Kawamori

Hello, everyone. I’m Shoji Kawamori. Today, we have a wonderful guest with us, and I hope we can have a deep conversation.

Terashima

Yes, thank you for having me. I’m Takuma Terashima, a voice actor. It’s been a while, hasn’t it?

Kawamori

Yes, it has.

Terashima

But it doesn’t feel like it at all.

Kawamori

It really doesn’t.
You helped me a lot during my 40th-anniversary exhibition.

Terashima

That wasn’t just the other day, was it? It’s surprising.

Kawamori

Yeah, my 40th-anniversary exhibition was heavily inspired by Expo ’70 in Osaka.

Terashima

So it all started from there?

Kawamori

Yes. That was my first experience seeing people from different countries, different architectural designs, and a world of incredible diversity. Of course, as a child, I didn’t know the word “diversity,” but the impact was huge. I think it influenced my career choice.

Terashima

It all comes full circle.

Kawamori

Exactly. That’s why I named my exhibition “Kawamori EXPO.”

Terashima

So that’s where it came from! That title had a lot more meaning than I initially thought.

Kawamori

And just a few months after that exhibition ended, I was approached about this Expo project.
It really feels like destiny.

Terashima

You definitely attracted it to yourself—amazing.

Kawamori

The theme of this Expo is “Designing a Future Society for Our Lives,” and I’m in charge of one of the theme pavilions. If we compare it to the Osaka Expo, it would be like the Tower of the Sun. There are eight producers, including myself, each contributing different aspects, reflecting the era of diversity. Rather than focusing on just one thing, we’re showcasing various perspectives.

Terashima

From what I understand, everyone is reflecting on the essence of life together.

Kawamori

Yes, and in a way, life itself is a process of constant combination and transformation.

Terashima

Now that sounds like you, Kawamori-san!

Kawamori

For example, when we eat, we’re consuming fish, animals, or vegetables—things that were once alive. That’s a form of “combination.”

Terashima

That’s true.

Kawamori

Then, digestion is a process of “transformation.” The nutrients are absorbed into our bodies, and waste is excreted back into the environment, continuing the cycle.

Terashima

So it’s a continuous process of combination and transformation.

Kawamori

Exactly. And this is happening simultaneously on a massive scale—billions of people, countless plants, animals, and microorganisms. I want to create a pavilion that immerses visitors into this swirling vortex of combination and transformation. A regular movie or dome theater wouldn’t be enough. We’re using XR goggles—not just VR, which isolates individuals, but something that allows people to see each other while occasionally diving into the world of living organisms. It will be a super-dimensional experience, letting visitors move between different time and space scales—from the universe down to microscopic life.

Terashima

“Super-dimensional” really sounds like something you’d say.

Kawamori

It’s like a theater of super-dimensional, infinite combination and transformation.

Terashima

Incredible. Just hearing your explanation is so convincing. I can’t wait to see it.

Kawamori

Speaking of combination, when we first worked together, it was on Aquarion. That show explored diversity—characters with completely different abilities coming together. In traditional combination-based stories, combining always made things stronger. But in Aquarion, sometimes combining made them weaker. Even if the characters got along, they could become weaker, and if they fought, they could become stronger. It was all about the dynamics of interaction. What did you think about that?

Terashima

Wow, that’s a tough question—just throwing it back at me like that!
At the time, I was still a rookie, so I wasn’t able to analyze the work from a broad perspective. I was completely focused on how to portray Apollo. But now that I’ve been in the industry for 20 years, I’ve rewatched Aquarion and reflected on my career. Of course, I notice my own shortcomings in my performance, which makes it hard to watch at times.

Kawamori

I feel the same way.

Terashima

Really? I think all creators must feel that way. But now, I can watch it from a different perspective. Onosaka-san, who played Pierre, once mentioned that he saw me as a fresh and intriguing newcomer at the time. Looking back, I can now see myself that way too. Aquarion was incredibly experimental, bringing in ideas that no one had explored before. It’s amazing to think we managed to pack all of that into just two seasons—every episode was full of unexpected developments.

