[Youtubeレビュー][米津玄師] 米津玄師 × 是枝裕和 / カナリヤ対談

(推薦)人気ビデオ : [米津玄師] 米津玄師 × 是枝裕和 / カナリヤ対談

 

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(推薦)人気ビデオ : [米津玄師] 米津玄師 × 是枝裕和 / カナリヤ対談

https://www.youtube.com/watch?v=f0Z4hiPhlz4

 

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再生時間コメント : [米津玄師] 米津玄師 × 是枝裕和 / カナリヤ対談

nk*:

米津さんの「大満足です」8:50が
めちゃめちゃ可愛い

 

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人気順コメント : [米津玄師] 米津玄師 × 是枝裕和 / カナリヤ対談

Da**********************:

Realize that I don’t speak Japanese:
Idc i like his voice

Le***:

普通の人の話を約２０分も聞いていたら退屈だろうけど
米津玄師さんが２０分も話してくれたら退屈どころか、２０分じゃ少ないと思う！

Na**:

カナリヤ。リアルな短いドラマが
こわばってた気持ち溶かしはじめ。
大切な人への「やさしさ」思い出させてくれた。
至らぬ私を支えてくれる旦那さまがいて。ポンコツな私は頑張れる。
「キノウフゼン」な日常も
二人でなら乗りこえられる。
是枝監督が散りばめた大切な
者を守る為の「隔たり」
切なくて、かなしくて
もどかしいけれど尊い。
硝子越しの接吻を知らない世代が
お互いを大切に想い律して生きるの
尊いなぁって。
80代90代の方々が観ても響く
映像と思いました。

NO*:

コロナをLOSERにして皆でピースサイン送ろうぜ

Ko****:

米津玄師先生の心底に取って 本当にありがとうございます. ドイツ からよろしく.

sa*****:

お二人の会話の、ゆったりとしたリズム、流れる空気感がとても心地よく、心にすっーと入ってきます対談から感じられる、是枝監督と米津さんのお人柄も温かくて、聞いていると、気持ちが柔らかくなってきますカナリヤのMVがもっと好きになりました

Mi*************:

是枝監督が米津さんを受け止めてMVを制作し、その作品を見て、米津さんが「これで良かったんだ」と自分を肯定できた。何て素晴らしい関係でしょう️感動しました。米津さんの日本語は是枝監督をも唸らせていました。美しい日本語ですよね。
この対談を観て、MVの奥深さが理解できました。ありがとうございました。

Pl*************:

Does this means Hirokazu Koreeda is involved in the making of Canariya MV?
Wow. I'm a fan of them both. So the MV is like collaboration of my fav singer and my fav filmmaker?
This is just amazing !

mi***:

是枝監督が、米津さんのこれまでの楽曲を評価して下さってることにとても感謝です。

その先に、一人ではない未来が想像できる…。

カナリヤのMVから受けた私の風景や情景が、ずっと心から離れずに、独り歩きで綺麗なものになっていく理由が解った気がしました。

お世話になった方が先日亡くなってしまって、カナリヤを聴きながら心が救われたのです　ありがとう

Yo******:

米津さんの曲作りって、すごく自然な環境を歌にしてるような気がした。
対談聴いてる最中も涙が出そうになった。

88*******:

お二人の目力と雰囲気が似ていて話を聴いていて心地いい。大満足でこちらもうれしいです。

un*****:

米津さんの服装
おしゃれだなぁ

mi**:

相手の顔を見て､頷きながら
話を聞く米津さん 好き!!

ne****:

曲の中に風が吹いてるって表現かっこよすぎる

ch*******:

米津さん　　呪いとか思わないで欲しいです
米津さんの曲で立ち上がれたのは確かです
これからは本当に米津さんが思う普遍的な曲が聴きたいです
　　語彙力なく正直な気持ちを書いてみました　ごめんなさい

To*****:

米津さんの、言葉をひとつひとつ丁寧に紡ぐ姿勢にとても感動するし、とても好き。

sa*****:

聞いていて心が温かくなるので、何回も見たくなりますどうしてかなと自分なりに思ったのは、否定的な言葉がでてこないような気がしました気だるさや消化できないものを負のものととらえないで、曲にしたり、希望のあるものに変えていきたいリビングの光景の思い出も、カナリヤの曲作りの力に変えて、伝えたい「ことば」を目に見えるMVで表現したい米津さんの派手ではないけど、一歩一歩進んでいく前向きな強さを、この対談から感じることが出来ました

