"I'm the one who should be expressing my gratitude."
Translation of an interview with Yuma Kagiyama and his father and coach Masakazu Kagiyama at the Beijing 2022 Winter Olympics. Please do not use/repost my translations without my permission.
Interviewer: And now, we have Yuma Kagiyama, who won a silver medal in men's figure skating, and his father Coach Masakazu. Congratulations!
Yuma: Thank you.
Interviewer: Now that some time has passed, has reality set in that you won a silver medal yet?
Yuma: Let’s see… Well… It hasn’t really set in that I’m a medalist. When I look at the medal, I’ll think ‘I won a medal,” but I’m already looking towards the next thing. We already held our reflection meeting.
Interviewer: We want to ask the two of you many things today, but there’s a video we’d like you to watch. Start!
6 year old Yuma in the video: My dream is… I want to go to the Olympics.
Interviewer: So adorable! This is a video from when he was 6 years old. Masakazu, isn’t he cute?
Masakazu: Now that you’ve shown me a video like this, I won’t be able to yell at him anymore. It’s too much.
Interviewer: Coach Masakazu, did you think he would really go to the Olympics at that time?
Masakazu: No, I thought he was just saying the word Olympics, and he didn’t know what the Olympics are. He probably knew that I went to the Olympics and was influenced into saying that. He was so young, so I don’t think he really understood.
Interviewer: Yuma, did you have a period of time where you wanted to distance yourself from skating or a rebellious phase?
Yuma: Hmm… well…
Interviewer: Masakazu is laughing a lot but…
Yuma: I think I did… There were times that I couldn’t concentrate by myself. I didn’t know what I was supposed to do. I was told what to do, so I did it, and I was done for the day. During that period of time, I didn’t seriously confront skating.
Interviewer: Masakazu, we heard from you before that you planted a seed in Yuma during this time he wasn’t seriously confronting skating. Could you tell us what seed you planted at that time?
Masakazu: I only planted a seed when he was very, very little. He said he didn’t like getting yelled at, but he still went to skate, so I think the seed he planted himself played a big role. Normally, if you don’t want to skate you stop going to the rink. I think that’s the case for a lot of people, but he at least kept coming to the rink. The content of his practice may have been lower, but because his friends were there - it doesn’t matter if it was for that reason. He kept going to the rink and skating, and that was one of the things that saved him. I guess you could call that a seed.
Interviewer: Masakazu, there was a period of time when you were ill and couldn’t accompany him.
Masakazu: As a parent, it was difficult that I had to make him become independent at such a sensitive time in his third year of middle school. Normally, it would be appropriate for him to be selfish or go through a rebellious phase… That’s the age where I’d have to wake him up and drag him to practice, but he woke up by himself in the morning and went to practice alone. I had to make him do that, and it’s painful… It was painful.
Yuma: But I think that because I had to become independent then, that’s why I have my current personality… I’m able to do those things naturally now, and that’s the biggest sign that I’ve grown. My personality changed, like becoming methodical, like if I can’t sit still if I don’t do what I’m supposed to. After waking up at a certain time, doing what I’m supposed to, and going to practice every day, I was able to do it all naturally, and that shows I’ve grown up.
Interviewer: Since we have both of you here today, could you express your feelings of gratitude to your father sitting next to you?
Masakazu: So embarrassing…
Yuma: Eh… Thank you very much.
Masakazu: I should be thanking him, since I’m the one who’s been taken all the way here because of him. I’m the one who should be expressing my gratitude so… Thank you very much.
Yuma: I’m also grateful to people like staff, sponsors, and my middle school and high school teachers who keep my skating career in mind. I have to keep working harder to repay them. From now on, I want to continue following my own path without giving up.
Interviewer: We’re looking forward to it. Thank you for your time today. Congratulations!
“When I was six years old, I was accompanying my parents to pick up my sister Laura, when she also started skating. And one day the question of whether I also wanted to skate arose. And of course I said yes. Two years later I started my first competition, with some second-hand skates. Shortly after I had a dream, an impossible dream that has now come true. Could a guy from Cuatro Vientos stand out in a world as different and complex as we are used to in our country? And I dared to dream and I pursued that dream.
Last Saturday, as you know, was my last performance and I come back home with seven European Championships titles, two World Championships titles and one Olympic medal. All these championships, sporting successes are so important... I take the enthusiasm from the fans, that's for sure. The affection with which you, the media, have always showed me and the support of the institutions and sponsors.