Kawamori

Yeah, we did some pretty unconventional things.

Terashima

Definitely. And since Aquarion was the first of its series, it was a big shift from your previous works, where people associated you with Macross—singing in space, transforming Valkyries, and so on. But Aquarion introduced the idea that merging individuals could create something new. That concept is still evolving today, which shows how significant it was for you.

Kawamori

Thinking about it now, it’s hard to say exactly. Of course, when you create anime or tell a story, relationships are always a key element. But Aquarion was unique in that it made relationships themselves the central theme. I used to say back then that Aquarion wasn’t a robot anime—it was a combination anime. The robots were just vessels, and the real focus was on how the characters’ abilities merged and transformed. That’s why, when I first heard your voice, I thought it was perfect. Apollo was a wild child, but if we cast someone with a purely rough voice, it would become one-dimensional.

Terashima

It would have been completely wild.

Kawamori

Yeah, exactly. But instead of that, there was this intellectual quality to your voice. And I remember you mentioning at the time that you did a lot of walking—that kind of thing also stood out to me.
Also, there’s the fact that I’m from Toyama myself.

Terashima

That’s right. I’m from Ishikawa.

Kawamori

There was this mix of intellectual depth and a bit of wild energy, intertwined like yin and yang—that contrast really drew me in, and that’s why I wanted you for the role.

As a voice actor, when you perform, you’re breathing life into something that was created by animators—hand-drawn images that, at their core, don’t inherently have life. What does that process feel like for you?

Terashima

I think every actor has their own approach to it.

Kawamori

Exactly. That’s what I find interesting—I want to hear about those individual differences, the diversity in perspectives.

Terashima

Since I’ve always been an anime fan, I find myself wondering about the choices made in the animation—the way an animator expresses movement or emotion, what they were thinking when they drew a certain facial expression or gesture. That’s something I get really curious about after seeing the finished work. In live-action acting, a glance or a slight movement can happen in an instant, but in animation, animators have to draw several frames to capture that. I really admire the effort that goes into that. As voice actors, we often hear that we “bring characters to life,” but in the end, we’re just one part of the process. What I love most is watching the final product and feeling the life that exists in that animated world. It’s kind of an after-the-fact realization for me. Of course, while performing, I’m always thinking about how my character is experiencing things. It’s like the three-body combination in Aquarion—balancing what I process intellectually, what I feel emotionally, and what I sense physically. I try to consider how the character I’m playing, in their world beyond the screen, is perceiving everything in that moment.

Kawamori

I see, I see.

Terashima

The conclusion I’ve come to is that the most important thing is understanding what the character is seeing. Some people talk about “channeling” a character, but for me, it feels more like stepping into their world rather than pulling them into mine.

Kawamori

You step into them.

Terashima

I think about what the character’s field of vision is like—how far they are from the person they’re looking at, but also more than just their interaction with others. What’s beneath their feet? What does the surrounding scenery look like? When I can visualize the landscape, I start to get a better sense of how they physically experience the moment. 

Kawamori

I see, I see.

Terashima

For example, if the ground is covered in grass, would they be able to smell it? These kinds of details gradually come into focus. That’s why I place a lot of importance on truly understanding the character’s point of view.

Kawamori

That’s really interesting. When you step into a character, do you feel like you’re leaving behind your usual self and fully immersing in the role? Or is it more of a natural transition?

Terashima

The starting point is always myself. The world the character lives in might be completely different from ours, but they still breathe, their heart still beats—things we do unconsciously. I adjust my awareness to align with theirs, using myself as a reference. But in the end, I completely hand everything over to the character.

Kawamori

You completely hand it over.

Terashima

Yes, so in that sense, what you said about leaving myself behind is closer to how it feels. But ultimately, I think it becomes a process of syncing with the character.

