アカデミーナイトG 2025年1月7日 「グランメゾン・パリ」木村拓哉＆Kバレエ「海賊」
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00:00Tonight on Academy Night G, we have...
00:06Tetsuya Kumakawa's K-Ballet Tokyo Pirates.
00:10Main character Conrad is played by top dancer Shoya Ishibashi.
00:16Let's take a closer look at his work.
00:20Pirates are like a wild car.
00:28The movie Grand Maison Paris is a big hit.
00:32Actress Miyashita Kusanagi and actor The Mummy Hayashida
00:37are talking about their favorite parts of the movie.
00:41People who enjoy eating...
00:44...and people who don't.
00:49I'm so excited!
00:51One, two...
00:53Happy New Year!
00:59One, two...
01:00Happy New Year!
01:03No, no, no.
01:05Happy New Year!
01:08I don't get it.
01:10I don't get it.
01:12Happy New Year.
01:14This is from Miyashita Kensho,
01:16and this is from Sanba Glass.
01:19Is that okay?
01:21Sanba Glass is okay.
01:23It's a title.
01:24It's okay.
01:25It's not up or down?
01:26No, no.
01:27Sanba Glass is the name of the movie.
01:30It's a bit weak.
01:32It's a gun and a crow.
01:35Do you have a present you like?
01:41My favorite movie, Harry Potter,
01:46is the one where Sakai's heart moves.
01:51He's living his own life.
01:54I thought it was interesting,
01:57so I wanted to go see it.
02:01I'm adjusting my schedule.
02:05I see.
02:06How about you, Kensho?
02:08When I was introduced to the movie,
02:12Fukuyama-san came to the studio.
02:15He gave me a lot of presents,
02:17and I thought they were really good.
02:20After that, he sent me a direct message.
02:24He was really amazing.
02:27Fukuyama-san?
02:28Yes.
02:29I wanted to tell the staff what he said,
02:34so I asked him to tell me.
02:36But he sent me another direct message.
02:40That's amazing.
02:41It was a great response.
02:44I'm glad to hear that.
02:47I've said this many times,
02:49but it's not that my presents are amazing.
02:51It's the movie that gave me these presents.
02:55That's right.
02:58Let's move on to the first topic.
03:01Here it is.
03:02Tetsuya Kumakawa's K-BALLET TOKYO KAIZOKU.
03:05Top dancer Shohei Ishibashi will present the highlights.
03:11I'm really looking forward to it.
03:16I love ballet.
03:18I'm really into K-BALLET TOKYO's ballet.
03:22The first movie I saw was KAIZOKU.
03:26That's a memorable movie.
03:29Here he is.
03:32Shohei Ishibashi.
03:34Nice to meet you.
03:38He's so cool.
03:41What are you doing?
03:43I've been learning ballet since last July.
03:47That's right.
03:49He's a teacher at the school.
03:54I always learn from Mr. Ishibashi.
03:57Is he a professional?
04:00Yes.
04:01He's the principal.
04:04Mr. Ishibashi is an amateur.
04:06That's amazing.
04:08This is Mr. Ishibashi.
04:12That's amazing.
04:15What do you think of Mr. Tanaka?
04:18He's like Nobishiro.
04:21Does that mean you're still that good?
04:24Nobishiro is the best.
04:27I'm looking forward to it.
04:30KAIZOKU is back.
04:34The climax of the movie is exciting.
04:37KAIZOKU premieres on March 14th.
04:45Tetsuya Kumakawa, the director of art,
04:49created a masterpiece that no one could have imagined.
04:53The movie received a great response.
04:59Romance, desire, escape, betrayal.
05:04It's a spectacular adventure in the ballet world.
05:13Mr. Ishibashi will explain the highlights of the movie.
05:21This is the profile of Mr. Ishibashi.
05:26He started ballet at the age of 13.
05:31He studied in Canada.
05:34He joined K-Ballet Tokyo in 2013.
05:38He became a principal in 2022.
05:42He is the best principal.
05:46There are about 70 members.
05:49I'm one of them.
05:52Does the principal treat you to a meal?
05:57That's right.
06:00That's usually the case.
06:03I often eat with my juniors.
06:07I don't eat with a large number of people.
06:12Mr. Ishibashi will introduce the highlights of KAIZOKU.
