I wish I could make gifs because I would love a side by side of Machida's physicality between 10Dance and Sins of Kujo.
He obviously worked his ass off to learn to carry himself like a ballroom dancer for 10Dance, and to be light and graceful in his movements (and I would say he appears to naturally be more of a light footed person).
But in Sins of Kujo he's full thug. There was one scene in a later episode when he's walking up a few steps, and it's a full shot because it's panned out to show the scene behind him. It really did strike me how heavy his steps were without being stompy, just weighted. Which was a huge contrast to 10Dance, and most everything else I've seen him in before.
He's tall, I know, and he did bulk up a little bit for the role, but he still seemed so large by comparison. The physicality of what he was doing, the space he was taking up and projecting, it was so interesting.
I have no point to this except that it's really great to see him being able to come into his own as an actor.
The thing with 10Dance is that, behind all the story, great acting from both main actors (especially Sugiki's, my gosh that micro expressions...), the esthetic, the musics, etc...
Being absolutely emotionally distraught with how REAPER AND ANGEL track is first used in the scene where they come together in the train and then later on when they break apart in Blackpool.
In the first scene, you see Sugiki first decided to chase after Suzuki. While in the second, Sugiki was breaking it to Suzuki that they could not be together.
When Sugiki found Suzuki in the train and tell him no and he'd stop, at the same time, Sugiki left, closed the door and left Suzuki alone.
In the train while they were kissing and dancing, not being able to be apart for too long, the morning after in the hotel room, Suzuki was left alone with only the pieces of his broken heart at his feet.
At the end, Sugiki and Suzuki were together in the train, while in the hotel room, Suzuki was only accompanied by his own reflection.
It's the Reaper who decided to find the Angel first, but it's also the Reaper who left the Angel alone.
Play these two scenes at the same time and you will see that aside from the couple of seconds difference in the middle, each shot in one scene tells you the opposite of what's happening in the other. Just like the title of the track, REAPER and ANGEL, two opposing entities.
The use of this track for both scene is absolutely a genius move and I would like to kiss the music director or whoever decided to score the scenes this way right on the mouth.
Ok while editing my video, I realised how differently/uniquely Sugiki dances with each of his partners during the waltz.
With Fusako, he is precise, technically perfect, yet emotionally distant. He comes across as controlled, almost dominating.
With Liana, omg sorry Suzuki but their dance was simply beautiful! They looked like they were in love, honestly. Yup they fooled us all. No wonder Suzuki’s heart broke when he saw them together like that.
With Suzuki, the final dance! Sugiki stops chasing perfection and simply lives in the moment. He is happy! Happy just doing what he loves the most, which is dancing with Suzuki. You can see it in the way he keeps beaming at Suzuki, as if he’s showing the world, Look, this is my Suzuki. Like a proud husband. That, my friends, is pure love.
Oh I need to talk abt how much i love this moment in the beginning of the last 10dance sequence, when the colour is in cool blue at first, then changes to warm yellow when Suzuki smiles at Sugiki. Reminding you once again that yes, Suzuki is the light that warm Sugiki's life.
No matter how many times I rewatch this bit, the colour change always bodies me with how it pairs up so well with the first time Sugiki first saw Suzuki, bathed in such blinding light. 🥹
barely coherent rant about 10dance and it's obsession with storytelling through clothes.
right off the bat you are slapped in the face with these two scenes, cementing early on the overall personality of the shinyas. where sugiki is suffocating himself and his partner behind their perfect facade, suzuki is perfectly at home in an unbuttoned shirt (you're going to see lots of those, btw).
during their first 'interaction', suzuki is the one initially wearing a turtleneck. and this is about the only time you see him wearing one during a performance, perhaps indicative of his unwillingness to give his all while dancing, hence why he has that specific outfit on as he denies sugiki's request at first as well. but then, once he changes into his usual outfit, he agrees to walk toe to toe with sugiki. we see that sugiki is now the one sporting a turtleneck, and in my opinion it indicates that though sugiki approached suzuki, he's still very much on guard and eager to use this relationship for professional gain only. not to mention, suzuki explicitly asks whether sugiki will run away without fully investing in their deal.