Today I want to start by thanking my family, my parents and my sister Laura, who had to make great sacrifices so that I could develop my life as a skater. I could never thank you enough for everything you have done for me. It must have been very difficult to leave only a 17-year-old boy, who hardly spoke English, to travel across the world and go to another country. I went to live in the United States at age 17 with a coach named Nikolai Morozov whom I met at a summer camp in Andorra. He suggested to my parents and I that I go train in New Jersey and be part of their training team. They accepted, I accepted and that's where everything started.
Later I moved to Toronto to train with Brian Orser, who became a model for me, a second father. Brian had to suffer with the personality of a Spanish teenager who did not have the discipline that I have now. Brian understood my way of being and brought out the best in me. How I'm going to miss Brian too, that way of being he has and that embrace that coaches give you before going out to compete. Nor can I forget Tracy Wilson, who has been by my side in many and many of my trainings. Choreographers have also played a key role in my career. I have had the pleasure of working with Antonio Najarro, the one who created La Malagueña, who has given us so much joy. And of course, the Canadian David Wilson with whom I had the honor of working in the last 7-8 years.
Those who know me know that I am not the most organized person in the world. I have already arrived at some competition without my skates, I have already forgotten my costumes, but I am who I am. I also want to apologize to the people who have suffered from my mistakes, especially to Jorge Serradilla, with whom I have shared many adventures first in the schoolyard and then all over the world. I apologize.
The support of institutions and sponsorships has also been essential in my career. Gloria Estefanell, María Teresa Samaranch supported me from the Spanish Federation some time ago, and later it was Frank González and his entire team. I want to publicly thank the support from LaLigaSports, whose president, Mr. Tebas, is here with us. I have also received the support of the Spanish Olympic Committee, in particular Alejandro Blanco, who is also here with us. And I can not forget also our beloved Miguel Cardenal, who has also suffered some of our pranks. And of course, María José Rienda, current Secretary of State for Sport.
The media have also always shown a very special affection for me, as for example Saturday's broadcast with Paloma del Río showed, who after 30 years as a commentator was was moved to tears at the end of my performance. You (the media) have been there and have always lived my successes as if they were yours. Thank you all for that affection.
I leave these last words to my girlfriend Marina, who has suffered my absences and has been the inspiration in my last successes.
To finish I want to make an call to all people who have a dream, whether they are children or adults. I encourage you to pursue your dreams: as impossible as they may seem, dreams are often fulfilled. And there are even times when reality goes beyond what we dreamed, as it has happened to me.
Thank you so much everyone.”
The opening combination jump?
It’s already been a while since the last time I successfully completed my opening combo. Every time I get nervous, I hook the jump, which makes it harder to land well and connect the next jump. However, I am still very satisfied with my short program performance, especially considering I am now trying to balance my studies and skating. It’s definitely a difficult journey.
Your first event was Skate America, and now NHK Trophy. There is a relatively long time between the two, did you do anything in particular to prepare?
I’ve continued to practice hard. My performance at Skate America was disappointing, particularly because I had some nice results in the early season. As the season progresses, the pressure continues to accumulate. Since I do have to go to school and skate, there will always be some additional burden.
Between school and skating, how are you currently managing to balance the two?
It’s still pretty difficult. I used to train in Colorado Springs, where I already had a sense of belonging. In addition, I also had Tammy’s guidance there, as well as my teammates, so I felt at ease. Moving to and entering an entirely new environment is a difficult experience. Now, a lot of the time I am skating alone, so I have been undergoing an adjustment period.
Goals for after NHK?
Competitions give me an opportunity to practice for U.S. Nationals, which will be my primary focus going forwards. I have to practice more, and present two good programs [at Nationals].
How did Coach Tammy [Gambill] support you after your injury? [TN: Karen missed the 2018–19 season with a stress fracture in her right foot.]
She’s always supported me; we’ve known each other for seven years now, and know each other very well. When I was returning from injury, she was always by my side, making sure I was prepared and ready.
Some background on your costumes and programs?
The short program music is particularly special. I have never tried this style before, but this year I wanted to show a different kind of performance. My mother and I designed my costumes together, and she handmade them. Because of this, they have even more meaning to me.
Wang Shiyue & Liu Xinyu: Post-Rhythm Dance Interview, 2019 Chinese Nationals
Interview by 花滑小报
Interviewer: We can see from the new program (RD) that you’re trying a new style?
Wang: Yeah, it’s kind of a comedy-themed RD, with a little humor.
Liu: It’s our first time skating to this type of music
Wang: He didn’t like it at first.
Liu: Yeah, at first, I didn’t think this style would suit us, but it turns out that I feel pretty delighted when skating this program.
