Ninomiya Kazunari's "It" (More), January 2012
Transcription and translation by me. Please credit if using!
You can find the scan/translation index for this column here.
第３７回：受信と発信
37: Input and Output
昨年の冬からよく来ていた茶の革ジャンに着なれたTシャツ、数年来、持ち続けている小さめの白いバッグ。思いのほか短く切った髪の毛以外、私服になるといつもの彼の装いだ。
The brown leather jacket he's worn since last winter, with a t-shirt he's always in and a small white bag he's been carrying for years. Besides his hair that he's cut shorter than expected, this is what he always wears when he's in his own clothes.
「物持ちがいいんだよね。ゲームとかCDとか、一部のモノを除けば、人よりも欲しいものも少ないし。何かを必要だと思うタイミングも遅い。その結果、少ないモノを使い込んでいる。それをケチとも言うんだろうけど（笑）。秋冬の服なんて、今年は一枚も買ってないんじゃない？」
"I keep things for a long time. Things like video games, CDs, aside from one category of things, I have fewer wants than most people. My timing for thinking that I need something is also slow. As a result, I stick to using a small number of things. Though some people call that stingy (laugh). And like my fall and winter clothes... I don't even think I've bought one new item this year."
最近、買ったものを尋ねると「ソファ」という答えが返ってきた。
When we asked what he's bought recently, he answered "a sofa".
「前のソファをノリで友達にあげちゃったんだよね。ある晩、みんなで飲んでたら、『引っ越してソファが欲しいけど、家が狭い』っていうヤツがいたから、『オレのソファをあげる』って。大きなソファだから、そいつの家がパンパンになって笑えるかなって思ったの（笑）。ほんの冗談のつもりで、勢いでレンタカー借りて、翌朝、みんなで届けにいったら、想像以上にデカい家でキレイにソファが収まってて、普通のプレゼントになっちゃった（笑）」
"I accidentally gave my old sofa to a friend. One night, we were all drinking, and there was a guy who said, 'I'm moving and I want a sofa, but my place is small,' and I said, 'I'll give you my sofa.' It's a big sofa, so I thought we could all laugh about his jam-packed house (laugh). Even though I only meant it as a joke, we went on to borrow a rental car, and the next morning, we all drove it over together. His house was bigger than I imagined, so the sofa fit in nicely, and it ended up being a present (laugh)."
欲しいものがあったら即座に大胆に買う。けれど、欲しくないものや必要ないものは基本的に買わない。物欲は薄いけれど、持ちものは大事にする。お金とモノへのスタンスにも、ニノらしさはにじみ出ている。
If there's something he wants, he boldly and immediately buys it. But he generally doesn't buy things he doesn't want or need. He has little desire for material things, but the things he does have he takes good care of. Even in his stance on money and items, he exudes Ninoness.
「金銭感覚はしっかりしてるけど、“お金”について真剣に考えたことがあるかは、怪しいな。オレね、自分がいくら稼いでるか、正直、詳しく知らないんだよ。管理は全部、親に任せてるから。あんまりお金のことを知りたくない、考えたくないんだと思う。お金って危険なものになり得るでしょ？生まれつきのお坊ちゃんやお嬢様なら、お金を持っても“人がいい”ままだけど、普通の人が大金をつかんだりすると、変わってしまう可能性が高い。一度、つかんだお金は手放したくなくなるし、もっと増やそうと欲張りになったりもする。そこから、ものごとのとらえ方も変わっちゃうかもしれない」
"I have a strong sense of money, but whether or not I've seriously thought about 'money' is unclear. I honestly don't know exactly how much I earn. I leave that management up to my mother. I don't think I want to know or think about money that much. Money can become dangerous, right? If it's a young master or lady who's born into money, they can be good people even if they have money, but if a regular person gets a lot of money, the chances that they'll change from it is high. The money you get you won't want to let go of, and you'll get greedy about wanting more. And then the way you treat things will change, too.