Mi**********:

English Translation 1/2

I've been asked to put the five-part translation in one, but YouTube doesn't allow such a long post. Here's a two-part version.
______

The talk was recorded shortly after the release of the MV “Canary.” “Nobody Knows” is one of the films by Mr. Koreeda, which was based on a child abandonment and death case in 1988. It won the Best Actor award at the 2004 Cannes Film Festival. Mr. Koreeda and Mr. Yonezu are two of the most prominent Japanese artists in our time. This is an amazing opportunity to peek at their vulnerability, resilience and creativity. You can also feel the respect and gratitude that they hold toward each other:



K: I’m so sorry for your long-time fans, but it was just two years ago that I started listening to your music. At that time I was staying in Paris for an extended period. I was preparing for a film and working on it.

While living abroad for a long time, one craves his mother tongue. So I listened to Japanese songs online,in search of Japanese sounds and rhythms. It was then that I came across your music. Your Japanese sounds smoothly came into me.

After I finished the film and came home, I began listening to your works seriously. That’s how I came to face your music. Then I got the offer to make an MV, after spending my time with your music like that. So I thought it was meant to be.

Y: In our first meeting, you told me about that. To me, it was like a bolt out of the blue (chuckles). It had never occurred to me that you knew about me. I had assumed that our relationship was one-sided. And you said that you had listened to my music. It was a great honor. I was so grateful and happy.

<“Nobody Knows”>

K: You told me that “Canary” was made after the pandemic had struck, and you had already known about “Nobody Knows.” And the scene in the film where the children go out after staying home for a long time, “Canary” was inspired by that image. After hearing that, there was no way I could turn down the offer to make a music video for the song (smiles).

Y: Yes, when I was working on the song, I was unable to go out at all. I don’t remember how it started, but one day I casually watched “Nobody Knows” again. In the film, the lives of ordinary people are vividly depicted. One of the themes of the story, “dysfunctional family,” when I saw it, it resonated with me.

And I like taking a walk. Strolling about the neighborhood, I see houses whose residents I have never met. I like watching the way strangers live from the sidewalk. It’s superficial, for sure, but something comes right through.

For example, if there is a teddy bear by a window, I would assume that a child lives there, and he likes teddy bears. And there’s this house, where the washing is left hanging on the clothesline for days. I would imagine that the family is going through some difficulty, like the one in the film.

Like that, I glimpse the small details in everyday life. They reveal my own life, and become my own. The things I gain that way and how I feel watching Mr. Koreeda’s movies, they are similar.

The way Covid has divided many things, and prevented things that we had taken for granted from functioning. The way life visibly lost its funcitionality, I must put all that into music.

“Nobody Knows” has a high affinity to that kind of work I do. I thought that if Mr. Koreeda could make an MV of this song, it would be fantastic. So I gave it a try and made an offer to you. I was so happy when you accepted it.

<“Canary”>

K: It made total sense to me when I heard that “Canary” was made during the Covid lockdown. Even under those circumstances, people still seek one another. The song gives me hope that at the end of the struggle, there probably will be a future where people won’t be alone. It helped me imagine such a future.

So I decided to create a story where people are divided. I wanted to focus on that. There is a Covid-related news story that left the strongest impression on me; it was about a couple, and the wife got the virus, but the husband couldn’t even touch her after she passed. He had to bid farewell to her through a plastic curtain, and when she came back to him, she had been cremated.

I was shocked when I heard this story, where people had to be parted from loved ones that way. Those who have been together are separated by life and death. And there is this barrier between them. I wanted to start with this image. I came up with many variations of the scene, where people are divided by something, trying to connect with one another.

Unlike the more dramatic plot in a movie, I thought it would be interesting to stick with this more flat, simple image. That’s how I made the video, laying those pieces together.

Y: When I made this song, I suffered a great deal. Well, maybe not “suffer,” but I was worried about it long after it was released. And your images made me feel like, “OK, I have done the right thing.” You kind of complemented my song for me, with your MV, at the right distance. It validates “Canary” for me, and… I couldn’t be more satisfied (chuckles and covers his face).

K: I’m so glad to hear that my MV validates your song. What I felt when listening to the song is this sense of affirmation. Even in this world where people are separated, you don’t need to be pessimistic. When you are hanging your head, the song would make you look up at the sky.