(About the new RD)
Liu: We are skating to “Chaplin” this season.
Wang: In this program, we are both taking part in a Chaplin lookalike contest to win the grand prize. At first, we’re competing against each other, and we both want to prize as individuals.
Liu: Yeah, to show the best version of ourselves as an individual.
Wang: But later, we realize that it would be more efficient to win the prize if we cooperate with each other. So, we end up performing together.
Interviewer: The new GP season will soon begin. Do you have new plans, new goals for this season?
Wang: We set a long-term goal, which is to improve our position in the World Championships. Last year, we were 15th, and we hope that this year we could approach 12th. Or even 10th, if possible. We’re going to work very hard.
Liu: Yeah. Meanwhile, we will continue working on and refining the details of our programs, competition by competition. Thus, we hope we can compete our best and place as high as possible at Worlds next year.
Interviewer: How do you feel about competing at home ? [TN: Both Wang and Liu are from Changchun, where 2019 Chinese Nationals was held.]
Wang: Excited!
Liu: Very happy. The new season finally started!
Wang: Especially because, originally, we heard that the competition was not going to be held in Changchun. We were so happy when we heard that it was relocated to Changchun.
Liu: We could also go visit our family.
Interviewer: Your teammates who competed in the Club League [TN: domestic series] were so happy when they knew that you two were coming back to compete in this National Championships.
Liu: Yeah, we know!
Wang: When we train with them, they look up to us the way we look up to the world’s top-tier teams, with whom we train together in Montreal. They’re very admiring.
Liu: Yeah, when we’re training, they’re all around the rink looking at us. We’ve also told them about some new things that we’ve learned, in order to help them improve.
Brian Joubert and Stéphane Lambiel interview -- 2018-2019 Junior GPF
When I asked Brian Joubert about his feelings on the current man's field, he replied "Too many quads!" His eyes were twinkling with mischief as he looked at me to gauge my reaction -- and then, we both broke out in laughter. Because Joubert was one of the skaters who protected the quadruple jump, a strong jumper who landed three quads at the free skate of 2006 Cup of Russia and was nicknamed "The Quad King".
"I'm joking, of course. I think the men's field is brilliant. I've always insisted that the quad was the future of men's skating, but even I didn't predict the evolution of men's jumps that's been happening in the last few years," he said, widening his eyes to show his surprise.
After the current judging system was first implemented in 2004, it underwent much trial and error and the quad became a high risk, low return element, forcing many skaters to avoid it entirely. Despite this Joubert continued to perform the quad jump; he wasn't always rewarded for his efforts, but won the World Championship back in 2007.
Currently, Joubert coaches around a hundred children in a rink in his home town of Poitiers, and says that the most challenging thing about coaching is how methods that worked for him don't always work for his students. "The coach's job is to find the methods that work best for the individual students. Quads weren't that difficult for me, but my students can't do them, I sometimes think 'Why can't they just do it?'" he says, chuckling.
In France, Joubert was the biggest star skater of his generation and a household name. He tells me that this is not always a good thing when it comes to coaching. "The kids become desperate to not disappoint me because I'm Brian Joubert. That pressure doesn't always lead to positive results."
Stéphane Lambiel, on the other hand, is the World Champion of 2005 and 2006. He retired from competitive skating following the Vancouver Olympics, and in 2014 he established a skating school in Champéry in Switzerland. He still skates in ice shows and is a regular member of Japan's Fantasy on Ice. He admits that it can be hard to switch between being a skater and a coach. "When I'm skating as a skater, I'm the focus. I just need to be worried about my own conditioning. But when I'm coaching, the student comes first. It took me a long time to learn to switch between those two modes of thinking." Lambiel says that when he trains, he tells himself "the next two hours are only for me" in order to focus on his training.
Lambiel and Joubert competed at the top of the sport ten years ago, and they have stood on World and European podiums next to each other many times. "It's a very strange feeling to see Stéphane again as a coach at this competition," Joubert says. Joubert, aged 34, and Lambiel, aged 33, both insist that they have no unfinished business in the world of competitive figure skating. Particularly Joubert rarely trains on ice, saying with a laugh: "It's so much easier to sit on a couch and relax." But how do they perceive Daisuke Takahashi, their old rival, and his decision to return to competitive skating?
Joubert laughs and replies that he thought Takahashi was "crazy" when he first heard about his return. "Daisuke was wonderful artistry, and his triples are effortless and of a very high quality. Now he just needs quads..." Joubert trailed off, but concluded: "I love his skating, and I like him as a person. So I hope this comeback will be a good experience for him."
