[Current Japanese Drama 2015] The Emperor's Cook/Tenno no Ryoriban 天皇の料理番

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OFFICIAL STILLS OF EP. 5 OF "TENNO NO RYORIBAN"
from the official gallery
credit: takeruzone via takerubabe321 tumblr

[pechumori]

Tenno no Ryoriban Shooting Report

May 25th, 2015

~translation~

Decision at the riverside

Did you enjoy the fifth episode?
We should say the story development might have made you feel a tightening in your chest rather than enjoy it …

You couldn’t help shedding tears over Toshiko-san’s decision, right?
Just like in the first episode, at that riverside,
Toshiko-san decided to back out for the sake of Tokuzo-san’s dream.

From the rehearsal, Toshiko-san cried bitterly.

The staffs watching her were also moved to tears, drawn into her performance.

After a rough rehearsal,

Tokuzo-san, Toshiko-san, and Director organized their emotions.

‘Depending on Toshiko’s mood in the real shooting, it may change if I should hold the shoulders of crying Toshiko … or should not do so … So please let me do it again,’ Takeru-san said.

To hear him, Director said, ‘It may be good if you hold her shoulders and Toshiko rejects you shaking off your hands …’ These three checked the motion again and again, and then went on to the shooting.

Anyway, when Toshiko-san noticed Tokuzo-san’s feeling for cooking in the first episode,

it was raining, and it was so frigid that the rain froze in a moment.

But when they took this scene, it was March.

Though it was still cold at night, compared with frigid temperature, it was nothing, so all the staff and cast felt relieved. (lol)

credit: stephany-310.tumblr.com

[pechumori]

Takeru Sato plays a stranger to himself in new role.

Those who watch “Tenno no Ryoriban” (The Emperor’s chef) probably are amazed and wonder: Is that really Takeru Sato? But that is the intention of the TV drama, which airs from 9 p.m. on the TBS network on Sundays.

“I’d be happy if people say the character isn’t like me,” Sato said.

The drama, part of a special program commemorating the 60th anniversary of TBS, portrays the life of a man who served as the chef of the Imperial household during the decades straddling the Taisho era (1912-1926) and the Showa era (1926-1989), based on historical episodes. The TV drama, an adaptation of Hisahide Sugimori’s novel of the same title, costars Haru Kuroki and Ryohei Suzuki.

Sato plays Tokuzo, who easily gives up doing something and always causes problems to people around him. He acts without thinking, and, when he is carried away with something, he can’t see anything else.

“He’s someone completely different from me,” Sato said. “It’s been a big challenge for me because I have to express a personality I don’t possess.”

In creating the role, Sato discussed with the drama’s director how he should avoid overacting. The actor resorted to Tora-san, the popular hero of the “Otoko wa Tsuraiyo” (It’s tough being a man) film series, as a model for Tokuzo.

“When he shows up, he always brings some kind of mess with him. But when people tell him, ‘You’re such an idiot,’ there’s affection in their words. I hope the viewers will laugh in that sort of way when they see Tokuzo,” Sato said.

Sato started taking special cooking lessons last August, and he had his hair cropped to play the role. Through reliving the life of this wildly daring man, Sato came to think, “It’s the story of a man who made his dreams come true, and it’s also the story of his family, who supported him.”

Tokuzo is pure-hearted and hard working, and when he does something wrong, he is ready to apologize. Sato has become increasingly fond of Tokuzo, who is respectable as a person.                
Sato was born in 1989 in Saitama Prefecture and made his acting debut in 2006. In 2007, he became popular in the superhero TV show, “Kamen Rider Den-O” on the TV Asahi network. His major works include NHK’s historical drama “Ryomaden” (Ryoma, a Legend) and the “Rurouni Kenshin” film series.

Asked how he learns his lines, he said, “The best way is to understand the whole scene. Then, if I hear a line by another actor, it helps prompt me on what to say next. If I have to learn the lines by heart, I try to remember them together and where the lines are actually written in the script, like thinking, ‘Those lines were written right around there on the right-hand page.’”

Sato’s favorite food is sushi.

“I like curry, ramen, yakiniku barbecue, traditional Japanese cuisine and everything else, but if someone asks me what my favorite food is, I say sushi. Everything is concentrated into a small piece of sushi. I think it’s an art form. When I eat a piece of sushi, it makes me happy for about five minutes,” he said.

