![](\"https:\/\/www.ourstarblazers.com\/vault-images\/sep17\/246a01.JPG\")
<\/p>\n
Yamato 2202<\/em> Chapter 2 Launch Chapter<\/em> public commemoration, Klaus Keyman’s voice actor Hiroshi Kamiya official interview<\/h3>\nSpace Battleship Yamato 2199<\/em>, which remade the legendary masterpiece Space Battleship Yamato<\/em> from 2012 to 2014, got big support. Afterward, fans eagerly awaited the completely new series Yamato 2202<\/em>. Chapter 2 of 7 will be released June 24. To commemorate it, this official interview with Klaus Keyman’s voice actor Hiroshi Kamiya is presented here.<\/p>\nInterviewer:<\/em><\/span> Chapter 1, Beginning Chapter<\/em> was screened in theaters this February and was a big hit. Please tell us your impression of this story.<\/p>\n![](\"https:\/\/www.ourstarblazers.com\/vault-images\/sep17\/246a02.JPG\")
<\/span><\/p>\nKamiya:<\/em><\/span> When I got involved in Yamato 2202<\/em>, I watched all of the previous work, Yamato 2199<\/em><\/em>. Of course, you can enjoy the content even if you begin watching it with 2202<\/em>, but after seeing 2199<\/em> and understanding the relationships of the characters, it added a lot to my work. The battle scene at the beginning of Chapter 1 was so awesome, I wouldn’t be exaggerating even if I said “it’s beyond normal.” (Laughs) I felt that it was produced with considerable attention. In the first place, I think the hurdle is considerably high to produce a 2199<\/em> sequel as a remake. Because of the enthusiasm I felt from the visuals in Chapter 1, I thought it would be a good idea to take yourself to the theater.<\/p>\nInterviewer:<\/em><\/span> Please tell us how you feel now that you’ve made your first appearance in the legendary Japanese anime series Space Battleship Yamato<\/em>.<\/p>\nKamiya:<\/em><\/span> Even if it’s a work everyone knows, it may not have a significant relationship with other animation. First of all, it’s quite different from other works. So if you are older than me, you know Yamato<\/em> well. Even before the screenings, the reactions of people around it was great. Since it wasn’t a work I’d been previously involved with, I realized the magnitude of Yamato<\/em> again. Since I’m concerned with voice recording, I intend to do it without letting in too much excitement.<\/p>\nInterviewer:<\/em><\/span> What did you think about when you did the voice recording for Chapter 2 (Episodes 3-6)?<\/p>\nKamiya:<\/em><\/span> At the time of Chapter 1, I asked Mr. Fukui and Mr. Habara about the character of Keyman, and I based the role on that. Personally, I don’t think it’s a problem to play the role of a character whose foundation is a bit blurry. If you watch Chapter 1, I think you can understand that I’m not sure myself what Keyman is thinking. (Laughs) I think it’s best to have a clear intention when you do a specific performance, but it’s hard to get it all into a line. Of course, I perform it after confirming the intent with the director and the sound supervisor, and in cases where there is no clear direction I’m allowed to find my own balance. I don’t think it’s necessary to convey Keyman’s intentions in detail, so if you’re thinking “who is this guy?” when you see it, that’s the correct response.<\/p>\n![](\"https:\/\/www.ourstarblazers.com\/vault-images\/sep17\/246a03.JPG\")
<\/span><\/p>\nInterviewer:<\/em><\/span> Have any of your first impressions of Keyman changed after playing him in Chapter 2?<\/p>\nKamiya:<\/em><\/span> There isn’t very much of him at this point, but I think his relationship with his senior officer Burrel is a place I have to take care with. In the scenes where Keyman and Burrel are on their own, I consciously play it with a slightly different atmosphere. But this is my own personal judgment, so I’m not sure if it matches the intention of the director. (Laughs) There is the original Yamato<\/em>, then there is Mr. Fukui’s script and the director’s visuals, and I provide a voice. Animation is made with various elements, and that’s the element I can add. For the moment, Keyman hasn’t moved much from his initial image, but when we glimpse a change I think that’s when this story will further develop.<\/p>\nInterviewer:<\/em><\/span> What do you feel is the appeal of Keyman as a person?<\/p>\nKamiya:<\/em><\/span> Honestly, I’m not quite sure. This is not limited to Keyman, but what kind of appeal does this character have within the whirlpool around this work? I try not to think about it too much. If I play a role in that state, I always tend to misjudge it. (Laughs) However, many people may be fascinated by a mysterious part where you don’t know what a character is thinking.