[Movic Co., Ltd.] A post-recording interview with Saito Soma and Furukawa Makoto from the BLCD collection “The Farthest Love in the World 1” has arrived!
Animate Holdings Co., Ltd. Press release: September 5, 2025 To Members of the Press A post-recording interview with Saito Soma and Furukawa Makoto from the BLCD collection “The Farthest Love in the World 1” has arrived!
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■Interview for “The Farthest Love in the World 1” Isuzu Ayumu: Saito Soma Mibu Toka: Furukawa Makoto
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–Please tell us about the character you played this time. Furukawa Mibu Toka is a genius violinist. He’s extremely rough around the edges, and while he’s been noticed as a gem of raw talent, he’s only been noticed. He has no idea what he needs to do to get better, and he’s lost track of what he should do. He’s like a young man still growing. He works hard and wants to get better, but despite his incredible talent, he’s lost sight of why he’s working so hard. His classmates envy him and make him isolated, saying, “Why is someone like him, a lazy, outcast who doesn’t keep up with the rest of us, called talented?” But then, one day, he meets Isuzu-san, and one by one, he begins to recognize what he wants to do, what he wants to become, and what is important to him, and he grows as a boy. Please read the original work for more details. To be honest, if you haven’t read the original work, I would recommend you read it first. Saito: Isuzu-san has sensorineural hearing loss, which makes life a little more difficult for him than for people who can hear normally, but I think he has a variety of emotions inside and is, in a sense, a normal person. That’s also his personality, and I wouldn’t say he’s just hard of hearing, but I think he’s someone who lives each day by finding things he can do and is good at within his circumstances. He carries a slightly unusual burden, but I think he’s a real person who just tries to live his daily life in his own way. –Please tell us your thoughts after finishing the recording. Furukawa Souma and I get together occasionally…or rather, at important times. Saito: That’s right. Thankfully. Furukawa: Many BLCDs are like that, but I often work with Souma on works and roles where we connect with each other through minimal movement, noise, breathing, and conversation. Saito Indeed. Furukawa: When Souma wants to incorporate a certain movement into his acting, he’ll make a little gesture with his hands while he’s delivering his lines. Even without that, I think it’s amazing how he can convey so much information to me, even when I’m next to him, about how he’s able to incorporate information into the sounds he makes. But when he makes hand movements, it’s even more helpful, because it guides me, like, “Okay, now I’ve made this movement, so I should do it like this.” And when I say, “I acted it like this,” he quickly picks up on it and then moves on to the next line, which is what makes acting with Souma so much fun. Saito Thank you. Thank you too. Furukawa: In this production, there were many scenes that made full use of Saito Soma’s skills, to the fullest. Saito: Isuzu doesn’t have any lines that she speaks directly to others, so I felt like Furukawa-san was really creating the flow this time. Toka-san, played by Furukawa-san, created a great rhythm, so I was able to get into it naturally. You really get along well with Furukawa-san. Furukawa Something like that. Saito It really suits you. Furukawa It’s not like the conversation is a back-and-forth of throwing the ball back and forth in a rhythm of “pawn, pawn,” but rather when there’s a double play. Saito: It’s like, bang! Bang! This isn’t just limited to this work, but if you explain too much with lines like, “This is how I feel right now,” the conversation won’t have a good tempo. I think the emotional exchange that precedes the logic of “if someone says one thing, you respond with two, and then three comes back” is partly due to the relationship we’ve built up over the years. But more than that, it’s the power of the work itself that matters. Furukawa: The story has its own dialogue flow, so unless we do as we please… Saito That’s not allowed (laughs). Furukawa: We were able to read each other’s acting and match the atmosphere inherent in the work, which is why I think we got the feeling, “Oh, that moment was perfect.” While recording this time, I felt like we were creating it together, but to be honest, I think that might be presumptuous of me to say this, as the storyline is so well-crafted. –Instructions other than the regular lines in a script typically use the abbreviations monologue and narration, but in Isuzushi’s case, the abbreviations image and app were used, and the staff discussed how to distinguish between them before recording. Saito-san’s initial suggestion was almost spot on, but what did you think when you first read the script? Saito: There are certainly some technical