Kawamori

Have you had that ability since you were little?

Terashima

Not at all. I never had that kind of awareness, and I wasn’t particularly interested in self-expression. It wasn’t until I first tried acting in high school that I started to explore it. Over time, through experience, I’ve finally reached the point where I can put it into words and explain it.

Kawamori

So at first, you were acting instinctively, and later, you found ways to articulate it.

Terashima

Exactly. I would think about it logically, but in the end, I would just do it without fully understanding it.

Kawamori

I see, I see.

Terashima

So in a way, it really is about stepping into the character and leaving myself behind. But at the same time, since my role is to express things through sound, I also have to remain technically aware as a performer. I can’t fully lose myself—I need to stay conscious of how I’m delivering the performance.

Kawamori

That balance must be really difficult to manage.

Terashima

It is. You can’t just throw everything away and act purely on instinct.

Kawamori

I’ve never been able to perform like that myself, so I really admire that ability. It’s something I’m always curious about.

Terashima

I do consider myself a performer, but at the same time, I have so much respect for the creators behind the scenes—the ones building the world and the characters.

Kawamori

But you also create, don’t you?

Terashima

That’s true.

But I still feel like I can’t compare myself to those who dedicate their entire lives to creation. I really admire them, and every time I see the key animation or the finished product, I always find myself holding my breath in awe.

Kawamori

That kind of appreciation means a lot.

Terashima

From the creator’s perspective, yes.

Kawamori

Right, right. On that note—are there moments when you personally feel like life is really shining? It might be a bit abstract, but I’d love to hear your take on it.

Terashima

Of course, there’s a certain sense of accomplishment when I’m acting and things come together well. But like I mentioned earlier, what really moves me is seeing the finished work—when everything, including my performance, comes together as one. And in that moment, I might have been the one providing the voice, but the character on screen feels like they’re truly alive, completely separate from me.

Kawamori

Oh, that’s a great way to put it.

Terashima

I really feel it.

Kawamori

I see, I see.

Terashima

For example, when I play an idol character and see the audience cheering for them, their eyes sparkling with excitement, I get overwhelmed with emotion. And not because of what’s happening on screen, but because of the audience’s reaction—it just makes me so happy I can’t hold back the tears.

Kawamori

I get it, I get it.

Terashima

It’s like, at that moment, the character is really there, being cheered on by real people. It doesn’t feel like I played the character—it’s more like I was just someone who got to witness their journey up close.

Kawamori

That’s fascinating.

Terashima

That’s when I truly feel that the character is alive.

Kawamori

It’s interesting, isn’t it? Fictional worlds aren’t real, yet they can have such a powerful presence. Thinking about it now, Aquarion had three people merging inside the machine, but in a way, that’s exactly how anime is made. The animators, the voice actors, the writers, the director—everyone’s efforts merge together to bring something to life.

Terashima

I think that’s exactly it.

Kawamori

It really puts things into perspective.  

Terashima

When I shift my perspective, I realize—that’s the kind of merging we were talking about. Aquarion has been a fundamental part of my life, so the idea of merging is something I find myself thinking about from time to time. There must be moments where I, too, merge with the characters I play.

Kawamori

Exactly, that’s what I mean.

Terashima

Sometimes we stand side by side, other times we completely overlap—it varies. The ultimate destination of any relationship is probably merging, but transformation is always a part of that process too. Realizing that now and reflecting on it is actually quite interesting.

Kawamori

It’s fascinating, isn’t it? By the way, do you have any favorite animals or creatures you find interesting?

Terashima

I’m pretty simple—I just like cute things. I really love small animals. And I’m not sure if this fits in the same category, but I also find human children really adorable.

Kawamori

Oh, like your own child?