It’s something so subtle, but the song is filled with that power. The song has that perspective to follow people’s journey getting there. Maybe it’s too much to say a canary’s eye view, but I wanted to give the video that kind of viewpoint.

-Continue to 2/2-

TO******:

お互いをしっかりリスペクトした頭の良いお二人が対談するとこんなにも心地良いんだなって強く思いました。けっして相手が話してるところに割り込まない。これなんだよな～

SE***:

映画と音楽の力(パワー)とは、本当に感動的で、素晴らしく、涙が止まりませんでした。号泣しました。そして、このコロナの社会で、キット是枝監督様と米津玄師様のこの『カナリア』の作品で、沢山の方々が救われますようにと願わずにいれませんでした。本当にコロナや辛い社会の中で、キットこの『カナリア』の作品が、希望になることをお祈り致しております。このような素晴らしい作品を、本当に有り難うございます。正にサスティビナリティやSDGsそのものですね

Ay**:

His voice really different when talking

ch*******:

米津さん　「この曲泣ける」とか
「あの人を思い出す」とか自分と重ねてしまう曲でもしっかりそれぞれその先の道を見つけて進んで行きます
中には「幸せになるから大丈夫この曲とはお別れね」て人もいました　米津さんが思っている曲は旅立ちの曲になっているかもです
私にとっては『希望の光』になっています。

Ag****:

理解者にこういう風に褒められて米津さん凄い嬉しそう

Er*****:

私も是枝監督と同じく海外在住で、日本から遠く隔たれた環境のなかで米津さんという存在を知りました。
日本語の美しさ、なんとも言えない懐かしいメロディライン、、
是枝監督がパリに住んでいて、日本が恋しくなって米津さんの音楽を聴き始めたこと、すごく共感しました！
大好きなお二人の対談が実現して、とても幸せです。

hi**:

こんな低い声の人があんな高くていい声出せちゃうんだよ？？





そんなん惚れるやん

ri*****:

是枝監督へのリスペクトが伝わってくる眼差しですね。以前、先人達に敬意を払いながら音楽を作ってるって話してました。歌謡曲や童謡まで聴いて自分の足りないところを補完したりしてるそうです。米津さんからはいつも他者へのリスペクトを感じます。自分の才能だけでここまできたとは微塵も思ってないのではないでしょうか。そんな所も信用できる。ファンでいて良かったです。

Te****:

米津さんの話聞いてるとほんと日本語って綺麗だって思う

k*:

何だろう途中から泣けてきました。とんでもなく贅沢な対談と真摯な言葉と美しい時間。おふたりの魂でお話されてるようでした。カナリヤのＭＶとともに沢山の人に見て欲しいです。

Ms**********:

何となくお勧めに出て来たので観てみたのですが、是枝監督は「誰もしらない」の監督さんだったのですね。
サンディエゴにいた時にJapan movie nightで前情報何もなく友人に誘われて観に行き、とてつもない衝撃を受けました。今でもはっきりと覚えています。
米津さんとの対談、嬉しいです。

AK************:

最期の瞬間に傍に居てもらえない側と、
居られない側…。
MVの冒頭から胸が締め付けられました。
その人の人生に見合った最期と言うものが、
コロナ罹患者であろうと無かろうと、
尽く壊されていっていると痛感します。
死生観をかき混ぜられて、混沌とした中で、
生きていていいんだと肯定してくれている曲とMVだと感じます。

1*:

穏やかな声と優しいおふたりの語りかたが とても心地よくて(*^^*)

このお話を聞いてから
改めて
灰色と青を聴きました
自分が気付かなかった風景に出会った感じがしました

素敵なお話をありがとうございます
お互いに大切に想いあえる関係は
その先にも
お互いに大切に想いあえる関係に
繋がっていくのかなぁ
優しい人との出会い
お互いに新しい扉をあける手助けになっているのかなぁと感じました

おふたりの
温かい言葉に癒されました(*^^*)
ありがとうございます(*^^*)

De**:

個人的にカナリアが1番深いMVだと思う。

0*:

何故16時30分公開か·····
撮影時間と同じ時刻。観る側にも同じその時の空気感、背景を味わいながら観て欲しいという事だ。 最終的に「空は繋がっている」を伝えたかったんだ。 感動

Ke***:

後ろで流れてる曲が変わる度に日本人は勿論のこと海外の方も「○○！」って反応してるの本当に凄いと思う。

sa**:

映像を見た時、ただ涙が出てきました。私も海外永住者ですが、数年前に米津さんをYouTubeで知ってファンになりました。曲や歌詞を通じて込み上がる想いがあって、でも何度も聞いてしまいます。応援してます。

sa*****:

知識と経験からの閃き
柔らかい雰囲気の中の、心を掴まれる言葉は心に残りますね

LP***:

I wish I could have been understand Japanese

Mi**********:

English Translation 2/2



K: I'm putting it in an abstract way, but my favorite songs always have a sense of hope or prayer. Such songs relax me, when I’m tense with stress. To me, Yonezu-san’s songs are like that.

