Nakajima’s song is a great one which has been covered by a lot of people and it’s a song about life.
Beyond the ups and downs, the good times and hard times of life, the film emphasizes the importance of connecting with people.
When she came to know she was to work with Masaki Suda again, she kind of expected tough stuff -recalling some rough scenes from Drowning Love and Destruction Babies- and saw Ito as a new challenge as it depicted a quiet/peaceful love relationship.
As it is their third collaboration, she adds that they both know each other well when it comes to be in tune acting wise. Shooting in Singapore and Okinawa were done separately so it wasn’t easy to express the love between Aoi (Komatsu) and Ren (Suda) as he wasn’t there. In that sense she’s glad he was the one who played Ren to convey that.
About the numerous crying scenes, especially the one in Singapore, she tells the journalist she’s not very good at that and can’t cry out of the blue. She had to prepare and focus (…) It was easier for the airport scene as she felt she was more involved emotionally.
The actress says she believes in some sort of fate like a ‘thread of destiny’ and that the groups of people (co-stars and staff) she met at a certain time for a certain film will never be met again under the same circumstances, that’s it’s great to capture such moments which leave something memorable.
Her most vivid memory of the Heisei era is of course her encounter with director Nakashima, the fact that she then became an actress at a time when she had no clear idea about her professional future, she adds her approach to acting has changed since that time and that she has stronger goals thanks to communication and the things she learned from the staffs and from other actors.