sugiki hardly changes his practice attire. always the same suffocating prim & proper clothes. suzuki, though? changes quick as lightning. take this for example :
he starts off with a loose buttoned up shirt as he enters this new atmosphere, which comes off entirely once he's in HIS element, and comes back on when they're back to practicing ballroom (though this time it stays unbuttoned as he eases into it).
hah, the most sugiki will let you see is an open collar apparently. also, rare suzuki in turtleneck sighting! why, you ask? because he's adamantly refusing to look at their practice through the eyes of the 'female' position. aaaand would you look at that, once he does, he's back to being half naked in the immediate next shot.
sugiki has his defences high as per usual, but suzuki is on edge too. the completely buttoned up ('neat') look in a place where he's being schooled versus the immediate change once he's in his comfort zone™. no changes in sugiki, though, unfortunately.
once again, an open outfit for suzuki as he explains how he can feel all these emotions while partnered up with sugiki, as he picks up a call from the person in question and asks him to "come back soon", in sharp contrast with sugiki's professional facade in place yet again.
okay, lots of quick and fascinating changes here. so, suzuki shows up with his classic loose shirt, switches to a more covered but still somewhat open one, switches AGAIN to a turtleneck while he's quite literally frowning at their interlocked hands (a denial of feelings?), and then he's back to a mostly open top as he and sugiki have a serious conversation. sugiki, once again, stays in his same old outfit.
and just as i say that sugiki hits me with the open collar while they....do whatever bizzare intimate dancing ritual they're upto this time. the open collar that, in the next scene, is back to usual when he dances with aki. suzuki, interestingly enough, has a turtleneck in both scenes. more denial? jealousy? much to consider. he goes back to the usual though, once he messes up again, but is open to actually asking aki how he can improve this time.
a jacket that's partially zipped up as suzuki sort of reluctantly goes over to sugiki, who's our 'quick changer' of the night. he starts off with that scarf (?) wrapped quite securely around him, which he then sheds as he divulges what he did to fusako, and then he's wearing it again, except this time it's not as tightly wrapped because he's putting some small amount of trust in suzuki by asking him not to mention this incident again. but it's so lame, and once that hits him, what does he do? he throws it away. he sheds his fucking armor before he kisses suzuki. before he tells suzuki that he's always admired him.
welp. we're back at it again.
suzuki has not only ditched the turtleneck in his performance, his outfit is deliberately MORE exposed. not to mention similar enough that it gives sugiki flashbacks to the first time he saw suzuki, that same 'spark', so to speak. sugiki's wearing the expected turtleneck in the flashback but once he sees suzuki, he pulls at it. his facade is, quite literally, choking him. killing him.
this time it's really done for. suzuki laid himself bare in front of sugiki, and it was not returned. here's what i love most though :
he doesn't hide. he doesn't stuff it back inside. the clothes stay loose. this is the difference, i think, that is highlighted beautifully. the point of this post, if you will. sugiki never FULLY opens up. even when he sheds those turtlenecks or scarves he still has his uptight formal clothes as a shield. on the opposite end, once suzuki is over denying things, he will never pick that shield up again. he'll stay vulnerable, and there's so much strength in that.
this difference is also the reason why the final scene hits so hard for me, because we don't see sugiki talk to suzuki beforehand. he meets him as the 'facade', straight on the battleground, and he forces his own perfect image to bend to his own will. he's still sugiki, still competitive, but he can't fully go back to how he was before. not anymore.
Sugiki needs to be in control at all times, both professionally and personally and he has only one goal in life, to be number 1 on the world stage. He never allows himself to be vulnerable. To the outside world, he appears calm, self assured, confident, but beneath that surface he is riddled with doubt and anxiety. His insecurities remain carefully hidden. Even though he has been in a relationship before, he has no idea how to love another person. He keeps everyone at a distance. It is hard to understand him because we are not fully aware of the turmoil inside his head as the movie is not told from his perspective.