Lambiel, on the other hand, says: "It's not easy to resume training after taking a break from competing." He knows this from own experiences, having retired from competitions in 2008 and returning a year later. "But if there is a passion to skate in Daisuke's heart, I believe he should keep skating until he's satisfied. I wish him all the luck with his comeback."
Jeffrey Buttle Interview | Y.H. 2018-19 Media Day Archive
Choreographer of Yuzu’s short programs, Jeffrey Buttle’s media day interview, transcribed and published in Figure Skating Team Japan Fan Book. The meaning of a program, its choreography, a look to the past while going towards the future.
Please do not repost without permission (sharing the link to this post is fine). Images belong to Figure Skating Team Japan Fan Book and original text belongs to respective publishers.
— When you first learned about the name of the piece during choreography, what kind of program did you want to make out of it?
It was around the beginning of summer when we talked about the music. When I learned about the title of the piece from Yuzuru, the first thing I wanted to know was what the piece meant to him. The reason is that this is something that comes out from within him. The title, "Otoñal", means "Autumn" when translated into English. But he told me, "Something like reflection." So we decided on that theme as the basis of the story for this program. We also looked back upon the many things that have happened in his life, incorporating the many memories into the theme, and developed it from there.
— What are the highlights (in the program)?
Probably, where he expresses the flow of time. In the opening, beginning with the image of flipping open a photo album and looking back, he expresses the moment when you reminisce about the past. This is him reminiscing about his skating career. Also a "Journey". And at the root of it all — "Dream". And then once again returning to the "Beginning". Like that.
— Do the changes in the rules affect the choreography in any way?
Yuzuru wanted to, first, focus on solidly landing the jumps. Because if we can do that then, toward the second half, he can be more relaxed, enjoying the program itself as he performs. In terms of dealing with the rules, I think it differs depending on the skater, and I myself am open, taking his idea and helping him with it.
— When Hanyu successfully defended his Olympic title, how did you feel?
I was overwhelmed. Because it was quite a tough season for him. Headed towards the Pyeongchang Olympics, he wasn't in the state to build upon training as he'd wished, and actually, that wasn't a situation any regular skater would be able to overcome. It was a test that only someone with the mental and physical strength of a true champion could overcome. When I saw the way he actually accomplished it at Pyeongchang, I was really touched. Emotions welled up in me, and I was so proud of him.
— When you were choreographing, what did you talk about with Hanyu?
I was thinking that the performance of this program should be something that comes from within him, should be his own story. We spoke about that before starting to choreograph. The first day on the ice, I confirmed with him what "autumn" means to him. I also have my own idea, so when I told him, "To me, autumn means this", [we realized] his idea was something completely different — "Oh, I've never ever imagined it that way!" (Laughs). So we did that, and went forward with his thoughts. When we began creating, we discussed many different things. From that, more and more ideas popped up.
— I think you made the decisions regarding choreography back when Hanyu's career was still in its early stages, but nowadays, he sets the direction?
Right, and I think that's a wonderful thing. When I was still actively competing, I had also chosen my own music as my career progressed. Just as it is with him, that was also a manifestation of the determination to take responsibility for your own career. As the years accumulate, when you decide on something, you become more certain of it. In participating in choreography too, you show more confidence. I feel respect for the skaters who suggest to me the music they want to skate to. Because it shows that they themselves are invested in their own programs. Because when you choose your own music, you're able to put 110% of your soul into the program.
— He was saying that he chose this piece because it was a program that Johnny Weir had skated to in the past. You competed against Johnny when you were actively competing, please share with us your thoughts about that.
Johnny and I had the opportunity to skate together this offseason at an ice show, and we talked about that. He gave a lot of advice, which we also took as reference. Since it's music that Yuzuru chose "because Johnny skated to it". Johnny felt very honoured about it, and he was so supportive in the process of choreographing this program.
Some footage of Jeff in this brief clip shared by Figurepedia (BS Asahi) after the SP debut of “Otoñal“ at the Autumn Classic 2018 on September, 21st. Potentially from the same media day interview given the overlap, but decided not to merge that into the text given ambiguity.
“I competed against Johnny Weir — who skated to it when we competed against each other, many many many many years ago. But I love the piece of music and I love that Yuzu had the passion to bring that forward.”
“And for him, Autumn is sort of a time of the year for reflection and about looking back. Almost a time of nostalgia? And I think it was so appropriate given what he accomplished and everything that happened last year. Choreography itself begins with... for me when I think of nostalgia, I think of looking through an old family photo album, so the very first movement is him opening that album.”