“欲しいもの”をつくるのは種類が増えるから面白い
Creating "something people want" is interesting because the variety increases.
“お金”がなければ、生きることは難しい。だから、人はお金を稼ぐことに必死になる。しかしそれが、恋愛や仕事や人生を、時に複雑に、難しくしてしまうこともある。
If you don't have money, it's difficult to survive. That's why people are desperate to earn money. But that ends up making love, work, and life difficult, sometimes complicatedly so.
「特に“仕事”と“お金”のバランスは難しいだろうね。この仕事もそう。ヒット作を生んで、お金を稼いだ人の中には、お金に執着が生まれて、次も売れるものをつくろうとする人もいるし、実際に作れるだろうしね。でも、“みんなが欲しいもの”と“いいもの”は、必ずしも一致しないから難しいんだよね。そこのバランスをどうとるかは人それぞれ、どこに情熱があるかだと思う。オレは、“みんなが欲しいもの”を発信しながら、“いいもの”を受信したいタイプ。オレの言う“いいもの”は、主観の好みというより、質のいいもののこと。たとえば今なら、日曜劇場とか。ほんと、すごいよね。どの瞬間も主役級の俳優さんが何人も画面に映っていて、毎回、最終回みたいに豪華なつくりで。ああいうめったにつくられないドラマは、リアルタイムで観ておかないとなって思う。これからのドラマの可能性も感じるし、それで視聴率も高いってすごいでしょ。“いいもの”に限って、時間がたたないとホントの価値が認められないことも多いからさ。そこが一致するっていうのは、まれだし、素晴らしいなぁって」
"The balance between work and money is especially difficult. It's the same for this job, too. If someone makes a hit number, among those who earn money, there's going to be someone who clings to the money and tries to make the next one a big seller, too, but can they really make that happen? But it's tough because 'something everyone wants' and 'something good' don't necessarily match up. The way to find that balance changes per person, based on where they're passionate. I'm the type of person who wants 'something good' as input even as my output is 'something everyone wants'. What I think of as 'something good' is more than subjective preference, but rather something of good quality. For example, Nichiyou Gekijou* nowadays. It's really incredible. Whatever moment it is, there's always a few leading role-level actors on screen at the same time, and every time it's like a series finale with how extravagant the production is. I feel like I need to watch dramas that are so rarely produced like that in real time. You feel the possibilities for future dramas, and the fact that the ratings are high is also amazing. For 'good things', there are many times when you won't understand something's true worth until a lot of time has passed. The fact that they can get it to happen at the same time is rare and splendid."
「オレはまず、“みんなの欲しいもの”を発信したい」とニノ。それはお金のためだとは意識していない。
Nino says, "I first and foremost want to put out 'something everyone wants'." He isn't conscious of doing it for money.
「この仕事をしている以上、“欲しいもの”を発信しなければ生活できないのも事実だけど、それだけがモチベーションじゃない。単純に面白いんだよ。“みんなの欲しいもの”という視点に立つと、嵐のためにつくる曲と自分のためにつくる曲は、方法も色も全然違ってくるからね。番組だってそう。各テレビ局で観たい嵐に応えるからこそ、種類も増える。“質のいい嵐”だけを追求しようとすると、どこで観ても似た嵐になっちゅでしょ。嵐は全員、そこの価値観とスタンスは近いと思う。選ばずに、与えられた仕事をやってきたから、あらゆるニーズに応えられる。“いいもの”と“欲しいもの”の両方を理解しながら、その時々、必要なバランスで対応できるんだ」
"It's true that while I'm doing this job, I can't make a living if I don't put out 'things people want', but that's not the only motivation. It's straight-forwardly interesting. Looking from the perspective of 'something everyone wants', the songs we make for Arashi and the songs I make for myself change in method and feel. It's the same for shows. Precisely because we're responding to what each station wants out of us, the variety increases. If we try to just pursue a 'high-quality Arashi', we end up looking similar no matter where you're seeing us. I think all of us members are similar in our stance and values on that. Up till now, we've done the job given to us without choosing, so we can respond to every need. And understanding both 'good things' and 'things people want', when the time comes, we can deal with things with the necessary balance."