06:24He has a question for Miyashita and Hayashida.
06:28I'm going to do a flip after this.
06:33Please give me some advice.
06:36Is it an advice to do a flip?
06:39You don't usually do it.
06:41Please give me some advice.
06:47There is a memo on the back.
06:52You don't have to look at it like this.
06:56This is the front.
06:59Don't look at it like this.
07:02If you are nervous.
07:05Don't think you're amazing.
07:07Think that the work you are about to present is amazing.
07:10If you have this in mind, you won't be nervous.
07:13If you are nervous there.
07:17It means that you want to be thought to be amazing.
07:22Please throw it away once.
07:25Can I drink it once?
07:26Of course.
07:28Please calm down.
07:31Mr. Ishibashi.
07:33Please give me the first present.
07:36This is the Kumakawa production.
07:39K-BALLET TOKYO signboard work.
07:42Fight love.
07:44It's a story full of betrayal.
07:47I'm not good at this.
07:50I'm sorry.
07:53I'm sorry.
07:56Please give me this.
08:00First of all, Mr. Ishibashi.
08:03Please give me this.
08:05Pirates was first performed in Paris in 1856.
08:13It was a difficult work to develop.
08:16There were few performances.
08:19In 2007, the director of Kumakawa performed it.
08:23It was a great response.
08:26It's a great work.
08:29What is the story of this pirate?
08:32What is the story of this pirate?
08:34I play the role of Conrad, the boss of the pirate army.
08:40Conrad attacked a private ship.
08:42Conrad robbed the ship's treasure.
08:44Conrad regretted his actions.
08:46Conrad had no enemies.
08:49However, Conrad was caught in a storm.
08:52Conrad was caught in a storm.
08:53Conrad was hit by a ship.
08:54Conrad was hit by a ship.
08:56Conrad found the injured pirates.
09:00They were Medora and Grunala.
09:07Conrad fell in love with Medora.
09:12Conrad fell in love with Medora.
09:17A slave merchant, Lankedom, appeared.
09:20Lankedom kidnapped Medora.
09:23Lankedom was a slave merchant.
09:26Lankedom was a slave merchant.
09:29Lankedom was a slave merchant.
09:33It's a dynamic story.
09:38It's a gorgeous work.
09:40It's a gorgeous work.
09:47What I want to recommend the most is that it's easy to understand the story.
09:54The original version was complicated.
09:56Yes, it was long.
09:58And the story wasn't clear.
10:03There were a lot of things like that.
10:06I see.
10:07I see.
10:08I see.
10:09I see.
10:10I see.
10:11I see.
10:12I see.
10:13I see.
10:14I see.
10:15I see.
10:16I see.
10:17I see.
10:18I see.
10:19I see.
10:20I see.
10:21I see.
10:22I see.
10:23I see.
10:24I see.
10:25I see.
10:26I see.
10:27I see.
10:28I see.
10:29I see.
10:30I see.
10:31I see.
10:32I see.
10:33I see.
10:34I see.
10:35I see.
10:36I see.
10:37I see.
10:38I see.
10:39I see.
10:40I see.
10:41I see.
10:42I see.
10:43I see.
10:44I see.
10:45I see.
10:46I see.
10:47I see.
10:48I see.
10:49I see.
10:50I see.
10:51I see.
10:52I see.
10:53I see.
10:54I see.
10:55I see.
10:56I see.
10:57I see.
10:58I see.
10:59I see.
11:00I see.
11:01I see.
11:02I see.
11:03I see.
11:04I see.
11:05I see.
11:06I see.
11:07I see.
11:08I see.
11:09I see.
11:10I see.
11:11I see.
11:12I see.
11:13I see.
11:14I see.
11:15I see.
11:16I see.
11:17I see.
11:18I see.
11:19I see.
11:20I see.
11:21I see.
11:22I see.
11:23I see.
11:24I see.
11:25I see.
11:26I see.
11:27I see.
11:28I see.
11:29I see.
11:30I see.
11:31I see.
11:32I see.
11:33I see.
11:34I see.
11:35I see.
11:36I see.
11:37I see.
11:38I see.
11:40The Medola is his own.
11:43Yes.
11:44Oh!
11:45Oh!
11:46Oh!