Unbeknownst to Suzuki, he crashes into Sugiki’s life when Sugiki is at his lowest and becomes his source of inspiration.
The two Shinyas could not be more different. Suzuki is everything Sugiki is not, and he may not realise this but Suzuki is everything he desperately needs.
When Sugiki loses to Giulio once again, of course he is disappointed and frustrated. Yet when he goes to see Suzuki that night, he hides it all behind a mask of indifference, pretending he is not affected by it. This is why Suzuki loses his cool and begs Sugiki to be honest with himself. But sadly, Sugiki is not ready to do this yet.
Indeed, two bodies have become a single soul! Suzuki loves this man so fiercely that he feels Sugiki’s visceral pain. He wants to protect him, to fight for him, to stand between him and the cruel world that keeps wounding him. He wants Sugiki to know that it is okay to lash out and vent his anger and frustration. More than anything, Suzuki wants him to be free from this longstanding silent suffering he has carried alone for so long.
Despite being the Japanese champion in Latin dance, Suzuki Shinya hesitates to step onto the world stage. Having had almost zero dance experience, playing him was an unprecedented challenge for Takeuchi Ryoma-san, who said, "It required tremendous resolve."
Takeuchi: I really wondered if I could overcome the high hurdle of ballroom dance by confronting it directly. It took some time to sort through my feelings and consider my body before I could come to a decision. Once I made up my mind, all I could do was give it my all. Since I had already been cast as Suzuki, it made me happy when it was decided that Machida-kun would play Sugiki. I thought this was a production we wouldn't be able to overcome unless both of us were truly prepared, but I felt that Machida-kun was a trustworthy person when we worked together in the past, so I was completely at ease. And it wasn't just him, but also Director Otomo and all of the teachers who taught us dance, shared an unspoken understanding even before filming began that, "Even if there are risks involved, let's challenge ourselves to embark on a journey that overcomes incredibly high hurdles," and I feel that this contributed to the success of this film.
When asked about his thoughts on trying out dancing, he had a smile on his face as he said, "……It felt like I had Latin blood running through my veins."
Takeuchi: Even though that was just a joke (laughs), when I read the original manga, I just had a feeling that I'd be playing Suzuki, and that intuition turned out to be correct. I was able to get through the dance scenes because I trusted my teachers 100%. To overcome such a short training period, one where it'd normally be difficult to even grasp the basics of competitive dance, it was necessary for me and my teachers to trust each other and take on the challenge together. Before we went into filming, I went to watch a ballroom dance competition and was overwhelmed by how incredibly cool it was, so it was really great that I ended up loving it. It's also become something very near and dear to me.
Takeuchi-san was also supported by the presence of his costars.
Takeuchi: My partner Doi Shiori-chan learned the dance quickly since she used to do ballet, all while I was right beside her, on the verge of tears and struggling through it (laughs). Including Machida-kun and his partner Ishii-san, we all practiced together every day during the filming period, so it felt like we were family. Dance conveys more than words ever could, and we became incredibly close during that short period of time. I think that great atmosphere really shined through in the film as well.
Takeuchi-san thinks that Suzuki and Sugiki were so intensely drawn to each other because they're unique individuals who understand each other very well.
Takeuchi: Those who stand on the world stage are on a certain level, where they possess a sense of conviction, authenticity, and artistic spirit, and because of that, I think that there are times when other people just don't understand them. Through these circumstances, Suzuki and Sugiki have a fateful encounter, teach each other to dance, and as they exchange energy by touching each other's bodies, they come to realize that the one standing in front of them accepts and understands them for who they truly are. That's why I think they felt compelled to open themselves up and take a chance. I believe that 10Dance is a film that beautifully portrays emotions that can't be put into words and things beyond human control, like the desires inherent in people, through the world of competitive dance. This film is filled with both Suzuki and Sugiki's energy and love, so I hope you'll enjoy it. And, I also hope that the competitive dances we took on, including Latin dance and standard dance, will become more widespread. Watching competitive ballroom dancing made me realize all over again that people live by relying on others. I believe it conveys that beautiful things are born in moments where people respect and help each other out, so I hope you'll watch it.