“お金”に縛られず、お金がもたらす意味を仕事に生かせる人なのだ。
Without being tied down by "money", he's a person who can capitalize on the significance of bringing in money in his work.
「“欲しいもの”を発信して生活できてる。それで、みんなに喜んでもらえるのが、いちばんうれしいんだよね」
"I make a living putting out 'things people want'. The fact that people are delighted by it is what makes me happiest."
+
Kazunari Ninomiya
１９８３年６月１７日、東京都生まれ。今月号は、大野くんの１万字インタビューも掲載。「大野くんが、ニノと自分は似てるって言ってたよ」と告げると（詳しくは２３２ページ）、「まぁ、似てるよね」とニノ。「空気とかノリでしょ？ただ、嵐ってみんなどこか似てると思うよ。あえて、いちばん似てる人を挙げるならリーダーだろうけどさ」とニヤリ。何気ない言葉の中にも、メンバー愛があふれていました
Born on June 17, 1983 in Tokyo. In this week's issue, a 10,000-character interview with Ohno-kun is also published. When we reveal, "Ohno-kun said that he and Nino are similar," (details on page 232), "Yeah, we are similar," Nino says. "With our atmosphere and mood, right? But I think all of Arashi are similar in some ways. It's just that if I were to say who's most similar, it'd be Leader," he says with a grin. Even within casual words, he's brimming with member love.
---
* Nichiyou Gekijou is the Sunday evening drama timeslot on TBS that's been a major timeslot since the 1950s. Recent Nichiyou Gekijou dramas include Tonbi starring Sato Takeru, MONSTERS starring Katori Shingo and Yamapi, and ATARU starring Nakai.
You can find the scan/translation index for this column here.
第３７回：受信と発信
37: Input and Output
昨年の冬からよく来ていた茶の革ジャンに着なれたTシャツ、数年来、持ち続けている小さめの白いバッグ。思いのほか短く切った髪の毛以外、私服になるといつもの彼の装いだ。
The brown leather jacket he's worn since last winter, with a t-shirt he's always in and a small white bag he's been carrying for years. Besides his hair that he's cut shorter than expected, this is what he always wears when he's in his own clothes.
「物持ちがいいんだよね。ゲームとかCDとか、一部のモノを除けば、人よりも欲しいものも少ないし。何かを必要だと思うタイミングも遅い。その結果、少ないモノを使い込んでいる。それをケチとも言うんだろうけど（笑）。秋冬の服なんて、今年は一枚も買ってないんじゃない？」
"I keep things for a long time. Things like video games, CDs, aside from one category of things, I have fewer wants than most people. My timing for thinking that I need something is also slow. As a result, I stick to using a small number of things. Though some people call that stingy (laugh). And like my fall and winter clothes... I don't even think I've bought one new item this year."
最近、買ったものを尋ねると「ソファ」という答えが返ってきた。
When we asked what he's bought recently, he answered "a sofa".
「前のソファをノリで友達にあげちゃったんだよね。ある晩、みんなで飲んでたら、『引っ越してソファが欲しいけど、家が狭い』っていうヤツがいたから、『オレのソファをあげる』って。大きなソファだから、そいつの家がパンパンになって笑えるかなって思ったの（笑）。ほんの冗談のつもりで、勢いでレンタカー借りて、翌朝、みんなで届けにいったら、想像以上にデカい家でキレイにソファが収まってて、普通のプレゼントになっちゃった（笑）」
"I accidentally gave my old sofa to a friend. One night, we were all drinking, and there was a guy who said, 'I'm moving and I want a sofa, but my place is small,' and I said, 'I'll give you my sofa.' It's a big sofa, so I thought we could all laugh about his jam-packed house (laugh). Even though I only meant it as a joke, we went on to borrow a rental car, and the next morning, we all drove it over together. His house was bigger than I imagined, so the sofa fit in nicely, and it ended up being a present (laugh)."