11:47It's possible to discover the identity
11:48Oh!
11:49It's possible to discover the identity
11:50with the naked eyes.
11:51Yes.
11:53By the use of a lot of theatrical scenes
11:55other than dancing,
11:57the sense of communion even increases.
12:02Furthermore,
12:03the pirate's attack of other boats
12:04only in the Kumagawa version
12:06also has a scene where
12:08The pirates dance in the cave where the base is.
12:17In the scene before that, they get on a small boat and go to the cave.
12:23It's not common in other places.
12:26The cave scene starts suddenly.
12:29I see.
12:30I think it's easy to understand that they go to the cave because of this scene.
12:36I can't say it in words.
12:38I can't say it's a cave.
12:40I see.
12:41I have to think about it.
12:43I think so, too.
12:44What's special about the dance in this movie?
12:50Powerful, sexy, and dynamic.
12:58Do you want me to extend it?
13:00No, no, no.
13:01It's okay.
13:03In ballet, there are many scenes that express the beauty of women, such as the swan lake.
13:10The charm of the pirates is that men's powerful dance is shown in various places.
13:16There is a scene that I recommend.
13:19This is where the pirates dance.
13:21It's an eye.
13:23It's an eye.
13:25It's strong.
13:28It's amazing.
13:30It's in the cave.
13:35The image of men is to wear tights.
13:40But they are pirates, so they wear tights.
13:45It's like this.
13:47It's amazing.
13:52It's cool.
13:53It needs a sense of style as a leader who leads the pirates.
14:01I think this power is impressive.
14:06There is a medulla in the paper hand.
14:09I like the fact that he mimics the medulla gently.
14:16It's a sagat.
14:24It's wonderful.
14:25This work is particularly powerful and explosive.
14:30It's a work that has a very strong impact for the first time.
14:38I was surprised at how much they could dance.
14:43They have great physical strength and physical ability.
14:48There is a movement that is unique to the pirates.
14:54Can I show you?
14:57They bow.
15:00If they were a ballet dancer, they would normally bow like this.
15:07The pirates break down a little and dance like this.
15:14It's like a wild dance.
15:19Can you teach me?
15:23Is it like this?
15:24That's right.
15:25Is it like this?
15:26That's right.
15:27Is it like this?
15:28That's right.
15:29I think it's good.
15:31They have great muscle strength.
15:33This is amazing.
15:34My legs are dead.
15:35My legs are dead.
15:36Did you throw it away?
15:37My legs are dead.
15:38You were doing it smoothly.
15:39My legs are dead.
15:40Did you see it?
15:43Face.
15:46Face.
15:47Face.
15:48Face.
15:49That's good.
15:50That's good.
15:51Next time, Mr. Ishibashi will tell us more about the pirates.
15:58Kumakawa Tetsuya, K-Ballet Tokyo, Pirates will open on March 14th.
16:06Next is this.
16:10Grand Maison Paris.
16:13Miyashita and Hayashida will analyze the highlights of the movie.
16:21The movie, Grand Maison Paris, will be released on the 5th.
16:28Grand Maison Tokyo, a 2019 drama, is finally made into a movie.
16:36There was a Japanese man who challenged the impossible in Grand Maison Paris.
16:42He is Mitsuboshi, the best in the world.
16:45I'm sorry, but it's not possible.
16:47Take out.
16:50I'm going to miss you this year, too.
16:56If you don't take Mitsuboshi, the store will be closed.
16:59I can't reach Mitsuboshi because I'm running away.
17:01That's a big problem.
17:04It's the same as when I was two years old.
17:08I'm going to quit this store.
17:09I don't think I can do it anymore.
17:13The third star won't come.
17:20Let's prove that there are no borders in cooking.
17:23Why don't you take our power?
17:25We'll take it.
17:27Mitsuboshi.
17:28Do it.
17:34I want you to lend me your strength again.
17:37Please.
17:40I can compete with the geniuses of Paris.
17:43Natsuki Omana's cuisine is the best in the world.
17:47I have to create a specialty that will last for 100 years.
17:50I'm going to break all the doors of Mitsuboshi.
17:54Sympathy.
17:56The movie, Grand Maison Paris.
18:04Yes.
18:06I watched the drama and watched Grand Maison Paris.