And many of them feature landscapes. You just said that you liked to take a walk, and it made sense with me. Another song of yours, "Haiiro-to-Ao" (Gray and Blue), I feel like it was made outdoors. It’s my favorite because it feels like wind is blowing through the song.

Y: I’m flattered.

K: I also received “Canary” with the same feeling.

Y: It’s really a trivial moment. Talking about "Haiiro-to-Ao", years ago I spent one night drinking a lot, and waited for the first train to go home the next morning. There were few other passengers. Sitting on a moving train, I looked out the window.

That’s where the song started. It has such an insignificant beginning. Things like that weariness remain deep down inside me, and one moment they get stirred up to the surface. I made the song in around 2017, but that’s when the memory of my past finally found its way to the top. That process is key to my songwriting.

As of “Canary,” I watched “Nobody Knows” when I was in elementary school, and the image of the living room in the movie has stayed with me, along with that of the living room in my childhood home. If it’s your idea of “wind blowing,” it sure is there.

K: I am always impressed with how you sharply cut out a moment. For example, I’m sure that the lyrics “ Only the sleeve-length is uncertain as the summer comes to an end” (in "Haiiro-to-Ao") came from something that you unexpectedly saw somewhere, in the flash of a moment. The song develops from the moment when something crosses with something else, and they part ways again. I like how the vision, the memory of that moment initiates your song.

Y: I’m...much obliged (smiles and bows).

K: When shooting a film, I also want to seize such a moment, and turn it into a vision. I need to point my camera at what’s buried in everyday life, and cut it into a piece of irreplaceable poetry. That’s what I want to do, and when it’s done, I have made a powerful movie.

I’m sure that it’s the same with songwriting. We need to capture what pops out of the vast amount of memories, words and images, and turn it into a piece of work. It’s really hard to do.



K: I still cannot put so many things in order. Going back a while, right after the Great East Japan Earthquake, I went to a disaster area, wishing to etch the landscape in my memory. I recorded some of the scenes, but I still remember the smell. The complex smell that I felt as I left the car.

I thought that as a director who’s living in the same times as the earthquake hit, even if I don’t make anything directly related to that experience, what I make would certainly change. It’s been already ten years since then, but I still don’t know if what I have made has changed or not.

I want to be a contemporary creator. However, while I still haven’t digested the earthquake, here comes another extraordinary experience. Of course, there are people who keep working, saying “Even during the pandemic, we must do whatever we can”.

Just talking about movies, I know those who are trying to open small theaters. That kind of solidarity is very important, and I have participated in some of it. But as a creator, what can I do? (After a short pause) I still don’t have an answer.

To put it the other way around, I got the offer to work with this song, whose theme is definitely not Covid, but it has helped me create a video, absorbing those unprecedented events. It’s the positiveness of the song that let me lean forward and take half a step.

If it were not for the MV, maybe I would have spent another ten years, holding onto this undigested thing, not knowing what to do. But I feel like the door has opened a little bit. Thank you for doing that for me.

Y: We are not in same place, and I’m sure that we have differences. But I have also felt this sense of what remains undigested in me. I have wanted to make pop songs, and always wondered what the universal facts are. It has been my wish to put them into my music. These days I have been able to do that, objectively speaking.

At the same time, I feel something indecent about this universality. It’s been a while since people have lived wherever they like in society, and created their own happy communities. And I have pursued something universal in pop music, something that anybody, both grown-up and kids, can understand.

Now I doubt if it was the right thing to do. I often think about it. Pop music has this magic power, or if I use a wicked word, something close to a spell. I feel like I’m taking part of casting the spell. That feeling has grown over the past several years.