欲しいものがあったら即座に大胆に買う。けれど、欲しくないものや必要ないものは基本的に買わない。物欲は薄いけれど、持ちものは大事にする。お金とモノへのスタンスにも、ニノらしさはにじみ出ている。
If there's something he wants, he boldly and immediately buys it. But he generally doesn't buy things he doesn't want or need. He has little desire for material things, but the things he does have he takes good care of. Even in his stance on money and items, he exudes Ninoness.
「金銭感覚はしっかりしてるけど、“お金”について真剣に考えたことがあるかは、怪しいな。オレね、自分がいくら稼いでるか、正直、詳しく知らないんだよ。管理は全部、親に任せてるから。あんまりお金のことを知りたくない、考えたくないんだと思う。お金って危険なものになり得るでしょ？生まれつきのお坊ちゃんやお嬢様なら、お金を持っても“人がいい”ままだけど、普通の人が大金をつかんだりすると、変わってしまう可能性が高い。一度、つかんだお金は手放したくなくなるし、もっと増やそうと欲張りになったりもする。そこから、ものごとのとらえ方も変わっちゃうかもしれない」
"I have a strong sense of money, but whether or not I've seriously thought about 'money' is unclear. I honestly don't know exactly how much I earn. I leave that management up to my mother. I don't think I want to know or think about money that much. Money can become dangerous, right? If it's a young master or lady who's born into money, they can be good people even if they have money, but if a regular person gets a lot of money, the chances that they'll change from it is high. The money you get you won't want to let go of, and you'll get greedy about wanting more. And then the way you treat things will change, too.
“欲しいもの”をつくるのは種類が増えるから面白い
Creating "something people want" is interesting because the variety increases.
“お金”がなければ、生きることは難しい。だから、人はお金を稼ぐことに必死になる。しかしそれが、恋愛や仕事や人生を、時に複雑に、難しくしてしまうこともある。
If you don't have money, it's difficult to survive. That's why people are desperate to earn money. But that ends up making love, work, and life difficult, sometimes complicatedly so.
「特に“仕事”と“お金”のバランスは難しいだろうね。この仕事もそう。ヒット作を生んで、お金を稼いだ人の中には、お金に執着が生まれて、次も売れるものをつくろうとする人もいるし、実際に作れるだろうしね。でも、“みんなが欲しいもの”と“いいもの”は、必ずしも一致しないから難しいんだよね。そこのバランスをどうとるかは人それぞれ、どこに情熱があるかだと思う。オレは、“みんなが欲しいもの”を発信しながら、“いいもの”を受信したいタイプ。オレの言う“いいもの”は、主観の好みというより、質のいいもののこと。たとえば今なら、日曜劇場とか。ほんと、すごいよね。どの瞬間も主役級の俳優さんが何人も画面に映っていて、毎回、最終回みたいに豪華なつくりで。ああいうめったにつくられないドラマは、リアルタイムで観ておかないとなって思う。これからのドラマの可能性も感じるし、それで視聴率も高いってすごいでしょ。“いいもの”に限って、時間がたたないとホントの価値が認められないことも多いからさ。そこが一致するっていうのは、まれだし、素晴らしいなぁって」
"The balance between work and money is especially difficult. It's the same for this job, too. If someone makes a hit number, among those who earn money, there's going to be someone who clings to the money and tries to make the next one a big seller, too, but can they really make that happen? But it's tough because 'something everyone wants' and 'something good' don't necessarily match up. The way to find that balance changes per person, based on where they're passionate. I'm the type of person who wants 'something good' as input even as my output is 'something everyone wants'. What I think of as 'something good' is more than subjective preference, but rather something of good quality. For example, Nichiyou Gekijou* nowadays. It's really incredible. Whatever moment it is, there's always a few leading role-level actors on screen at the same time, and every time it's like a series finale with how extravagant the production is. I feel like I need to watch dramas that are so rarely produced like that in real time. You feel the possibilities for future dramas, and the fact that the ratings are high is also amazing. For 'good things', there are many times when you won't understand something's true worth until a lot of time has passed. The fact that they can get it to happen at the same time is rare and splendid."