18:09In the drama version, people who could only get two stars in Paris.
18:13They aim for three stars in Tokyo.
18:16They built a store called Grand Maison Tokyo.
18:19They cooperate with each other to get three stars.
18:22It's a very good success story.
18:26However, Grand Maison Paris.
18:29Many successful people came to Paris.
18:33They struggled a lot.
18:36However, they broke through in the second half of the movie.
18:39They made great progress.
18:41I didn't watch the drama.
18:44But, I could understand the story.
18:48Director Ayako Tsukahara.
18:50Yes.
18:51She made a lot of films.
18:53She made a lot of films.
18:55All of them are interesting.
18:57I know.
18:58Mr. Kuroiwa.
18:59Mr. Kuroiwa.
19:00Most of my favorite films are Mr. Kuroiwa's films.
19:04They are definitely their films.
19:06Yes.
19:07They are interesting.
19:10From now on,
19:11Mr. Miyashita and Ms. Hayashida will talk about their favorite films.
19:18Ms. Hayashida will talk about
19:20Mr. Takuya Kimura and Ms. Kyoka Suzuki's presence, persuasion, and modern directing.
19:26Oh, I see.
19:28Mr. Takuya Kimura plays Ms. Obana.
19:34Ms. Kyoka Suzuki plays Ms. Hayami.
19:39They have their own presence.
19:41Yes.
19:42It's interesting just to see them in the film.
19:46Yes.
19:47They have their own power.
19:48However, they have their own reasons.
19:52Yes.
19:53It starts with a question.
19:55I'm excited about that.
19:57As for modern directing,
20:00Oh, I'm curious about that.
20:02I like directing that cuts out the present.
20:04Oh, I see.
20:05That's what I remember.
20:06Ms. Obana is suspicious of Mr. Yuan.
20:10Yes.
20:11There is a scene where they go to check the track.
20:13Yes.
20:14Mr. Yuan is being beaten.
20:15Yes.
20:17Yes, yes, yes.
20:18Oh.
20:25How's your feeling?
20:26It's a rule.
20:29Hey!
20:31It's a rule.
20:32It's only now that I'm getting closer while shooting a video on my smartphone.
20:37That's true.
20:38It wasn't like that three years ago.
20:42Maybe.
20:43Mr. Takuya Kimura is so cool that the police are chasing him with a gun.
20:49I've never seen such a cool video before.
20:54And there is another scene where Rinko, who plays Kyokawa Suzuki,
20:57says that she has lost confidence in her taste.
21:00Yes.
21:01In fact, she said that she was influenced by COVID-19.
21:05Yes.
21:06I can confirm that she is living in the same world where she lives.
21:12I felt that a lot.
21:13I thought that there must be some people who are suffering from COVID-19.
21:19But it was a line that I couldn't say easily.
21:22Well, it's risky to shoot a movie with timely things.
21:29It's possible that they use old expressions.
21:32Yes.
21:33But it's also possible that it's a cultural asset.
21:36They used to do something like this in the past.
21:38That's why I pay attention to it.
21:41I really like movies.
21:43And I'm the type of person who is very good at taking controls.
21:48I see.
21:49I know how to take good controls.
21:52I have one more point.
21:54There are many other gorgeous casts.
21:57Ikki Sawamura is also here.
21:59And Masakado, the A-group who appeared in the movie for the first time.
22:02I'm glad to have a character who is easy to get along with.
22:06What I want to do the most is...
22:08I want to be saved by Mitsuhiro Oikawa, who plays Aizawa, who connects the cast.
22:13I see.
22:15He is Aizawa, a woman chef in the movie GRAMMAISON PARIS.
22:21He has a high level of communication ability.
22:23He is a character who can get along with anyone.
22:26He creates a unique dish with ideas that cannot be taken as common sense.
22:30Especially in the first half of the story, the staff of the restaurant was very busy.
22:36But Aizawa, who plays Oikawa, has a soft atmosphere.
22:42I agree.
22:51Good morning.
22:53Can I cut this part?
22:55Yes, sure.
22:57You said you would make a traditional French dish this time.
23:00Don't make unnecessary arrangements.
23:02But it's different from what I imagined.
23:05I can't reach Mitsuboshi because he runs away with such an arrangement.
