script. When I recorded the A part, there were almost no images yet ... With normal dubbing, by actually listening to the exchanges in the previous scenes, the emotions of various people come out, and I myself can act after being moved by them. I didn't have that this time, and I had no choice but to fill in my emotions only from my imagination, so I'm still not sure if I'm performing properly, but I believe in the executive director who gave me the OK! (Laughs)

––How did you interpret the feeling of returning to the Wunder?

Overall, Shinji was kind of lonely or perhaps I should say I think Shinji manufactured a world inside his heart that he fell into where only he was left behind. Everyone is his friend, but they’re not the same friends, right? Although he treats everyone the same as before, from Shinji's point of view, they are no longer the same friends as he was back then. Everyone has been accumulating experiences for the past 14 years, and each has a different family or has put themselves in a new living environment. In short, everyone has grown up. So, they’re not the same as him anymore. The reality is that he is only 14 years old and can't return to the same place as everyone else, he is in the midst of despair, yet one step to live again in this world is to return to the Wunder. I think it was the choice to go back there. I think it's gradually becoming possible for him to swallow and accept the situation he was placed into.

–– How did you feel in your performance when Asuka told you that she had grown up first?

I know how Asuka feels. For example, when I met a classmate at a class reunion, I had grown 14 years older, and although I was 14 years older and had various life experiences in those 14 years, the boy I liked at that time [in junior high school] remained a junior high school student, both emotionally and physically, and was an adult. If you haven't grown up at all, you won't feel like you used to. I think the other boy is the same [as Shinji] as what I’m talking about.

––You really read the script thoroughly, didn’t you?

Rather than reading the script thoroughly, it's more like a long accumulation [of experience]. In the last scene of "2.0", I was so tired from recording the scene where Shinji saved Ayanami that I couldn't move, so I sat down on the floor of the studio. Then Anno-san jumped in and came into the studio with me. He sat down on the floor and took my hand and said, "Thank you for adding your experience to Shinji while still maintaining the heart of a 14 year old." He said, "You managed to do it because you haven't let go of your 14-year-old heart." I was really happy [that he said that]. Then, with "Q", [Anno said,] "This time, everyone around you has grown up. What I want you to do is to show your own loneliness of being left behind with a 14-year-old heart in this film." "If you keep feeling like when you were 14 years old, you [Ogata] personally should have a sense of discomfort with others and a feeling of loneliness that only you can fall into, so please act with that in mind." In "Shin", if anything I noticed that if I was alone, then, with this, what should be done becomes an exploration on what I should do in my own way as Shinji acts. I think that is also the part that is familiar to me now. There is a stereotypical way of thinking that "adults should be like this", especially Japanese people tend to think and say that. He has a strong sense of conformity and tends to impose things like "shouldn't it be like this" and "shouldn’t be like this for members of society", and excludes other people. When I realize that "everyone around me may be different from me," I also go through the process of finding where I should be.

––It's been 25 years since you've performed that type of role where you’ve included your inner self. Miyamura, who plays Asuka, said in an interview earlier, "Ms. Ogata, thank you very much for your hard work."

Like Shinji, I think Miyamura became Asuka because it was her. Twenty-five years ago, she was still a voice actor, and although she doesn't know it, I think she performed with her body, which was the basis of Asuka. Of course, not only Miyamura, but everyone else, I think it's a rare work in which the individuality and experiences [of the performers] are projected into their roles. I wonder if we were the "chosen children" (laughs).

––Ms. Ogata, please tell us the lines that you were most impressed with this time.

I don't really think about the lines because they just come out, but the additional line that was suddenly given to me at the time of the last recording, "Goodbye, all of Evangelion" [stood out]. I was surprised by that. I was told, "Goodbye to your current feelings," and I did it several times while thinking "Um." Gradually, I didn't know if Shinji was saying it or Megumi Ogata was saying it. When I asked, "Which will you use in the end?", I was told, "I'll decide later because they’re all good", so I don't know which [take] will be included until I see the finished product (laughs).

––Looking back on 25 years, how do you feel now?

Thankfully, I was fortunate enough to have many hits in the 90's, including "Eva". Currently, in addition to "Eva", there are series from the 90's that continue to make new works such as "Cardcaptor Sakura" and "Yu Yu Hakusho", and not only animation but also apps and games are attached to them. Many collaboration products were also made. Among them, "Eva" has continued for 25 years, although there [were times when a new Eva series wasn’t being made], above all, I continued to be involved as the main character the whole time. I'm really grateful that I was able to come into contact with such a work. How many actors can have such an experience, leaving a character that can only be projected onto their own life? I really appreciate it.

––To that extent Shinji and yourself are connected?

I don't think my acting is particularly good ... I don’t think I’m suitable as an actress in terms of my personality. Previously, when I made my second animation, "Glass Mask", I played the role of the main character, Kitajima Maya. Maya is an actor who "wears a thousand masks", but I want to be an actor who "removes masks" rather than an actor who "wears a mask". If you have a thousand pieces of armor that you have worn, then peel off a thousand pieces. Everyone is acting = wearing armor and living. But it's difficult to remove it at the right time. I want to be an actor who can convey that. You can peel it off at any time. All ages and genders can be transcended. I have thought that there is no value as an actor other than being myself. Even if the people around me grow up, I can stay 14 years old... I almost backed down many times, but fortunately, I was praised in the "new movie version" for "holding on well", and for the first time I thought "I'm glad I’m an actor". Of course, I also love other works, but maybe I was able to become a voice actor to do "Evangelion"... I don't know what it is, but I think I was able to come this far because I was able to do it with a power that cannot be seen.