Terashima

Exactly. Yeah. Raising my child and seeing them change every single day has really made me understand what it means to be alive. Even in just one year, the difference is enormous. As adults, a year doesn’t feel like it changes us that much, but for kids, you can physically see how much they’ve grown. And it’s not just my own child—when I see other kids, I feel this strong instinct to do something, to protect and nurture them. It’s like a switch has flipped in me, and now I find all little kids precious.

Kawamori

That’s a powerful force, isn’t it?

Terashima

It really is.

Kawamori

It’s kind of mysterious—almost like it triggers something instinctual.

Terashima

I think so too. It’s not something you can resist.

Kawamori

And change itself is an incredible thing. Over the course of a year, so much transformation happens. But if you were to compress all that change into a short span, it would be something truly immense.

Terashima

That’s true. Adults don’t change that dramatically over the course of a year, but watching a child grow so quickly makes me reflect on my own past. I never really thought about how much I changed when I was young, but now I can see it through my child. And what’s interesting is that raising a child doesn’t just change them—it changes us as parents.

Kawamori

That’s a great point. It’s not a one-way transformation—it’s a cycle.

Terashima

Yes, exactly.

Kawamori

Hearing you say that, it really clicks—this idea of life continuously cycling and evolving.

Terashima

That’s right. That’s right. It’s all part of a larger cycle, and I think it’s a miracle that we get to cross paths with the people we do. Even though life follows a cycle, it doesn’t just return to the same point—it keeps evolving.

Kawamori

Exactly. It’s not a simple circle, looping back to where it started. Instead, it becomes more and more complex. That dynamic nature is incredible.

Terashima

That’s the key—it’s not just repetition.

Kawamori

Right, right.

Terashima

It’s a cycle, but it’s also evolution.

Kawamori

Yes! And yet, I feel like we don’t really have the right words to express that concept. I use the word meguru (to cycle or revolve), but it’s not quite accurate—it doesn’t fully capture the idea that it’s not just looping back to the same point.

Terashima

That’s true—meguru has a sense of returning to where it started.

Kawamori

Exactly. And at the same time, multiple cycles are happening simultaneously. There isn’t really a word for that.

Terashima

No, there isn’t.

Kawamori

I feel like we need to invent one.

Terashima

That would be really interesting—to create a new term for it.

Kawamori

Otherwise, people will keep assuming that “cycling” just means coming back to the start, when in reality, it’s about continuous evolution.

Terashima

Exactly. Words like “recycle” or “reuse” are important in environmental discussions, but living beings don’t function in quite the same way.

Kawamori

Right. Life is much more complex.

Terashima

It really is. It really is. I’d love for the eight producers, including you, who are working on the pavilion to discuss this.

Kawamori

That would be nice. But it’s a huge challenge. Everyone has their own strong ideas, and since they’re all incredible people, we can have some really deep discussions. It’s truly fascinating.

Terashima

Before anything else, you have to take the time to understand each person’s perspective, so it would probably take an endless amount of time.

Kawamori

It’s definitely a challenge, but it would also be really exciting—super stimulating.

Terashima

I hope you all come up with a word for it.

Given how much the Expo inspired you as a child, was it difficult to decide what you wanted to create for this one?

It’s essentially a team led by you, right? You provide the core ideas, and then the team discusses how to develop them further.

Kawamori

That’s right. And when someone suggests an idea, if it’s interesting, we incorporate it. That sparks new thoughts, and then we start brainstorming different ways to build on it. That back-and-forth exchange is what makes the process so fun.

Terashima

Listening to everything you’ve said, I feel like this project really embodies the worlds you’ve created—the small details and the larger themes.

Kawamori

Exactly. In a way, this is the culmination of over 40 years of working in entertainment and sci-fi. I’m constantly thinking about how to bring scientific and real-world elements into entertainment—not just in a way that makes people think, but in a way that moves them, something that resonates emotionally and physically. 