But he said he would choose a bowl of cooked white rice and miso soup as his last meal if the world is about to come to an end.

“I don’t know what to eat with them yet, though,” he said.

source: http://the-japan-news.com/news/article/0002137629
credit: takeruzone via takerubabe321 tumblr

[pechumori]

The viewership rating for Episode 5 of “Emperor’s Cook” which was aired yesterday May 24, 2015 was 14.5 % based on the Video Research survey, Kanto region. That’s an increase of 1.8% from its previous rating of 12.7%.

Here are the ratings for each episode:

Episode 1 (4/26): 15.1%
Episode 2 (5/03): 11.4%
Episode 3 (5/10): 12.0%
Episode 4 (5/17): 12.7%
Episode 5 (5/25): 14.5%

http://tvmeter.blog.fc2.com/blog-entry-4978.html

[pechumori]

Tenno no Ryoriban Shooting Report

May 26th, 2015 (Tuesday)

~translation~

Face Cooking Squarely at Banzai-ken

Since Tokuzo-san started working for Banzai-ken,
he faces cooking squarely.

So far in Kazoku-kaikan, Sasaki-san, one of the staff served dishes.
But in Banzai-ken, he is cooking face to face with the guests eating their meals.

Taking advantage of his experience at Kazoku-kaikan, he tenderizes the meat … grates bread crumbs finer.
And when he fries shrimps,
compared with the owner, who covered even their tails with breadcrumbs,
Tokuzo-san provides an extra service,
absorbing moisture from the tails, making them erect, and frying them to a delicious crisp without putting bread crumbs to the tails!
The cooking supervisors consider the dishes in each episode, making detailed settings,
even if they are not explained in detail in the drama.

If he has time, Takeru-san practices using a kitchen knife with the cooking supervisor in Banzai-ken, too.

That day, he was intently practicing julienning cabbage.

Unlike a vegetable staff,

Thinking that Tokuzo-san is going to deal with a variety of foodstuff … he still has a long way to go as a cook.

Next week, Tokuzo-san will greatly move toward Paris.

Will he be able to break through this heart-rending situation …?

credit: stephany-310.tumblr.com

[pechumori]

Takeru san’s latest drama “Emperor’s Cook” was featured today in 2 pages of “The Television” magazine, where Tokuzo, the character being played by Takeru finally goes to France.
credit: ミヤコ♪

[pechumori]

Tenno no Ryoriban Shooting Report

May 27th, 2015 (Wednesday)

~translation~

Sennosuke-san and O-Ume-san

Talking of the characters that appear in Banzai-ken,
Sennosuke-san, the owner, is unique,
but his wife O-Ume-san is also a woman of strong impact.
In the scene where Tokuzo-san and Shintaro-san saw each other again in Banzai-ken, Tokuzo-san was fully being seduced by O-Ume-san.

Her seduction started with one grain of rice at the side of his mouth.
To the staff who said, ‘I’d like it to look as if it had naturally stuck at the side of your mouth,’
‘It’s so difficult - *cry*’, Takeru-san said at a complete loss.
In dramas or comics, we sometimes see a situation where someone has a grain of rice at the side of his/her mouth, but seldom in real life …
After a several tests, even Takeru-san, who is perfect in action performance, said …
‘If the staff-san snaps rice at just the right time, I’ll receive it^^’
jokingly, but he tried increasing and decreasing the amount of food he ate, devising this way and that way, and took on challenges aggressively.

credit: stephany-310.tumblr.com

[pechumori]

“Emperor’s Cook” fan art by Ray
Kayano complimented Tokuzo by saying that his lips look like Mount Fuji. (‘∀ `)

[pechumori]

Tenno no Ryoriban Shooting Report

May 29th, 2015

~translation~

The Day After Tomorrow, Finally!

How are you doing on Friday evening?

On May 31st, the day after tomorrow, the 6th episode of ‘Tenno no Ryoriban’ will be aired.
Episode #6 makes Tokuzo-san’s turning point.
If you divide this drama into two halves, this episode is the end of the first part.
Will Tokuzo-san, who gets closer to his dream accepting love from everyone, be able to aim higher?
How will he settle everything and leave for Paris … ?
You really can’t miss the next episode.