Knowing that it is misunderstood, "Evangelion" itself is like another life of mine. So, at the same time as it is incredible at the end, it is strange to say "somehow it does not end", but it is a complete work, and since there is a large part that links the role to myself, as long as I am alive, I feel like I will continue to live in the story of "Evangelion". Someday, when I'm asked if "I'm going to do another world beyond the final edition, but can I still be 14 years old?", I want to be able to say "I'll do it" without hesitation. I wish I could stay as an actor who can play the heart of a 14 year old until I die.

Yuko Miyamura as Asuka Langley Shikinami

Translation: Pluto (a small part revised by Nuclear Lunchbox)

I've always wanted Asuka to be happy.

--You've performed Asuka for 25 years. Now that the recording of the concluding chapter in the series is finished, are you having thoughts about all kinds of different feelings?

Thoughts of all kinds of different feelings ... I haven't had them yet ... because there are still some parts that remain to be recorded. However, this time, from beginning to end, I had warm feelings. That's because this time, the cast members made a LINE group, and those who had finished their recordings reported, "It's over today!" in order. Since "Eva" is recorded separately, there are few opportunities to be in scenes together, so we communicated with each other. In this way, and every time someone finished, we all sent out stamps clapping "Congratulations". I'm really reserved on LINE, and I just send stamps in the [part of the conversation] where everyone is talking, but when I was mostly finished, I gently reported to everyone that it was over. I'm glad that technology has evolved dramatically since the TV series started 25 years ago, and it has become possible to [share warm feelings among the group] even when they are far away.

--What were your candid thoughts when you first received the script?

First, when the A part came in, I reread the script of " Q" and remembered "Ah, so that was it," and then read the script. I recorded the A part and the B part together and after that, I think maybe I got the script for the C and D parts.

--Asuka appears equally from the A to the D part. What do you think about Asuka this time?

I think everyone who has seen "Eva" up until now will understand. Throughout the entire series, I’ve felt sorry for Asuka. I have been worried about this for a long time. Even though I do my best. Because I always suffer and feel sorry [for Asuka] , I've been hoping for a long time that her ending would be happy. I want everyone to imagine Asuka's happiness in the future for me. Everyone, I leave Asuka’s happiness to each and every one of you!

--In any case, I think it seems that one possibility of happiness was depicted. Asuka's like a daughter to me, so I was like, "What did you get up to, Kensuke, you bastard?!" [Laughs] We never saw anything leading up to it, Kensuke's just suddenly in a relationship* with her, and that surprised me. Like that scene where Asuka's looking away and Kensuke snaps a picture of her**, I felt like there should have been some kind of "What the hell are you doing?" in that scene. [Laughs] I guess we also see her going to his house to play videogames whenever she wants, too***.

• Note that "relationship" doesn't necessarily mean romance-Kensuke and Asuka have, by most accounts, an intimate relationship, but the nature of the relationship can't be adequately commented upon until 3.0+1.0 is available for Western fans.
  • This is the scene where Kensuke has his video camera and is recording the docking of the Wunder in the third village. Kensuke points his camera at her and she’s like: don’t point that camera at me!
    • This is a cultural thing

--After understanding your relation to Kensuke, did the nuance of your [young dry] voice change?

But that's not the case for Asuka. Regarding Shinji’s condition and her role in Wille, she has many problems. When Misato says "Asuka please [pilot the Eva]", she must immediately launch. "This crappy organization! I'm forced to do everything! It’s only me and Mari [who do all the work]!" (In Asuka's tone). While surely being frustrated, she also has the resignation to not grow up as a child. By now, Asuka has no other option but to fight hard.

--You mentioned in the “Q” pamphlet that you performed "like a mercenary or a military commander".

That's right. I was fighting and thinking that I was a professional soldier. I don't know what Misato thinks or knows and at any rate, I have to obey her orders. When you are told to "protect [something]", you protect it. When you are told to "recapture [something]", you recapture it.

Every day, I was in a situation where I had no choice but to do it, and I think I was happy with the warmth of Kensuke (laughs). I've said a lot, but I was very happy when I was recording my scenes with Kensuke. The reason is that the Kensuke that I can see, who seems to have been abruptly thrust into a heavy burden, was gracious and trying very hard to support her. Mr. Iwanaga, who played the role of Kensuke, said a lot, "I'm doing my best to rescue Asuka! Can this make Asuka happy?”, so I thought, "I'm glad that Kensuke was so concerned about Asuka." However, before, when I played the heroine in another work, I also thought that I would be connected to the main character because she was the heroine, but sometimes the main character was taken by a character that appeared in the middle of the series. This time too……. I thought that there weren't many roles like that in terms of cause and effect (laughs).

The only thing I could figure out is that Gendou is selfish (laughs).

--How was the scene where you met Asuka's original, the former Asuka [Shikinami], face-to-face?

I recorded some of Asuka’s lines as an adult and as a villain, but I didn't know which one to use in the end. When it comes to Asuka's feelings, “Original” Asuka’s [Shikinami's original clone] existence is one that I definitely do not want to get on the side of, but for Yuko Miyamura, up until now, she has been pecked by something like a bird, stabbed by a spear, or as if I turned into a messy pile of meat. Compared to being attacked (laughs), I thought it was welcome because it was a very beautiful impression.

--Both Rei and Asuka are said to have been "prepared from the beginning" by Gendo.

Still, I don't think Asuka is in control! Even so, that's not true...I tried to say that, but I don't know for sure. However, I just thought, "That’s it, that’s it, Gendou is selfish" (laughs). It's like, "What are you talking about, Gendo!? What do you know!?" This selfishness has involved the world! I wonder if I understand Gendo. It's very troublesome to other human beings. Isn’t it? Good grief. What do you think of Gendou? Isn't he extremely selfish? (shouts)

--Ms. Miyamura is still passionately shouting and Asuka has been screaming fiercely in every series.