Machida Keita
Machida Keita-san plays Sugiki Shinya, the Japanese champion in the standard (ballroom dance) division and holder of the world's second best record. Despite having dance experience, he revealed that it took him a considerable amount of time before he decided to accept the role.
Machida: I have quite abit of passion when it comes to dance, and I seriously struggled over whether to accept the offer or not. Still, I've always wanted to work with Director Otomo, and I felt an incredible amount of energy coming from him when we met. And then, seeing Takeuchi-kun, who had zero dance experience, taking on the challenge inspired me to do it for myself too. Not only is Takeuchi-kun well built, but he's also very athletic, and is the kind of person who's always in a super good mood (laughs). My vision for the role kept expanding, and I was really looking forward to working together with him.
Filming the dance was as difficult as he had imagined.
Machida: Including 10Dance's original story, I've always enjoyed reading manga centered around ballroom dancing, such as "Welcome to the Ballroom." That's why I had my own impression of competitive dance, but once I had to face it, I realized it was something with a long history that also involved sport elements, so it's incredibly difficult. When I actually started dancing, I thought, "This is impossible." I had to become the dancer known as the "Emperor," someone who could perform on the world stage, within a three month training period. However, I thought I probably wouldn't take on the role of a dancer again after this production ended, so I tackled it with the intention of giving it my all. First, the standard dances I performed had fairly fixed forms in terms of footwork, movement, and technique. Also, unlike with Latin dance, where the two dancers are occasionally separated, you need to constantly stick close to your partner and dance in perfect time. Up until now, I've mostly danced alone to styles like hip hop, so in that regard too, it felt like the difficulty level was extremely high.
For his role as Sugiki, he says, "There are many parts of him that I can relate to, and he's an incredibly lovely character."
Machida: He's someone who has the tendency to seriously suppress himself, all while holding in the desire to free himself and do as he pleases. In his pursuit of perfection, you may find yourself understanding many aspects about him, including the pain of being at your breaking point, and that side of him that makes those around him feel nervous. It wasn't nearly as much as Sugiki, but during the time I was practicing as him, I think I was considerably on edge (laughs).
How did Machida-san analyze the reason why Suzuki and Sugiki were drawn to each other?
Machida: While there are aspects like their backgrounds and personalities that are completely different, there are also similarities between them, such as their intense passion and love for dance, underlying spirit, and being first class performers. Isn't it exactly because they possess contrasting qualities that they're drawn to each other? There's a scene where Sugiki tells Suzuki, "You're the one I admire," and I truly believe that he meant it. Watching how Suzuki lives freely and does as he pleases, Sugiki probably finds some salvation in it, as he's living life in a completely different direction from him. I believe that they both feel a deep connection for each other, where they're drawn to each other not only as dancers, but also as individuals. This film depicts a variety of elements such as dance and love, but I felt that the story, where the idea that encountering and interacting with someone who helps you grow allows you to discover your true self, was incredibly beautiful. It's necessary to maintain a proper sense of distance, but I also think it's a good thing to show respect and interact with others at a closer distance, like with hand shaking. When this production finally got underway, Takeuchi-kun shook hands with all of the cast members, which gave me a sense of reassurance, and the distance between us closed considerably. And, if those who watch this film think, "Ballroom dancing is cool," then nothing else would make me happier.
Machida Keita x Takeuchi Ryoma
In 10Dance, Takeuchi Ryoma-san and Machida Keita-san costar together for the first time in about eight years. We asked the pair, who deepened their bond by overcoming grueling dance rehearsals and filming sessions, about their memories from the shoot and what they find appealing about each other.
"Please tell us what Takeuchi-san finds appealing about Sugiki, and what Machida-san finds appealing about Suzuki."
Machida: Suzuki is the free and wild type. While he has a presence that shines like the sun itself, you can also see aspects of him suppressing his true self. That kind of gap is appealing, and I think it's something that only came through because Takeuchi-kun played the role.