By the way …
While he was working in Banzai-ken, surprisingly, three kinds of curry appear.

One is curry a la Banzai-ken, which the owner served him.
Another is curry a la francaise, which Tokuzo devised.
The last one is ordinary curry.

In this drama, it goes without saying that dishes are the most important point,
but in the fifth episode, a peculiar dish appeared.
The name is ‘Fried Ice’.

At the shooting site, our art staff broke the ice heart and soul, shaped it, and rolled in bread crumbs.
To smooth its surface, they melt it with a burner to make it round …

Thanks to their effort or …
because the staff were hungry …
when its image appeared close up on the screen, they mumbled in chorus,
‘It looks delicious…’
We couldn’t miss their murmur.

credit: stephany-310.tumblr.com

[pechumori]

“Emperor’s Cook” fan art by Ray
Tokuzo puts ear plugs to prevent himself from hearing the noise created by his new boss and his wife.
photo credit: satoh takeru holic

[pechumori]

May 30, 2015

~translation~
+act. Magazine
Sato Takeru – Long Interview <1>

After the shooting that had started early in the morning, Sato Takeru appeared at the interview location for us. He must be very tired from daily shootings, but not to mention posing for the photographer as told to during the interview, he replied to each and every stupid joke our staff made. This interview lasted nearly two hours, but he tried to verbalize what he senses inside himself using as plain words as possible to the end. At any given time, he never makes lights of communication. He doesn’t give up trying to understand others or make himself understood. The fact that the characters Sato Takeru plays are always attractive owes much to his qualities like that; it occurred to me in Kyoto in the season of new green leaves. This issue has a special project to close in on an actor Sato Takeru now.

It was the day after the first episode of ‘Tenno no Ryoriban’ , in which he plays the lead, had been broadcast that I visited Kyoto following Sato Takeru. In the TV screen was sixteen-year-old Tokuzo, who, in due time, was to serve as Emperor’s cook in Imperial Household Ministry, but yet barely showed the sign. Sulking, complaining, and ogling in front of a beauty – people made fun of him, calling him ‘Nokuzo’ because he was ‘nokutee (stupid in Fukui dialect) Tokuzo’. He rushes headlong into what he finds exciting and everyone around him is amazed at him, but cannot hate him. Sato Takeru played such a character lively and winsomely. So in the face of twenty-six-year-old Sato Takeru, I was at a loss because of the gap. It seemed that the same was true of his manager, who had been always beside him because he let drop after the photo session, ‘For the first time in a while, I remembered he is who he is’, which was impressive. To that extent, Sato Takeru had lived a life as ‘Akiyama Tokuzo’.

Just one year has passed since we did a long interview with Sato Takeru after the shooting of ‘Rurouni Kenshin: Kyoto Inferno / The Legend Ends’ in the May issue in 2014. We wanted to look into mind and heart of Sato Takeru, who has been in the middle of the challenge of TBS’s 60th anniversary special project ‘Tenno no Ryoriban’ about six months, and in the future, whose works will be released in succession; a live action film of a big hit comic ‘Bakuman’ and another live action film of big hit novel ‘Sekai-kara Neko-ga Kieta nara’, in both of which he played the lead. When I meet him, I’m always reminded that calmness and passion could go together. While devoting himself to his role with all his strength and all his heart, he has a clear and sharp thought. What is attracting him now? After the ‘Rurouni Kenshin’, he continues to evolve at a tremendous pace. Can I touch the essence of Sato Takeru’s thoughts now, in 2015?

- Starting with ‘Tenno no Ryoriban’, I hope to close in on ’current Sato Takeru’ with a large theme ‘Kenshin Igo (After Kenshin)’.

‘Kenshin Igo’?

-We’re doing this long interview for the first time since we interviewed for a cover story about a year ago. At that time, we asked your feelings after ‘Rurouni Kenshin: Kyoto Inferno / The Legend Ends’.

Ah, ‘After Kenshin’, I got it. I thought there is a four-character idiom that goes ‘Kenshin Igo’. (lol)

-Yesterday was the first day of the broadcast of ‘Tenno no Ryoriban’. Did you watch it yesterday?

As I knew I couldn’t watch it in real time because I had to move to another shooting site, I watched it in the editing room last evening.

-In the cross talk with Kuroki Haru-san for ‘+act mini’, you said that even if you felt that you made it at the shooting site, you couldn’t tell if it was good until you watched the completed thing. How did you like it after watching it?