To that extent, do I think “Asuka screaming” is “Eva”? She sure does scream. This time I shouted with Mari, not with Shinji. At the time of the recording of the screaming, the picture was not completed yet, so I imagined scenes from the stage directions and listened to the director’s explanations for the scenes and heard "It hurts" or "It's passionate" at that time I tried my best to feel it. While being told, "It doesn't hurt yet" ... At that time--this time, we weren't together and I remember Ms. Ogata's moral support. Because Shinji also had the same painful experience, there were a lot of screaming scenes (laughs), [Ogata] gave me motivation and I screamed.

--This time, I was surprised because you suddenly pulled out a sealing pillar from your left eye. How was it for you when you saw that image?

I pulled it out, didn’t I? It seems painful! There have been times when something pierced me, but I thought, "this time I’m pulling it out?" (laughs). At the time of "2.0", I knew there was a theory that I became an angel from all the fan speculations. I started dubbing after seeing everyone's speculations (laughs).

--Wasn't there any explanation from the directors?

There was an explanation from the directors before the recording, “I see” I said and understood the theory, but it is difficult because I’ve never personally had a [angel] sealing pillar or spear stabbed [in my eye] (laughs). But when an actor says "I can't do [something] because I've never done it", it's over. So, I used all of my imagination and I pretended to stab my body. I understand that it corresponds to pain when I pull [the sealing pillar] out. I imagine that it's like peeling off flesh while you’re doing it. Anno and Tsurumaki had detailed criticisms and asked me for more realism. "It feels like something really hot is coming out." Humans usually feel the heat at about 43°C in the bath (laughs), and that's not enough, so imagine how hot it is. But even though I asked "How [hot] was it?" I don't remember. In my performance, I'm 100% desperate and I can't hold on to [these feelings] and live my daily life. So when the recording was finished and I left the studio, I tried to forget everything.

--Don’t you worry about damaging your throat? Do you perform in a somewhat controlled way?

That won’t happen because my schedule for "Eva" is open (laughs). In the case of "Eva", I am fully prepared to push myself to the limit so the scheduling and health care are perfect. Moreover, I exerted myself this time as well and [my voice] was completely flawless. Apart from that, I might be talking the whole time. When I shouted, "Yes, OK, now the next cut," I said to myself, "Even if you do your best as Asuka, you won't be rewarded next time!" Even if Asuka does her best by saying, “I'll do something about it!”, I'll fall into a trap next time, won’t I?" That's Yuko Miyamura’s “meta-speech”, but when I do Asuka, I become Asuka and perform as Asuka, but if I don't put in a comeback line like that, I will feel bad about Asuka’s loneliness.

Everyone is like war buddies who have been together for 25 years.

--You say you used to like Shinji. What was that exchange like?

Unfortunately, I haven't interacted with Ms. Ogata. Ms. Ogata said that she would after recording. In the part before Part A, Shinji was still like an invalid no matter what he did. When he realized that 14 years have passed and such a thing happened to Kaoru-kun in front of him, I think I felt sorry for Shinji because he’s depressed and there’s nothing he can do. The only thing Asuka can say is “Do the best you can."Asuka is doing her personal best, so she can tell other people to do their best.That's why I wanted Shinji to wake up and say, "I'll do my best," but I guess she felt like she couldn't reach Shinji no matter what she said. Asuka's effort is not rewarded. [When Asuka says,] “You are too mentally weak,” she blame’s Shinji. When I performed this line of Asuka’s, I really almost cried. In the 14 years of effort Asuka has accumulated, by saying this, I didn’t expect Shinji to do anything about it but she was unable to say what she wanted. But, in this way, thanks to saying what she wanted, I have a feeling that Asuka was able to progress.

--For Ms. Miyamura, Asuka’s peak is in Part A.

I didn't precisely say what I clearly liked there and I guess I went ahead and said it at the end. In the A Part, I didn't say "I liked you," but I felt like I had already made a break in my feelings for Shinji.

--In performing Asuka for the first time in 8 years with various things coming to an end, did you feel a weight off of your shoulders as an actress?

Yes, I feel like a weight off of my shoulders has been lifted. Executive director Anno said, "I'm glad Asuka was Miyamura" when my screen time was over.In fact, not only me, but the cast, staff, and everyone involved was good. So the executive director faced this work with thanks by saying to everyone, "I'm glad you were in this cast" and "I'm glad you were in this staff." I think so too. It’s because everyone is like a war buddy who have been together for 25 years and avoided the verge of death. I think I said to all members, “Good work. Well done, everyone!” Above all, I personally want to say that to Ms. Ogata. Ms. Ogata, that was really good work! I definitely want to participate if there is a cast party. Now that I'm back in Japan, I want to go to the cast party.

--Finally, the way Asuka says "Baka Shinji". How did you come up with this?

This was also a storyboard shot, so I think I was shown a picture of Asuka's appearance at that time and performed it with that impression. That "Baka Shinji" is just a love letter to the people who have supported Shinji x Asuka!

--Lastly, what is happiness for Yuko Miyamura?

Happiness? I want someone to tell me too (laughs). It's difficult. Hmmm. But conversely, I would like to ask you something. Each character went in their own direction, and on the other hand, I think the audience may sense it too. "Was your happiness inside this [work]?"

Mitsuishi Kotono as Katsuragi Misato

Translation:Nuclear Lunchbox

I was only able to say the line "This is the only thing I can do for you as a mother" because of all my experiences up to this point.

Interviewer: Misato really plays a big part in this final film, doesn't she.

Mitsuishi: Misato was so cold to Shinji in Q, but I really do think she was on his side until the very end.

Interviewer: It was eight years from the release of Q to the release of Shin. How did that time go for you?

Mitsuishi: I worked on a handful of Evangelion crossovers during the past eight years, so I was never too far from Misato. I wasn't ever away from her for too long! Though of course, I'm only really playing Katsuragi Misato when Anno is directing me for his films. It's very different from voicing her in a crossover, where the part feels so limited.