Takeuchi: Sugiki is reflected in Machida-kun's personality. That being his thoughtful communication, and his meticulousness when it came to approaching dance and the production. I think that sense of tidiness that comes from those aspects is really reflected in Sugiki. What's more, when we danced together, I could feel the passion and energy hidden within him. That balance is sexy, and I think that must be what brought out Sugiki's charm.
Machida: There's a scene where Sugiki says Suzuki's lead is "unpleasant," but personally, I didn't find it unpleasant at all (laughs). His lead was surprisingly gentle and delicate.
Takeuchi: (laughs). On the flip side, the precision in Machida-kun's hold was powerful, and it made me feel like I was being dominated. Him being stronger than me is how it should be.
"Was there anything that left an impression on you from the time you spent on set?"
Takeuchi: We were constantly doing dance practices for long hours, and filming was just an extension of that, so even during the actual shoot, it still felt like we were in the middle of an intense practice. Suzuki and Sugiki are in competition with each other, but they're helping each other. That feeling was great.
Machida: We took on each and every film session fighting like hell, right? After we'd finish each dance, we received feedback from the teachers, where it felt like we were competing in a dance competition and being judged. Based on the outcome I'd think, "What should I do next?," and then dance again…over and over again. Still, every time we'd dance through the whole routine, our connection improved, and the things I understood kept increasing in an interesting way. I think it was similar to the film's story, where they both inspire each other and aim higher. At any rate, it was the first time I'd ever experienced sensing a "smell" while watching a preview screening.
Takeuchi: When I danced with Machida-kun, I could feel this incredibly strong energy emanating from us, so maybe that's what you perceived as a scent.
Machida: Still, Takeuchi-kun is truly amazing. I was shocked by his moves, as you would've never guessed that he had almost zero dance experience. Everyone on set was impressed with him too.
Takeuchi: No, no, isn't Machida-kun the amazing one? Right at the beginning, there's a scene where Sugiki moves slowly like he's doing Tai Chi at his dance school, but since I'm so restless, there's no way I could ever move like that (laughs).
"You also filmed at the holy land of ballroom dancing, that being in Blackpool, England."
Takeuchi: It was amazing, wasn't it? Just thinking about dancing in a place like that feels like a dream.
Machida: It's a place rich in history, with the floor stained in the dancers sweat and the creaking sounds they made. There was so much energy, that I felt like I was receiving it from the place itself. We practiced in Blackpool too, and we learned so many new things that our teachers told us, "You've improved significantly." It felt almost miraculous.
Takeuchi: We kept practicing and improving, but sometimes we'd hit a wall, and then there'd be that moment where we'd suddenly break through and make progress, right? Still, since we never knew when that breakthrough moment would come, there were times where we felt incredibly drained.
Machida: That was exactly it, like how after we arrived in Blackpool, Takeuchi-kun was feeling pretty overwhelmed and went for a run along the seashore, or so I heard (laughs).
Takeuchi: Right, right, right (laughs).
Machida: When someone showed me a video they had taken, he was running crazy fast. It made me think, "That's Suzuki!"
Takeuchi: I was still feeling abit nervous. On top of that, I had heard that Machida-kun had a pretty good grasp on things.
Machida: That was largely due to the fact that I was paired up with Nadiya-san, the dancer who plays Liana (Sugiki's former partner). She's a true professional who pulled me along, and I also felt like she opened up new opportunities for me.
Takeuchi: Watching the video of Machida-kun dancing at that time was truly wonderful. Because I had seen how he struggled in Tokyo, I truly felt happy for him. On the other hand, I felt pressured to break out of my slump, so I ended up running along the seashore (laughs). It was great that my breakthrough moment finally came on the final day.
"This issue features the special section on horoscopes titled "Love and Fate." Do you believe in fate?"
Machida: It exists, right?
Takeuchi: It does! Of course, there are times where I'll think it's fate…but then it turns out to be something else (laughs). I think it largely depends on how you look at it.
Machida: Thinking, "This is fate" can be alot more fun and beautiful.
Takeuchi: Still, I think it was totally fate that I got to work with Machida-kun on this film, you know?