Some scenes were just as I had expected, others were beyond expectation, and others made me think, ‘Ah, it was iffy.’

-Is it all the same about other works?

No, the shooting of ‘Tenno no Ryoriban’ is atypical. So it is hard to compare it with others.

-Is it the site, or the style, that is atypical?

Well, ‘the method’ of producing a drama or a film is. It’s madly atypical. I’m now thinking (how it’s atypical), but as for the shooting technique … how should I say it … it’s something like acting to fit in the camera blocking. In Director’s mind, camera blockings are already fixed clearly, so actors play according to them. It’s something like that.

-As our theme today is ‘After Kenshin’, if you compare it with ‘Kenshin’, for good or bad, it’s precisely the opposite of Team Otomo’s method, right?

I’m not sure if it’s right to call it ‘opposite’, but it’s different.

-In that way of shooting how does Takeru-kun’s way of acting according to your emotion, as you always say, work?

We have to think how to be free in that method, and it’s very difficult, indeed. But I’ve worked with this team several times in ‘Tonbi’ and ‘ROOKIES’, so it’s good this is not the first time, for I already knew their way before starting shooting. Anyway, there is no right or wrong acting, so the important thing is how I can do what is expected of me in each drama and is appropriate to the drama.

-Well, I’m surprised to hear that. In the first episode, Tokuzo-san and all the other characters were so vivid that I never felt that you were acting in such a framework, or a restraint, though the word may be misleading.

That’s why dramas are interesting. They sometimes really change through editing. In that point, truly good staffs direct us, understanding the perfected form and connected results, so though actors sometimes face the moment they feel cramped and tough when they are required to act in the camera blocking, after those cuts are connected, the result appears to be lively … yup … that’s it, I guess.

-Aha!

In an extreme case, for example, even when you act all wrong, if Director sees the edited vision in his mind and says it’s OK,  the character consequently will come to appear vivid or the drama will become exciting and zip along. In that sense, this time, at least for me, their approach is quite different from that of other shooting teams. But with respect to producing a drama, they are overwhelmingly professional, and the finished work was actually exciting. Aside from the actor’s play, they know what I don’t know about drama production, and they have abilities that I don’t have, so it is better to trust them in that point, and more beneficial for me as a result, I think.

-Does it mean that they are shooting in a way that makes it hard to leave it to them unless you can trust them that much?

Yup, yup. So if it had been the first time for me, I couldn’t have done this way. I have worked with them many times, so I can take this kind of approach, but if it had been the first time … I might not have done.

-You said you’re trying various things in this drama. Hearing what you said now, to show how the character develops both as a cook and as a human in that atypical shooting method was a challenge itself, I thought. A little while ago, you said, ‘I was surprised that Tokuzo in the first episode was too different from what he is now’. You’re now playing mainly Tokuzo at the age of forties, right?

I didn’t intend to change him so much, but when I watched the first episode, he was totally different. In a way, he was absurd, wasn’t he? He is (now) not doing such absurd … interesting things. (lol)

-To hear that you take half a year to take a one-course drama, I thought what a luxury!

I agree.

-But in acting the whole life of a person, isn’t it hard for your mind to catch up to the character even taking half a year?

It’s really true. Rather than ‘half a year’, Tokuzo is in his twenties this morning, and in the afternoon, he is in his forties. That’s the way we’re taking. It’s rather … hard, or I should say, quite a hurdle,

*to be continued*

credit: stephany-310.tumblr.com

[pechumori]

May 31, 2015

~translation~
+act. Magazine
Sato Takeru – Long Interview<2>

-Since I just saw sixteen-year-old Tokuzo-san yesterday, I’m amazed anew now at the gap in the face of actual Takeru-kun. How can you change like that? A short while ago, during the photo session, we happened to say you might be changing the eye (expression), and then you said, ‘Acting is not such a thing (lol)’, right?

So to speak, you have to change not your eyes but your heart. That way, all will change naturally.

-First of all, you mean, you have a sixteen-year-old heart.

Right, that’s it.

-At least, sixteen-year-old Tokuzo-san is totally different from usual Takeru-kun in any way, such as the way of standing and walking, or the way he raises his chin and ogles when he gets carried away. Do all of these change by changing your heart, you mean?