Interviewer: What went through your head when you read the script for the first time?

Mitsuishi: The first material I got was for Avant, the part A, and the part B. I thought "Well, I guess the whole script isn't finished yet. Again." [Laughs] All I could really do was speculate, so I'd have to say what went through my head was, "Wow, I wonder what's going to happen".

Interviewer: The first part of Avant was released July 2019 in Paris, right?

Mitsuishi: Yeah, with the Eiffel Tower in it. I got a message from Ogata saying she was getting rushed out to Paris. I was thinking about how rough that had to be for her, and then before I knew it I'd missed the broadcast window and the event was over. I was feeling disappointed until Miyamura said to me, "You can watch it here!" and sent me a link, so it was thanks to them I was able to catch it. Misato only gets a handful of off-screen dialogue, no screen time. I guess she's technically in charge of the operation, but Ritsuko's the one who gets all the attention! [Laughs] Though watching the entire sequence, I was absolutely blown away. After Avant came out, I was thinking about what I'd seen just like everyone else in the crowd. Speaking personally, Maya's really the most important character, isn't she. [Laughs] I've felt this way since the TV series, but when it comes to the world of Evangelion, sometimes you're watching while understanding less than half of what you're seeing. (Don't tell anyone, but sometimes I'm only pretending I understand what's happening.)

Interviewer: This film shines a little light on what happened to Misato after the events of Ha, the second film. How do you feel about Misato having a son?

Mitsuishi: When we were recording the lines for Q, I actually asked about what happened to Misato after Ha, but nobody would tell me. I decided that Misato had been through something truly horrible, and read her lines as if everything were Shinji's fault. I remember thinking if I laid it on a bit thick, someone would step in and tell me, "No, you don't have to go at it that hard", and then I would read the lines with a bit less raw emotion. But I guess that didn't turn out to be the reason.

Interviewer: The real reason ends up being even more powerful, doesn't it.

Mitsuishi: She's doing everything for the sake of a new world, right? She leaves everything to Ritsuko. After we finished dubbing the film, Anno came to me and said, "I'm so happy you were the one to voice Misato. When she says that line, 'This is the only thing I can do as a mother', we couldn't have done that when we started making Evangelion. In the same way I was only able to make this film after all this time, I think it was a line that you were only able to say after all this time too." And you know, I think he was exactly right. We've been doing this for so long, we've gathered years and years of lived experiences, and I think it's those experiences we were able to pour into our characters.

Interviewer: What was it like to read that line?

Mitsuishi: When we had to deliver particularly weighty lines, or in scenes where characters were furiously arguing with one another, Anno would block things so a character would have their back to the camera, or just so their face wouldn't be seen. That way we wouldn't have to worry about matching to a character's mouth movements and could focus on our acting. He actually did that for that scene, I think. It's a technique taken from theater actors, creating that sort of environment for us. I saved the lines I needed to read as a mother for last, because up until that moment I was the Captain of the Wunder, I was the carrier of the dying wishes of my fallen crew, I was doing what I believed was right. I could do everything I did because it was for for Ryouji, for my son. And then I apologized that I couldn't do anything for him as his mother, and wished for his happiness from the bottom of my heart.

Interviewer: As the captain of the Wunder, Misato pushes down her emotions and the bright, bubbly parts of her personality fade away. Do you think you were able to make that change feel natural to the audience?

Mitsuishi: I think I did, and I think I had to! Misato's been working so hard for the ten-plus years that have passed, so hard that those parts of her personality got buried. And when she entrusts everything to the people who will come after her, I think that's connected to when Misato's father entrusted everything to her when she was younger, passing on the torch.

Interviewer: Is Misato also carrying Kaji's burdens, now that he's no longer with her?

Mitsuishi: I think she knows there's no turning back anymore.

When I had to do the final scene, I started crying.

Interviewer: What do you think about the level of impact and gravitas these films have come to have?

Mitsuishi: It really is an incredible film, isn't it. We never doubted that people were going to get immersed in these movies. Animated films like this don't really get made anymore, so speaking as an actor, I'm incredibly happy I was involved with these. Ever since the days of the TV series, Evangelion was a property that people were always nervous would flop for one reason or another, but that's what happens when you have such a unique show on your hands. Of course the directors and staff would be worried about the success of what they'd poured their blood, sweat, and tears into! But with the different strengths of every person working on the show, there was no A.T. Field we couldn't break through. When the TV series started airing, I hadn't taken many guardian-like roles like Misato. I put everything I had into the part, pushing the limits of my acting to find Misato's character, but it sometimes felt like anybody could replace me and it wouldn't make a difference. Eventually I realized, "I'm pretty close to how old Misato actually is, why the heck I trying to fake my way there?" and started having a lot more fun with the role. I had a great time working on this film, too!

Interviewer: Now that you're a mother yourself, is it easier to act the "mother" aspect of Misato?

Mitsuishi: [Laughs] I felt like, "There go my excuses!" It felt like having to work on my greatest weakness. And it definitely is my greatest weakness. I'm stuck here until that kid grows up.

Interviewer: You said earlier you feel Misato was on Shinji's side until the very end. She was also his guardian until the end too, wasn't she.

Mitsuishi: She may have been cold towards Shinji, but I think she must have trusted him deeply. That's what I think was going on in that final scene. I don't think that trust was misplaced, either: Shinji's really grown into an adult, maybe not on the outside but definitely on the inside. After he falls down into the village and meets all the people living there, I think she thinks, "I'm so happy he's grown up". Shinji actually is lucky, isn't he. As a parent, all you can really do for your kids is give them food, clothing, and shelter. If you dictate "This is how you should live your life" or "This is what you need to learn", of course your kid is going to rebel and head down the wrong path. If you let your child develop on their own, if you're reaching out to them and helping lift them up, I think that's less parenting and more treating them as another adult. Shinji really had wonderful people like that around him, so I thought to myself, "You lucky boy!" He may not have always had a smile on his face, but the people around him didn't have an ounce of malice in their bones. "He really is lucky", I thought.