aspects, but the story needs to flow that way, so ultimately it’s all about how well you can empathize with Isuzu’s feelings. Sometimes I express those feelings through monologue, and sometimes I say them in a more narration-like way, but I thought it wasn’t that difficult if I just went with the flow of his emotions. That’s what I thought when I actually performed, but when I was checking the script, I did have some doubts about how it would turn out. Furukawa But wasn’t the app difficult? Saito: That’s right. It’s fantasy in a way, and even though it’s an app, some scenes have dialogue that’s a little more like dialogue. Some might think that making everything realistic is the right answer, but I think the fun of fiction isn’t just about making it realistic. Furukawa It’s a drama CD, after all. I was somewhat conscious of the name Saito, but it just kind of came naturally. –Toka-kun receives Isuzushi-san’s words through the app, sketchbook, and other media, and then reacts and replies. Was that something you were conscious of, Mr. Furukawa? Furukawa: No, I don’t. When listening to Isuzushi’s lines, I think the most important thing is what she’s trying to convey. Speaking of Isuzushi, not Toka, when you say things like “No, that’s not true” or “That’s amazing,” you can convey that with a certain degree of warmth if you communicate in writing. But when Isuzushi conveys her feelings through audio in an app, Souma deliberately leaves out little things like, “I really wanted to say it like this” or “I wanted this line to sound more like this.” But the underlying emotion is conveyed to us without wavering at all, which I found amazing. That’s why I can’t just stop at the idea that it’s app audio. I think it’s important to listen to it as “a sound that includes the underlying essence of what you really wanted to say.” If Isuzu wasn’t hard of hearing, but was, say, a robot-like being, and spoke in that natural way, then that would be projected onto us as that person’s voice. So, my basic understanding is that it’s not something to be complacent about just because it’s an app’s voice. The only thing that bothered me was when Toka looked at what Isuzu had written in writing and replied, and there was only the sound effect of the pen, so the contents of the written message weren’t in the script. “What were you just writing?” Saito: I thought that part looked really difficult. Furukawa That’s right. Saito I’m glad it was Furukawa-san. He wasn’t in charge of my work (laughs). Furukawa: Actually, I lost track of what I was expecting, so I had to re-perform it later. That was difficult. But if everything had been written in the stage directions, the script would have become too cluttered, so I just thought, “This is my job,” and performed it. –Please give a message to those who are looking forward to the release. Furukawa: This is a very subjective comment, but it was a very enjoyable production. I don’t think that our subjective opinions will necessarily translate into something that everyone will find enjoyable or interesting, but I truly believe that we were able to pour our heart and soul into creating this work, into the creation of an audio drama. I would really love it if fans of the original work would listen to it while recalling scenes from the original, and I would also be grateful if you could read the original work along with me while playing the CD. I believe this CD was created with love and dedication by many people who worked hard to improve this work, so I hope you will enjoy it too. Please give it a listen. Thank you. Saito: I think it’s a very delicate and beautiful work, with themes of sound and communication. Expressing such a complex theme in the form of an audio drama was a very challenging project, but at least we actors found the recording very satisfying. I believe we were able to convey the world of the original work through sound, so please check it out along with the original work. Thank you.
■Drama CD information [Product Name] BLCD Collection “The Farthest Love in the World 1” [Cast] Isuzu Ayumu: Saito Soma, Mibu Toka: Furukawa Makoto, Kumai Tetsu: Tsunoda Yujiro, Ober: Kirii Daisuke, Isuzu’s mother: Shiori Mochizuki, classmate: Taiga Takano, Interpreter: Akiseki Kogure, office worker: Hiromi Kawakami, High school girl: Hisae Yamaguchi, students: Kota Yasuhara and Sora Handa [Animate Original Bonus] Talking CD (Saito Soma & Furukawa Makoto) [Animate & Comicomi Studio Paid Bonus] Original booklet by Mitsuaki Aso (Includes original manga and unpublished cast interviews) Price: ¥330 (tax included) / ¥300 (tax excluded) *This item will not be sold
separately. 【Price】 3,630 yen (tax included) 【Release Date】 Friday, November 28, 2025 *Images are for illustrative purposes only. Actual product may differ. *Product release dates and specifications may be changed, postponed, or canceled due to various circumstances. We appreciate your understanding. movin★on site
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