23:08I understand.
23:12Oikawa is a character who can balance everything in one place.
23:18He is the best in the world.
23:20I agree.
23:21I also wanted to introduce Aizawa.
23:25Really?
23:26In the first half of the movie, I felt it from the drama.
23:32But it was very difficult to do it in Paris.
23:35I agree.
23:36Aizawa is the same.
23:39I felt that he was an oasis in the heart of the audience.
23:47I wanted to say oasis.
23:50I didn't complain to you, Hayashida.
23:53What did you say?
23:54When he said the word of the phrase, he said it in a good way.
23:58I thought he would be saved.
24:01I asked him if he would like to hear that present.
24:09Don't put it too much.
24:12I thought he would put something like oasis.
24:16But if you put in a questionable word, it's a bit too much.
24:21It's like, you'll be saved in the meantime, right?
24:23If this was on YouTube, I wouldn't have watched it.
24:26If it was the title.
24:27If it was the title, I would have thought, oh, really?
24:30Miyashita-san's presentation.
24:31Is it okay if I continue?
24:32Is it okay if I continue?
24:33You're giving yourself a hard time.
24:35That's right, I'm giving myself a hard time.
24:38I'm going to give you two points.
24:41First, here it is.
24:43Number one, a hundred faces of people who taste food.
24:50That's right, what is it?
24:52I don't know at all.
24:54I don't know at all.
24:55I don't know at all.
24:57After all, what I think is unique to this drama is the faces of people who taste food.
25:05There are people who come with their loved ones and spend a very important day.
25:11There are people who come with their loved ones and spend a very important day.
25:14Even if the food is the same, the timing and situation of the person are completely different.
25:20I can see that it's happening in this restaurant.
25:25There are a lot of scenes where people eat bananas.
25:29In the first half, people eat up and make a serious face.
25:34They say bad things about the person.
25:37For example, they say, can you take it?
25:40Even if you eat, you don't look like you're having fun.
25:43It doesn't look delicious.
25:45However, in the second half of the story, the scene where people eat the fruits of the tree becomes a happy expression.
25:51Along with the expressions, the story changes.
25:59I felt that it was good to enjoy the scene where people taste the food, so I would like you to pay attention to it.
26:23Thank you very much.
26:28I see. You are looking at the interesting part again.
26:33One more thing.
26:35One more thing I was curious about.
26:37Here it is.
26:39It's a temporary stay of taste.
26:41I'm sorry.
26:42You're making fun of me.
26:43I'm sorry.
26:44I'm sorry.
26:45I'm sorry.
26:46I'm sorry.
26:47I'm sorry.
26:48I'm sorry.
26:49I'm sorry.
26:50I'm sorry.
26:51I'm sorry.
26:52I can understand what you mean.
26:54When it comes to cooking, it is difficult to convey the sensation to someone through images.
27:00I'm sure that what you feel through your nose and tongue will always be crucial.
27:04I felt that he was very particular about the visual and sound.
27:08When he used his knife, he seemed to make aonde a very crisp sound.
27:10I imagined that he ate a clear texture in my mind, and I made a change.
27:17So
27:47I
28:17Know
28:47Oh
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29:23You don't know how to do
29:26Yeah
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29:53So can't get to check my name on top my whole way through Minnesota. Thank you very much
29:59Korema demo, so stick with me. I'm good. I harry potter the noroi no co-sponsored by Tokai Tokyo Financial Group
30:06Sugiwa Anata need to look at I
30:08Started start for you to see
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30:34Try to start for you to see
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30:42Nihon Hatsu no Kajino Kai, you'll see how they don't
30:46Bore no, I got my mother. Oh, she sure to me. What show you make it on tonight. I mean you make it
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31:08Konoha to Takahashi Fumiya to Nishinonara say double swing a
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31:20Who's demo I take it on the colony in Naga non-senkiromotavio sirutte Hanashi
31:26Shinjirare
31:28Oh
31:31So no, you know, I'm gonna know say gets okay talk about Kyushu
31:36Sanzenkiromotavio, sir. It's gay. I don't know
31:41Papa Hitori not I said to me I'll tell you
31:45Show me don't eat it. What do you still got in the car?
31:49Jikai Kodoshi Daijūmoku no egao ikkyōsakidori