Interviewer: So really, Misato is interacting with Shinji like he's an adult.

Mitsuishi: Deciding to finish life on her own terms, bearing the weight of her decisions, sending him off with a smile and a "Take care", I really don't think I'd be able to do that. I admire Katsuragi Misato tremendously. When she uses her body to shield Shinji from the bullets people are shooting at him, I thought "Not in the back again!" [Laughs] She got shot in the back in End of Evangelion as well, and I thought, "Is this a callback?!" She sacrificed herself in that film to get Shinji where he needed to be too! The role of Misato is a part of me. When that part of me dies, I feel a sense of thankfulness, but also like I'm taking a part of my heart and locking it away. It takes a lot of strength to come back to a role you thought was over. I'm remembering how I felt when I came back as Misato for Jo, the first film.

Interviewer: We heard you cried a little when you were reading through the full script.

Mitsuishi: I started crying as I was getting ready for Misato's final scene, which I have a bad habit of doing! When we were recording, I started crying so hard we couldn't keep going. I read and re-read the lines over and over again at my home, and I kept crying every time, so eventually I just had to steel myself and deal with it at the studio. [Laughs] I felt like if I concentrated really hard, maybe I would be okay. I tried it with video playback, I tried it with no video and just speaking into space, I asked people to try anything they could think of. Yuriko (Yamaguchi) was in the room, and I was so happy when she teared up and said, "These are some good lines." Yuriko's a mom too, so I think she could empathize with how Misato was feeling as a mother.

Interviewer: So the two of you together were able to put real "mother-ness" into the scene?

Mitsuishi: Feeling like something resonates with you because you're a mother is one thing, getting hung up because you have kids is another. The best I can say to that is, "I wonder..."

Interviewer: Yamaguchi Yuriko was wondering if you felt the two of you made a good pair together.

Mitsuishi: Yeah, of course! Yuriko and I are always together when we're recording our lines, so it's always a great time. Sometimes you get a little down when you're on your own, but when you're with someone else, you can be like, "This bit is like this, right?" "Yeah, like that." That's how it feels. [Laughs] You can help one another get through the sections you're not sure about. And you know, Misato is also supported by Ritsuko in the same way in the movies.

Interviewer: Actually, Yamaguchi said the exact same thing.

Mitsuishi: Excellent, it would be a problem if our stories didn't match up. [Laughs] Even when we're not in the same place, I feel like "Wooww!" I'm happy we thought the same things. She'll always be honest with you, and she's just a really good person. When it comes to acting, she has a guiding "I wanna do it like this!" attitude. Yuriko has such a natural charm when she's playing a super-STEM woman like Ritsuko.

Interviewer: Anything else you'd like to say to the people reading the theatrical pamphlet?

Mitsuishi: From the bottom of my heart, I want to thank you all for coming on this journey with us. Thank you so, so much. I've tried to deliver that tiny Spear of Gaius from Misato to all the Shinjis of the world. When you watch these movies, I want you to find what makes them significant to you. I hope they'll stay important to you, as you keep watching other films. This is probably the conclusion of Evangelion, but the name of the film does have that little repeat mark in there, doesn't it. [Laughs]

Tetsuya Iwanaga as Kensuke Aida

(Translation in progress)

–– Even though a lot of unexpected things came out [in the movie], I was surprised by Asuka’s relationship with Kensuke.

Kensuke's been this friend she's never quite been able to get rid of ever since middle school. At the beginning I thought he was helping her out of friendship, though Miyamura Yuko said the two of them were suspiciously close, since Asuka calls him "Ken-ken". I thought to myself, "Huh, she might be right," and now I'm pretty sure she's on the money. [Laughs] Shinji's still fourteen both inside and out, and I don't think he could have helped Asuka, a girl fourteen on the outside but twenty-eight on the inside. Kensuke's twenty-eight on the outside and on the inside, so wouldn't he be the person who could do it? In the group for all the EVA voice actors on the LINE messaging app, Miyamura Yuko posted, "If Kensuke's the one who can be there for her, then please be there her." I was happy she didn't say, "Wait, Asuka's going to end up with Kensuke?!" I wonder if the fans are going to feel the same, "I'm glad Kensuke could be there for her". I'm looking forward to the premiere.

I think the fans think that Asuka has to be rescued. In regards to the meaning of rescuing, Asuka’s finger puppet was very symbolic. I think it’s almost certainly something that’s irreplaceable for Asuka. Because it’s an important prop, in the scene where Kensuke is wearing a certain puppet costume says, “Asuka is Asuka, that’s enough.” I interpreted it as Kensuke was the prop that rescued Asuka because he was inside [the puppet costume].

[...]

There’s a lot of good scenes with Asuka. Asuka is a character in Eva who hasn’t been rescued.

Fumihiko Tachiki as Gendo Ikari

Translation:[1]4chan user "Luuki" (translation posted on EvaGeeks by Mr. Tines)

No matter how many times I thought it over, I just couldn't understand it.

-What were your initial thoughts when you first read the script?

Tachiki: When I first read it I was really shocked, even more than I was with :Q. Even from the very first scene, Shin felt completely different to me compared to the story up until now. When I was given the script, I had to go over my lines while watching the unfinished visuals from the VTR, so they sped me through the A part of the film. Yet no matter how many times I thought it over in my head, I just couldn't understand it. Despite being a movie in the Rebuild series, Shin feels so foreign from the prior three films - it really took me aback. Of course, it's a clear continuation of the story. But as someone who has been part of this franchise since the TV series, it just didn't feel like "Eva" to me… In a sense, I guess you can say it's a work that betrays the fans in a good way.

-What was it like working on this film as a voice actor?