Basically, that’s right. It’s very sensory and I’m not sure how it works and it’s difficult to put it into words, but ‘changing your heart’ is not a wrong description. It makes sense.

-That’s what you’re always saying.

Yup.

-But while you play the same Tokuzo-san, his age changes. Have you made any rules or settings, for example, ‘immature Tokuzo-san in his teens is like this’, or something like that?

No. I haven’t made them, I suppose.

-Does ‘changing your heart mean, to put it simply, to act faithful to the scenario?

When you read a scenario, you will create an image, right? Thus I have an image of sixteen-year-old Tokuzo, and think about it and … It’s not that I think I’ll walk this way or I’ll stand that way, but vaguely I blow up his sensory image and play. Then that comes out, I guess.

-Do you take some hints, such as how the sixteen-year-olds in those days were … ?

I’ve never thought of that. Since I think Tokuzo-san was a very special person, this time, on the contrary, I don’t think about it. Some other person at the age of sixteen would never be like that, right? So it’s not the matter of sixteen years old, but he is Tokuzo-san, Tokuzo-san at that age.

-But the person who plays him is a twenty-six-old man named Sato Takeru. If you say it’s not a skill but heart, I’m lost for words.

It’s really true. It’s the most important skill.

-You were properly ‘nokutee (stupid)’, right?

Yup. (lol) So to change your heart is the most important skill, for an actor.

-It will be impossible without a large stock of acting skills, or if you can’t imagine the heart of a variety people.

Yes, of course.

-Doesn’t it happen that when you have to act out the twenty-year age difference, it becomes all the more difficult to carry your heart there because it depends on your heart?

Yes, indeed. But all I can do is to do my best. How easy it would be if they took all the scenes of the same age at one time, you know! But if it’s impossible because of a variety factors, I have no choice but do my best.

-If so, when you have to play a sixteen-year-old, where do you start in your plan?

Well, I don’t remember well because it’s long time ago … but …

-You feel it’s already long time ago, eh? (lol)

Of course, long time ago. I feel nostalgic for the first episode. (When I watch the first episode,) I didn’t remember it at all. Therefore I was amazed that he was so absurd. (lol) Oh, I was talking about where I start after reading the script? But there is nothing else to do but to blow up my image. As I might have said before, the most important thing in order to get inside a character is the ‘time’ you spend thinking about the character. It’s not that you do something, but by thinking about the character, you can gradually blow up your image naturally. Consequently that is how you get inside a character. Of course, reading the scenario many times is one way, but in addition to that, if you live a life based on it, naturally …

-Then you have been living a life based on it, right?

Absolutely. Once you read a scenario, you learn that you’ll play it. But if you ask me whether I’ll do something special based on it, I have to say no. I’m just living, thinking about it.

-Ah, you always have it at the back of your mind, right?

Yup, yup.

-Then do you think ‘What if Tokuzo?’ when you have a meal, for example?

I don’t think of such specifics. There are some moments when I think of such kind of things, but without thinking about them, curious to say, they’re somewhere in you. So the image is definitely growing at the unconscious level. Even if you don’t think hard about it, it grows. Above all else, once you enter the filming location and start shooting, whether willing or not, it begins to grow.

-It is unusual for a person leading a common life to hold another self in him/her, right?

I’m not conscious of a feeling of having another self, though. No, but really naturally, on its own, the image grows.

-The image grows?

Yup. The image or the character grows. If I forcibly verbalize it, it’s something like that. (lol) But it’s a more sensory thing, so it’s really difficult to describe in words. But if I try hard to do it, I think this is it.

-You feel it grows, right?

At the beginning of the first episode, I was really nervous. Tokuzo-san is totally different from me, and I’ve never played that type of character. It might be too extreme, but we started without knowing the right answer. I didn’t know it, nor did Director. No one knew it. So we learned by doing, through trial and error. But now, I can enter the location without so much worry.

-Are the other casts like that, too?

Yes, they are.

-Then you feel you are bringing up the characters together, right?

Yes, of course. We’ve been trying to grasp each character together. What I really think this time is that acting is ‘sentaku (choice)’.

-Choice?

‘Sentaku’, which means choice.

-I know it. (lol)

There is another ‘sentaku’ meaning ‘wash’. (lol)

-Thank you for your kindness. It may be the first time I hear you say ‘choice’.