「オレはまず、“みんなの欲しいもの”を発信したい」とニノ。それはお金のためだとは意識していない。
Nino says, "I first and foremost want to put out 'something everyone wants'." He isn't conscious of doing it for money.
「この仕事をしている以上、“欲しいもの”を発信しなければ生活できないのも事実だけど、それだけがモチベーションじゃない。単純に面白いんだよ。“みんなの欲しいもの”という視点に立つと、嵐のためにつくる曲と自分のためにつくる曲は、方法も色も全然違ってくるからね。番組だってそう。各テレビ局で観たい嵐に応えるからこそ、種類も増える。“質のいい嵐”だけを追求しようとすると、どこで観ても似た嵐になっちゅでしょ。嵐は全員、そこの価値観とスタンスは近いと思う。選ばずに、与えられた仕事をやってきたから、あらゆるニーズに応えられる。“いいもの”と“欲しいもの”の両方を理解しながら、その時々、必要なバランスで対応できるんだ」
"It's true that while I'm doing this job, I can't make a living if I don't put out 'things people want', but that's not the only motivation. It's straight-forwardly interesting. Looking from the perspective of 'something everyone wants', the songs we make for Arashi and the songs I make for myself change in method and feel. It's the same for shows. Precisely because we're responding to what each station wants out of us, the variety increases. If we try to just pursue a 'high-quality Arashi', we end up looking similar no matter where you're seeing us. I think all of us members are similar in our stance and values on that. Up till now, we've done the job given to us without choosing, so we can respond to every need. And understanding both 'good things' and 'things people want', when the time comes, we can deal with things with the necessary balance."
“お金”に縛られず、お金がもたらす意味を仕事に生かせる人なのだ。
Without being tied down by "money", he's a person who can capitalize on the significance of bringing in money in his work.
「“欲しいもの”を発信して生活できてる。それで、みんなに喜んでもらえるのが、いちばんうれしいんだよね」
"I make a living putting out 'things people want'. The fact that people are delighted by it is what makes me happiest."
+
Kazunari Ninomiya
１９８３年６月１７日、東京都生まれ。今月号は、大野くんの１万字インタビューも掲載。「大野くんが、ニノと自分は似てるって言ってたよ」と告げると（詳しくは２３２ページ）、「まぁ、似てるよね」とニノ。「空気とかノリでしょ？ただ、嵐ってみんなどこか似てると思うよ。あえて、いちばん似てる人を挙げるならリーダーだろうけどさ」とニヤリ。何気ない言葉の中にも、メンバー愛があふれていました
Born on June 17, 1983 in Tokyo. In this week's issue, a 10,000-character interview with Ohno-kun is also published. When we reveal, "Ohno-kun said that he and Nino are similar," (details on page 232), "Yeah, we are similar," Nino says. "With our atmosphere and mood, right? But I think all of Arashi are similar in some ways. It's just that if I were to say who's most similar, it'd be Leader," he says with a grin. Even within casual words, he's brimming with member love.
---
* Nichiyou Gekijou is the Sunday evening drama timeslot on TBS that's been a major timeslot since the 1950s. Recent Nichiyou Gekijou dramas include Tonbi starring Sato Takeru, MONSTERS starring Katori Shingo and Yamapi, and ATARU starring Nakai.