<\/p>\nInterviewer:<\/em><\/span> In the trailer that is currently out, there’s a meaningful line from Keyman: “There is a secret darkness hidden behind the beautiful nature of that which resurrected the Earth.” I think a lot of fans are anxious about that\u2026<\/p>\nKamiya:<\/em><\/span> I think you can certainly look at that line as a symbol of 2202<\/em> as a sequel to 2199<\/em>. It’s a line of explanation about the Earth’s current state after something that happened in 2199<\/em>. As for what exactly is going on, it becomes clear in Chapter 2. I think you should see it with your own eyes.<\/p>\nInterviewer:<\/em><\/span> Please tell me about the highlights of Chapter 2 that you personally recommend.<\/p>\n![](\"https:\/\/www.ourstarblazers.com\/vault-images\/sep17\/246a04.JPG\")
<\/span><\/p>\nKamiya:<\/em><\/span> It’s the scenario of Yamato<\/em> vs. Andromeda<\/em> that was also in the trailer. I think that burns. There’s a place where Kodai and Yamanami both shout, “Prepare for impact!”, and the voices were not recorded separately. Such lines are usually recorded separately and balanced in the audio mix. I think the director and staff believed that there would be momentum in the interplay of two people [if they recorded together]. <\/p>\nThe concept is that Mr. Ono the upstart confronts Mr. Ehara the veteran. If sound pressure was lost, you’d hear that it was weak, so I think the recording setup was changed to get sounds that wouldn’t yield to each other. They did a test run two times and then the final recording, and it was very impressive. <\/p>\n
After that, there is the Yamato<\/em> launch sequence indicated in the title of Chapter 2, Launch Chatper<\/em>. It has a very tense feeling. If you wondered how Yamato<\/em> gets ready for a voyage, I think you’ll be interested in that part, so please check it out at a theater.<\/p>\nInterviewer:<\/em><\/span> Please give your message to fans who are looking forward to seeing Chapter 2.<\/p>\nKamiya:<\/em><\/span> Compared to Chapter 1, the scale is simply doubled, and I’m sure you’ll be satisfied with it. This time there are four TV episodes. A lot of scale is used in Yamato<\/em>‘s launch episodes, and it leads carefully to a point where it connects to the next episode. Yamato<\/em>‘s departure has a back story, and everyone is conflicted about starting on the journey. The new part looks into everyone’s mind as they launch without permission, and I think the way it’s depicted by a first-class staff is the biggest point of Chapter 2. If you’ve seen Farewell to Yamato<\/em>, the basis for 2202<\/em>, I think you’ll be fascinated.<\/p>\n
Interviewer:<\/em><\/span> Chapter 1, Beginning Chapter<\/em> was screened in theaters this February and was a big hit. Please tell us your impression of this story.<\/p>\n Kamiya:<\/em><\/span> When I got involved in Yamato 2202<\/em>, I watched all of the previous work, Yamato 2199<\/em><\/em>. Of course, you can enjoy the content even if you begin watching it with 2202<\/em>, but after seeing 2199<\/em> and understanding the relationships of the characters, it added a lot to my work. The battle scene at the beginning of Chapter 1 was so awesome, I wouldn’t be exaggerating even if I said “it’s beyond normal.” (Laughs) I felt that it was produced with considerable attention. In the first place, I think the hurdle is considerably high to produce a 2199<\/em> sequel as a remake. Because of the enthusiasm I felt from the visuals in Chapter 1, I thought it would be a good idea to take yourself to the theater.<\/p>\n Interviewer:<\/em><\/span> Please tell us how you feel now that you’ve made your first appearance in the legendary Japanese anime series Space Battleship Yamato<\/em>.<\/p>\n Kamiya:<\/em><\/span> Even if it’s a work everyone knows, it may not have a significant relationship with other animation. First of all, it’s quite different from other works. So if you are older than me, you know Yamato<\/em> well. Even before the screenings, the reactions of people around it was great. Since it wasn’t a work I’d been previously involved with, I realized the magnitude of Yamato<\/em> again. Since I’m concerned with voice recording, I intend to do it without letting in too much excitement.<\/p>\n Interviewer:<\/em><\/span> What did you think about when you did the voice recording for Chapter 2 (Episodes 3-6)?