But in the end, I want my music to have hope, a message to children that “You can live.” At least I don’t want to deny that. As long as I keep track of that goal, this undigested thing in me might someday flip, or at least I may be able to look at it from a different angle. In order to reach that day, I’d like to go on living, moving my hands and body.

-end-

 

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[米津玄師] 人気動画についてのコメントを集め、要約型、時間帯型、人気順などで調べました。

良い映像またはチャンネルですが、長すぎて残念だった方はユーチューブチャンネルや動画リンクを残してくださればブログにポスティングしてあげます。

 

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[米津玄師] チャンネル·ポスティング

[米津玄師] ハチ MV「パンダヒーロー」HACHI / Panda Hero

[米津玄師] ハチ MV「マトリョシカ」HACHI / MATORYOSHKA

[米津玄師] ハチ MV「ワンダーランドと羊の歌」HACHI / Wonderland to Hitsujinouta

[米津玄師] ハチ MV「WORLD'S END UMBRELLA」HACHI

[米津玄師] ハチ MV「clock lock works」HACHI

[米津玄師] ハチ MV「ドーナツホール」HACHI / DONUT HOLE

[米津玄師] ハチ MV「リンネ」HACHI / Rinne

[米津玄師] ハチ MV「砂の惑星 feat.初音ミク」HACHI / DUNE ft.Miku Hatsune

[米津玄師] ハチ MV「結ンデ開イテ羅刹ト骸」HACHI / Musunde Hiraite Rasetsu to Mukuro

[米津玄師] 米津玄師 MV「 灰色と青（ ＋菅田将暉 ）」

[米津玄師] 米津玄師 MV「Lemon」

[米津玄師] 米津玄師 MV「アイネクライネ」

[米津玄師] 米津玄師 MV「アンビリーバーズ」

[米津玄師] 米津玄師 MV「リビングデッド・ユース」

[米津玄師] 米津玄師 STRAY SHEEP Radio

[米津玄師] 米津玄師 1st Album『diorama』クロスフェード

[米津玄師] 米津玄師 2018 LIVE / Fogbound Teaser

[米津玄師] 米津玄師 2019 TOUR / 脊椎がオパールになる頃 Live Teaser

[米津玄師] 米津玄師 2nd Album「YANKEE」クロスフェード

[米津玄師] 米津玄師 3rd Album「Bremen」クロスフェード

[米津玄師] 米津玄師 4th Album「BOOTLEG」クロスフェード

[米津玄師] 米津玄師 5th Album「STRAY SHEEP」クロスフェード

[米津玄師] 米津玄師 5th Single「LOSER / ナンバーナイン」Trailer

[米津玄師] 米津玄師 F / T RADIO

[米津玄師] 米津玄師 MV「Flamingo」

[米津玄師] 米津玄師 MV「Flowerwall」

[米津玄師] 米津玄師 MV「LOSER」

[米津玄師] 米津玄師 MV「TEENAGE RIOT」

[米津玄師] 米津玄師 MV「WOODEN DOLL」

[米津玄師] 米津玄師 MV「orion」

[米津玄師] 米津玄師 MV「カナリヤ」

[米津玄師] 米津玄師 MV「カムパネルラ」

[米津玄師] 米津玄師 MV「パプリカ」Kenshi Yonezu / Paprika

[米津玄師] 米津玄師 MV「ピースサイン」Kenshi Yonezu / Peace Sign

[米津玄師] 米津玄師 MV「フローライト」

[米津玄師] 米津玄師 MV「ポッピンアパシー」

[米津玄師] 米津玄師 MV「メトロノーム」

[米津玄師] 米津玄師 MV「感電」

[米津玄師] 米津玄師 MV「春雷」Shunrai

[米津玄師] 米津玄師 MV「海の幽霊」Spirits of the Sea

[米津玄師] 米津玄師 MV「馬と鹿」Uma to Shika

[米津玄師] 米津玄師 × 菅田将暉「灰色と青」RECドキュメント

[米津玄師] 米津玄師　MV「MAD HEAD LOVE」

[米津玄師] 米津玄師　MV「サンタマリア」

[米津玄師] 米津玄師　MV『vivi』

[米津玄師] 米津玄師　MV『ゴーゴー幽霊船』

[米津玄師] 米津玄師　MV『恋と病熱』

[米津玄師] 米津玄師　████████と、Lemon。

[米津玄師] 米津玄師　馬と鹿 radio

[米津玄師] 米津玄師「STRAY SHEEP」F/W SPOT

 

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