Tachiki: In order to properly perform the role, I had to mentally prepare myself to “become the character” as they are within the story. I feel like Eva is the one and only work where I’ve had to really do that as a voice actor. It’s not enough to merely just voice the character, I had to completely immerse myself into the story and the role - that’s what made working on Eva so unique.

-How did it feel to perform in the recording studio?

Tachiki: My first recording sessions were just doing dialogue with Fuyutsuki. Since I was recording with someone older like Fuyutsuki’s seiyuu, I felt like I could relax a bit more. It’s probably thanks to that I could see in what direction to take my performance from then on. Gendo’s scenes here were just part of the prologue, after all.

-And then, Gendo gets a much larger part in the second half of the film.

Tachiki: I was told in advance his role here would be a culmination of everything from the TV series up to now; that I’d be voicing lines totally unlike anything he’s said before. I knew I had to draw out that culmination as his voice actor, if I didn’t lay Gendo’s heart out completely bare for the audience it wouldn’t be believable. But when I actually read this part of the script for myself, I was surprised. This is the scene where Shinji finally talks with Gendo, who has remained a static character up to this point. I thought they would ask me to voice him emotionally, as if he’s become a completely different person. Instead, I was instructed to voice him naturally. No passion, no tension - just to speak completely naturally.

-Is that what you meant by Shin’s story feeling foreign to you?

Tachiki: Yes, exactly. Just by seeing the visuals I could immediately sense this was a Gendo completely unlike the Gendo we’ve seen up until now, that’s what made acting out the scene so difficult. I’ve voiced Gendo for such a long time, so I figured it'd turn out alright if I just voiced him as usual. With each take, they’d give me feedback to change the emotion of my delivery or explain the scene’s situation a bit more, and we kept at it like that until the take got OK’d.

-When you say you had to lay Gendo’s heart out to bare, does that mean up until now you were voicing him as if he was hiding those feelings?

Tachiki: Up until now I wasn’t really given a concrete answer on whatever Gendo is feeling, so I felt he was hiding behind his words. I was made aware of that especially for the Rebuild movies, so I mostly voiced him to give off the impression he’s not revealing his true nature. However this time around he has moments where he finally reveals himself - or rather, he can’t help but reveal his true self.

Up until now he’s said nothing implicative in his lines, though there were plenty of times where you could feel there was something more to him - like when he talks to Shinji as a “parent”. In Shin, he makes no attempt to hide himself anymore. In his moment of weakness, Gendo talks with Shinji but his presence as his son is gone. Rather, it feels like Gendo is talking to himself - he’s finally confronting himself.

-Did you notice any changes in Megumi Ogata’s performance as Shinji?

Tachiki: I did. Her performance had a very “Adult-like” feeling to it. Gendo speaks haughtily, he’s already an adult - yet when Shinji approaches him in this spiritual world, it’s as if his son has already caught up and surpassed him. This scene where they talk with each other really gives off that impression.

-Gendo’s past reveals his strong parental love for Shinji, but the son is the one who grows closer to the father in the end.

Tachiki: We’ve seen small buds of Gendo’s parental love in :Ha and :Q, but it turns out his son has already grown far past the need for that. Being able to clearly see the stages in his development really surprised me. It’s perfect timing that he’s developed to such an extent by the time in the story where he confronts his father, which happens just a little bit before the last scene of the film. Personally, I really love the way the story progresses to the last scene of Shin. I felt a whirlwind of emotions even when I was just reading it in the script, it was heart-wrenching enough to make me want to cry. Out of all the “last scenes” Eva has had up to now, this is by far my favorite one. It doesn’t explain everything, so I think allowing the audience to come to their own conclusions is good. Since this is the story’s conclusion, I thought Gendo really ought to take responsibility for his mistakes, so I feel it turned out to be a very orthodox climax in that regard.

-And when Gendo finally reveals everything, what we find out is…

Tachiki: Gendo truly had no one else but Yui, that is laid out clearly and vividly in his dialogue. We knew she was precious to him to some extent from the very beginning of the story, but to think she meant this much to him… As soon as he starts to talk about Yui, he starts bawling. I had to physically raise my voice the most and go all out when recording these lines. It took me a few tries, but I didn’t have to go through too many takes until my performance was OK’d. However the part where I had to cry out Yui’s name was definitely the hardest to get right. I was instructed to put all of Gendo’s emotions and feelings into calling out her name. Actually, I had to record this line so many times my throat started to feel sore, which is pretty rare for me. My throat has always been fairly strong, I had never felt it go sore like that when recording before. I feel like I had to talk a lot more this time around than in the TV Series and previous Rebuild movies. But what was most exciting was getting to act my heart out; putting my entire body and soul into my performance. It really felt like I had become one with Gendo as a character! Drawing out emotions I didn’t even know I had with just the right amount of energy...I feel like I put my entire being into it. I’ve always wanted to pilot an Eva, at least once.

-Gendo finally has a scene where he himself pilots and fights in an Eva. I’m sure the audience will be quite surprised when they see that, but how did you initially react to it?

Tachiki: Voicing Gendo here was such an epoch-making experience for me, I'll never forget it as long as I live. I had always wanted to try piloting the Eva, at least once (lol). I even got to voice the Eva’s roars and howls. I was perplexed, but also overjoyed that I finally got to have the same experience the other voice actors did. It only took 2-3 tries in recording before the director OK’d my take. I was really looking forward to seeing this part in the theater, so I begged them not to cut it from the movie (lol). I had no idea how they were going to use it in the final version of the film, though.

-Do you feel Gendo’s character was concluded in this movie?