<\/p>\n Kamiya:<\/em><\/span> At the time of Chapter 1, I asked Mr. Fukui and Mr. Habara about the character of Keyman, and I based the role on that. Personally, I don’t think it’s a problem to play the role of a character whose foundation is a bit blurry. If you watch Chapter 1, I think you can understand that I’m not sure myself what Keyman is thinking. (Laughs) I think it’s best to have a clear intention when you do a specific performance, but it’s hard to get it all into a line. Of course, I perform it after confirming the intent with the director and the sound supervisor, and in cases where there is no clear direction I’m allowed to find my own balance. I don’t think it’s necessary to convey Keyman’s intentions in detail, so if you’re thinking “who is this guy?” when you see it, that’s the correct response.<\/p>\n Interviewer:<\/em><\/span> Have any of your first impressions of Keyman changed after playing him in Chapter 2?<\/p>\n Kamiya:<\/em><\/span> There isn’t very much of him at this point, but I think his relationship with his senior officer Burrel is a place I have to take care with. In the scenes where Keyman and Burrel are on their own, I consciously play it with a slightly different atmosphere. But this is my own personal judgment, so I’m not sure if it matches the intention of the director. (Laughs) There is the original Yamato<\/em>, then there is Mr. Fukui’s script and the director’s visuals, and I provide a voice. Animation is made with various elements, and that’s the element I can add. For the moment, Keyman hasn’t moved much from his initial image, but when we glimpse a change I think that’s when this story will further develop.<\/p>\n Interviewer:<\/em><\/span> What do you feel is the appeal of Keyman as a person?<\/p>\n Kamiya:<\/em><\/span> Honestly, I’m not quite sure. This is not limited to Keyman, but what kind of appeal does this character have within the whirlpool around this work? I try not to think about it too much. If I play a role in that state, I always tend to misjudge it. (Laughs) However, many people may be fascinated by a mysterious part where you don’t know what a character is thinking.<\/p>\n Interviewer:<\/em><\/span> In the trailer that is currently out, there’s a meaningful line from Keyman: “There is a secret darkness hidden behind the beautiful nature of that which resurrected the Earth.” I think a lot of fans are anxious about that\u2026<\/p>\n Kamiya:<\/em><\/span> I think you can certainly look at that line as a symbol of 2202<\/em> as a sequel to 2199<\/em>. It’s a line of explanation about the Earth’s current state after something that happened in 2199<\/em>. As for what exactly is going on, it becomes clear in Chapter 2. I think you should see it with your own eyes.<\/p>\n Interviewer:<\/em><\/span> Please tell me about the highlights of Chapter 2 that you personally recommend.<\/p>\n Kamiya:<\/em><\/span> It’s the scenario of Yamato<\/em> vs. Andromeda<\/em> that was also in the trailer. I think that burns. There’s a place where Kodai and Yamanami both shout, “Prepare for impact!”, and the voices were not recorded separately. Such lines are usually recorded separately and balanced in the audio mix. I think the director and staff believed that there would be momentum in the interplay of two people [if they recorded together]. <\/p>\n The concept is that Mr. Ono the upstart confronts Mr. Ehara the veteran. If sound pressure was lost, you’d hear that it was weak, so I think the recording setup was changed to get sounds that wouldn’t yield to each other. They did a test run two times and then the final recording, and it was very impressive. <\/p>\n After that, there is the Yamato<\/em> launch sequence indicated in the title of Chapter 2, Launch Chatper<\/em>. It has a very tense feeling. If you wondered how Yamato<\/em> gets ready for a voyage, I think you’ll be interested in that part, so please check it out at a theater.<\/p>\n Interviewer:<\/em><\/span> Please give your message to fans who are looking forward to seeing Chapter 2.<\/p>\n Kamiya:<\/em><\/span> Compared to Chapter 1, the scale is simply doubled, and I’m sure you’ll be satisfied with it. This time there are four TV episodes. A lot of scale is used in Yamato<\/em>‘s launch episodes, and it leads carefully to a point where it connects to the next episode. Yamato<\/em>‘s departure has a back story, and everyone is conflicted about starting on the journey. The new part looks into everyone’s mind as they launch without permission, and I think the way it’s depicted by a first-class staff is the biggest point of Chapter 2. If you’ve seen Farewell to Yamato<\/em>, the basis for 2202<\/em>, I think you’ll be fascinated.<\/p>\n<\/span><\/p>\n<\/span><\/p>\n<\/span><\/p>\n