Well, I’ve already been suspecting that it’s kind of like I can act in various patterns. I can make Tokuzo-san more absurd or more natural and ordinary. So it is a matter of ‘choice’ about which facial expression, which wording, or which way of standing, cut by cut.

-You feel it’s done cut by cut, right?

Especially this time, right. Actually, I had elaborated the character at first, but I accepted the opinion of Director and the producer that it was too much and that it would be better to make it a little more ordinary, so I trimmed it down.

-When it comes to the point of ‘choice’, did you have a variety of choices about Tokuzo’s reaction when he first ate a piece of cutlet, which made him decide to be a cook?

No, it was decided rather smoothly. It was just as I had planned.

-Living in this modern world, we don’t have much experience that we have never imagined before, I think.

Well, yes.

-When I read the script, I wondered how you would express the feeling of ‘What on Earth is this?’

But I had no difficulty in the cutlet scene. I just think people will stop at any rate when they encounter something they don’t know.

-Ah.

When something is beyond their capacity, or they meet something beyond their capacity, people are sure to stop … is my image.

*to be continued*

credit: stephany-310.tumblr.com

[pechumori]

Takeru san with his “Emperor’s Cook” co-stars, Kenta Kiritani who played the role of Shintaro and Saki Takaoka, the actress who portrayed the role of the proprietress of the diner Tokuzo is working at now. This is a commemorative photo of the last shooting day of both Kiritani and Takaoka.
Notice Takeru san’s new hairdo. ^^
Photo from Saki Takaoka’s blog

[pechumori]

OFFICIAL STILLS OF EP. 6 OF "TENNO NO RYORIBAN"
from the official gallery
credit: takeruzone via takerubabe321 tumblr

[pechumori]

Tenno no Ryoriban Shooting Report

May 31st, 2015 (Sunday)

Tokuzo Finally Goes To Paris!

Finally … Tokuzo-san goes to Paris!!

His brother Shutaro says his only dream is that Tokuzo will become the best cook in the Empire of Japan. It is not too much to say that his wish enabled Tokuzo-san to go to Paris.
The brothers who didn’t abandon their elder or younger brother, who couldn’t be said to be well behaved by any standard, Toshiko-san, who believed him, and Usami-san, as well … the sixth episode was filled with the love from all of them.
Dream can’t come true alone, nor can it over night.
This episode embodied these words.

We might be too persistent, but next week Paris arc will start.
He will face a path of greater resistance than ever.
Till the end … please follow Tokuzo-san!

As we had said in the shooting report before the show started,
the secret theme of the episode #6 was … curry. (WEB staffs think so without permission)
From French curry to ordinary curry.

In the scene where he met Usami-san again,
he was scolded for how he faced his dishes.
He was full of excuses … in the end Usami-san couldn’t stand his words that insulted his customers.

From the position to the distance of the two,
it may appear they’re moving aimlessly, but talking with Director, saying,
‘I want to make it look as if I cut coldly through’, they decided how to move.

credit: stephany-310.tumblr.com

[pechumori]

The viewership rating for Episode 6 of “Emperor’s Cook” which was aired yesterday May 31, 2015 was 14.1 % based on the Video Research survey, Kanto region. It slightly declined as compared to last episode’s rating which was 14.5%.

The ratings for each episode is as follows:

Episode 1 (4/26): 15.1%
Episode 2 (5/03): 11.4%
Episode 3 (5/10): 12.0%
Episode 4 (5/17): 12.7%
Episode 5 (5/24): 14.5%
Episode 6 (5/31): 14.1%

credit: http://tvmeter.blog.fc2.com/blog-entry-5027.html

Hope they recover in Ep. 7 where Tokuzo’s training in Paris will be shown.

[pechumori]

Trailer for Ep. 7 of "Tenno No Ryoriban"
credit: TBS

 

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Screen caps from the trailer of Ep. 7
credit: miyuki0210 via takerubabe321 tumblr

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“Tenno No Ryoriban” (Emperor’s Cook) location sites and BTS photos (set 1)
credit: http://kankou-kurashiki.jp/about/topics/001785.html

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“Tenno No Ryoriban” (Emperor’s Cook) location sites and BTS photos (set 2)
credit: http://kankou-kurashiki.jp/about/topics/001785.html