Tachiki: Yeah, I really think so. I’m really thankful about that. After I finished recording the scenes I had the most trouble with, Anno-san told me “I’m really glad you were the one to voice Gendo, Tachiki-san.” I was overwhelmed to hear him say that. Just thinking back on it makes me emotional. I’ve played a lot of different roles over the years, but I’d never really been told something like that up to now - it made me so incredibly happy. I feel like there’s a lot of parts of Anno-san reflected in Gendo, so I think that’s why I was filled with so much emotion hearing those words from Anno-san after I finished recording. I’m glad I was able to put my whole soul into voicing the role of Gendo.

Motomu Kiyokawa as Kozo Fuyutsuki

Translation:[2] 4chan user "Luuki" (translation posted on EvaGeeks by Mr. Tines)

-What were your initial thoughts when you first read the script?

Kiyokawa: After the previous movie, I was curious where the story would go from here. When I read Shin's script I thought each and every character's feelings came together and concluded in a very beautiful way.

-With Shin concluding this 4-part Rebuild series, what are your final thoughts on the story in its entirety?

Kiyokawa: I feel the story overall is a tremendously strong depiction of how humans live their lives; how they conflict, love, and rationalize with one another. I think the story's conclusion sends a message of kindness and hope to the next generation, so you could say the ending is its own beginning in that regard.

-How do you approach voicing Fuyutsuki as a character? For instance, how did you make out Fuyutsuki's feelings about taking Gendo's side during the scene where Nerv and Wille battle?

Kiyokawa: I have always voiced Fuyutsuki as a man of strong conviction with consideration, especially towards Gendo. In the midst of all the action going on, Fuyutsuki is already thinking ahead on how to proceed with his plans. I voiced my lines to give off a bit of that impression. Since Fuyutsuki acts of his own will and personal feelings, I record his dialogue with a strong sense of calmness.

-Is there anything else you had to pay attention to when voice acting?

Kiyokawa: In the time the story took to complete I aged quite a few years so I think it made voicing the character more difficult for me. But I feel it's precisely because Shin is the culmination of all those years that my emotional investment in playing the role of Fuyutsuki grew as strong as it did.

-You have voiced Fuyutsuki for over 25 years now, do you have any final thoughts on his character you'd like to share with us?

Kiyokawa: I'm thankful I got to keep playing the role these past 25 years since the TV Series. It's entirely thanks to all the staff and fans who kept supporting the franchise all this time. I myself have a strong attachment to Eva, it's an important work to me - so I'm a little sad to see it ending. That's why I put all my feelings up to now into voicing the role one last time. I hope Eva continues to live on in everyone's hearts.

Please enjoy watching the film, everyone.

Akira Ishida as Kaworu Nagisa

Translation:[3]4chan user "Luuki" (translation posted on EvaGeeks by Mr. Tines)

--What were your initial thoughts when you first read the script?

Ishida: "You did well to finally make it this far, Shinji-kun" and "Thank you for your hard work all this time, Kaworu".

--Were there any especially strong memories you had recording for Eva since your first appearance in episode 24 of the TV series up to now?

Ishida: Doing voice work for Q was the most impactful for me. I would have to record scenes over and over until I was sweating and shivering before takes were OK'd. Having Ogata-san there with me in the studio really saved me mentally.

--Was it hard to play such a mysterious character like Kaworu? You had to say a lot of complex/abstract things.

Ishida: I could never quite get used to having to say such profound lines all the time, so it's not as if I can say that was something I had no trouble with at all. But when I was given lines I couldn't understand the meaning to, I would ask (the staff) what they meant. I wasn't left in the dark to figure out his character by myself.

--Kaworu has remained an extremely popular character since his initial appearance in episode 24 of the TV Series, and he has had many fans throughout the generations. Why do you think that is?

Ishida: It really is a puzzling thing, I'm not sure why myself. Because he leaves such an unforgettable/lasting impression as a character, perhaps? Or maybe a more simple reason is it's because he's a handsome young man. Though if I think about it a bit more seriously, it's because from Shinji/the audience's perspective, he is straightforward and kind. He plays an affirmative/supporting role in Shinji's life, so I think that's why so many people took a liking to him.

--How do you personally interpret the new information we learn about Kaworu in Shin?

Ishida: There's not much in the way of interpretation I can add here. Though I was pleased with the skillful way the name "Nagisa" was explained in the movie. I always thought the Nagisa in his name was linked to the subtitle of episode 24 in the TV series, "The Final Messenger". To think from the very beginning there was always another nuance to his name...I find it amazing they waited to reveal this information from us all this time up to now.

'--With Shin concluding this 4-part Rebuild series, what are your final thoughts on the story in its entirety?

Ishida: I don't think there's anyone out there that denies we live our lives by steadily and naturally growing. In the first place, it's because we hardly realize we're changing bit by bit that we're able to live such peaceful lives. Though I personally can very much relate to those who have doubts about the rightness in the decisions they make and having immediate negative reactions to any spontaneous changes that might occur in their lives. At the very least, it made me aware I'm an ultraconservative person.

Koichi Yamadera as Ryoji Kaji

Translation:Pluto

Kaji has something like a famous collection of walking quotes.

-Kaji doesn’t appear in “Q. Did you hear that he had screen time in “Shin”?

When I originally found out that Kaji didn’t appear in “Q”, I was prepared to never reprise my role again. I heard that in “Q,” 14 years of time in the story were missing, so, for example, I wondered if I would also appear in a flashback scene afterwards. So I’m happy that I was able to appear this time. However, I couldn’t completely predict in what way it would be approached. Just to be sure, when I rewatched “Q”, I didn't know what happened because the story of Kaji's involvement with Wille wasn't told in so much detail. I thought he probably died.

-What kind of feeling did you have when the script of “Shin” was delivered to you?

From what I remember, I received the A and B Part first. I thought to myself, “the A Part came out! there’s a young Kaji”. (laughs) In the B Part, there was a flashback scene just as I expected and there were only a few words in my line. However, when I read the A and B part, I knew what I wanted to do as Kaji. He was on a very important mission, acted to accomplish his ideals, and entrusted the organization to Misato. I read it and thought, "Oh!" After a considerable amount of time, the D-part came but it was only an excerpt of my parts on a few pieces of paper. Without warning, a conversation with Kaoru was written, but Kaji has never even met Kaoru in the TV series. In spite of not even knowing what the kind of relationship they had, I was amazed because suddenly, I'm calling him "Commander Nagisa"

This is also a mysterious part of "Eva," isn't it?

There are various religious words, and it's a difficult story about how humanity and the earth will change but the whole time when I think through it, "Eva" is about "living life," "people and relationships," "isolation," "parents and their children," etc. Deep universal themes are depicted, aren’t they? I thought that these are exactly the themes in “Shin” as well. In particular, I was moved by Gendo's last line, and began to feel like "Ohhhh, there are some things I don't have to understand." No matter how much I'm not able to understand the mysteries presented in the script of "Eva," in the end, I was able to be convinced and said to myself, "Ah, that's right." and that's something that's deeply moving. This time, there were a lot of parts where the characters were expressing their own thoughts, so I thought, "I wonder if it's more about investigating how human beings fundamentally live." Kaji also makes mysterious remarks to Commander Ikari and gives the impression, "what does this imply?" but what he says to Misato and Shinji are nothing like this. It was very human, just like how we usually think.

Kaji has a lot of expressions involving life advice as well as something along the lines of a famous collection of walking quotes too. Up until now, I have continued to perform many of Kaji's lines from the TV show in various places and I’ve been made to quote them. But you definitely didn’t hear that from me! (laughs)

-What do you think of Kaji’s humanity?

I've always thought, as a person, he's a really charming man, including the part where he cracks jokes wrapped in cheap flattery. He's easy going but will say important things. He knows what to say and who to say it to. Mainly, to Misato and Shinji. While keeping a lot of secrets, he has a relatable point of view to the people who see him and he captivates adults with a familiar presence. He was a wonderful person. That's why, except for difficult words, I didn't really think to myself, "Why am I saying this?"

-Where do you place Kaji in relation to your career?

When I started doing the TV series, I was already at a reasonable age, and I performed [the role of Kaji] after gaining a lot of experience as an ordinary guy, so it was very rewarding. There are many people who have recognized me as "Ryoji Kaji of Eva," since it is a series that has become a social phenomenon. When asked, "What is your most representative role?" I always want to say that it’s this role. However, I wonder what people who haven't watched the TV series and started watching the series from the "new theatrical edition" think of Kaji. I was especially surprised to learn there was a young Kaji and said, "No way!" Kaji used to drink with Misato in "Ha" so it wouldn't be unusual that it happened.

-"Shin" is also the first time in the series in which Kaji and Misato have children.

I was happy with that. However, it’s a strange feeling. Suddenly, everyone's talking about the past that I didn't know. "Was that me?" (laughs) It was an interesting experience to know what Kaji did later, like how Kaji was one of the people on the inside who heralded the Anti-Nerv [movement], stood up to them [Nerv], and how he had a reassuring comrade like Takao. Since his name is on the crew plate inside the Wunder and Misato is the ship's captain, Kaji also was a leader in some way. I would really like to do a spinoff about this missing part in [Kaji’s story]. After all, Misato fell in love with Kaji and she named her child after him but I only have a vague impression from the scenes where Kaji isn't shown. I said, ”Really, that's it? If you really have such strong feelings for him then show him!" (laughs) [Note: he’s referring to scenes where Kaji is mentioned but not shown]

To say something deliberately without hesitation is just like Kaji.

-How did you feel during the recording process?

I don’t take a logical approach to “Eva.” In what kind of world this is, I'm thinking that maybe it's good to go beyond reason in regards to the relationships between this person or that person. Since I understand the meaning of the sentences written in the script, I naturally come up with my own image, but without being bound by it, I leave it to the directors. It's a work where there are a lot [of parts] that I'm not able to understand in my head so I don't think it's necessary to perform very detailed and profound things in a logical way. It can be said that each viewer has their own experience of something that’s been completed in this way. Perhaps, this might be the only work that I've done that produces so many varied interpretations.

-I heard there were numerous takes but about how many takes did you record?

In my case, I didn't record that much. If I was bombarded with "No, No, No, no," we might be able to have a deeper discussion but to my surprise, I was given the "OK" right away. That’s why it’s a game that happens in an instant. [He’s referring to the recording process]. I might not understand something deeply but I try to do it in my own way first. So when I hear the OK, I think, "Is my interpretation correct?" Even if the staff for this movie is a little different, they won't compromise.

-For example, what kind of feelings did you put into your lines such as "Good luck, Katsuragi [in the Third Impact flashback scene]"?

I think I recorded a few different ways of saying it in spite of the short lines, but it's surprisingly better not to put too much emotion into these lines. So I didn't say it with a lot of gravitas from the get go. Even if I originally have a lot of feelings in my heart, to say something without hesitation is Kaji. However, since there were only a few words about how Kaji was prepared to die, my thought was to also put in a little nuance in how I did it. Even so, I thought it would be cooler to say my lines deliberately without hesitation. There was a line from Misato saying, "I really wanted to remain [with Kaji] too," so while saying "Good luck" I thought he was worried because he didn't know what would happen to her. However, in a battle that wagers the life of all humanity, it's also a story that goes beyond the life of an individual. I wonder if the soul is eternal...I can imagine these kinds of things in Kaji's final moments.

-How do you feel about welcoming the completion of "Eva" which has continued for the past 25 years?

Even now, I'm still excited to watch the first TV series and I'm still able to interpret it from many perspectives. This time, with the release of this new four-part work, it's amazing that I can reminisce for one more time on "what happened in the past" and "how the previous movie versions were." I think after this, I'm sure I will also try to continue to understand the mysteries presented in “Eva” over the course of my life.