Terashima

So for this project, would you say it’s more about the entertainment aspects of your past works? Or is it more rooted in the core design philosophy you’ve been developing? Or maybe it leans more into the sci-fi concepts in your mind? Which part do you feel is strongest?

Kawamori

It’s all multiplied together.

Terashima

Multiplication?

Kawamori

It’s not addition—it’s multiplication. I realized that unless things are multiplied, you can’t surpass certain limits. When you’re just adding elements together, it still feels like it belongs to someone else. I spent a long time thinking about how to turn that into multiplication. 

Terashima

That’s incredible. And it makes sense when you put it that way. But trying to surpass the Expo you experienced as a child—that sounds like a huge challenge.

Kawamori

It is.

Terashima

In a way, isn’t that even harder than creating something entirely from scratch?

Kawamori

Especially for those who have actually seen the past Expos—it raises the bar significantly.

Terashima

Right, because it’s something they experienced firsthand.

Kawamori

And times have changed. If we just did the same thing as before, we wouldn’t be able to compete with theme parks or other forms of media. So the challenge was figuring out how to use cutting-edge technology to enhance the physical and sensory experience, making it feel real in a way that truly connects with people. 

Terashima

That’s amazing—using the latest technology to appeal to something primal.

Kawamori

Exactly.

Terashima

It’s fascinating how you’re approaching it from the complete opposite direction.

Kawamori

Since you have a creative side as well, I think you can probably understand this, but I’ve experimented with many things and done a lot of research. And what I realized is that simply increasing realism—making something look or feel more natural—doesn’t necessarily work. It just ends up being “real” and nothing more.

Terashima

That’s true.

Kawamori

No matter how much you refine it, it will never surpass nature itself. So the key is shifting perspectives and combining things in unexpected ways—creating experiences that make people feel something they normally wouldn’t. It’s about turning knowledge into something that can be physically felt. That’s where the real challenge lies. 

Terashima

If you just take the straightforward approach, you’ll never reach your full potential. You’ll hit a ceiling somewhere. But by multiplying elements together, you can break past those limits. I feel like that’s something only someone deeply immersed in creation would realize.

Kawamori

Yeah, and honestly, this project has been incredibly tough. And it’s not even in the past tense yet—we’re still very much in the process. The real challenge now is how to make the experience feel even more real, how to deepen that sense of immersion. But beyond just creating a powerful experience, I want it to serve as a catalyst—something that sparks new directions for the future. That’s the real test ahead.

Terashima

It’s an experience that has the potential to influence people’s lives.

Kawamori

Exactly. Of course, I don’t want to control or direct people’s thoughts, but if it makes them feel something—if it sparks something inside them—then that’s what matters. I want to create an experience that pushes people past a threshold, something that takes them beyond their usual perceptions.

Terashima

Breaking past a threshold—that sounds incredible.

Kawamori

And at the same time, everyone perceives things differently. People have their own unique ways of expressing themselves and moving through the world. Over the past 20 years, I’ve come to realize that even more deeply. So instead of just focusing on “the brilliance of life,” I want people to feel the immense power of transformation—how life itself is constantly merging and evolving. Some might experience that through the pavilion, others might feel it through the Super Dimensional Theater, and for some, it might be ANIMA! that really resonates. And for some, it might be a combination of all these things. That’s what makes this next phase so crucial.

Terashima

I hope people can experience all of it.

Kawamori

Exactly. And I’d love for them to discover which part resonates with them the most.

Terashima

Everyone will likely have a different experience. Just hearing you talk about it makes me want to go see it.
The time just flew by during this conversation—it was so interesting. Originally, we were supposed to be talking about your pavilion at the Expo, but the conversation took us somewhere completely unexpected. It just makes me want to talk even more.

Kawamori

Every time I’ve done an interview like this, it’s been incredibly stimulating Even when discussing the same role, the approach varies so much—it’s endlessly fascinating.

Terashima

Yeah, someone like Yūki Kaji, for example, probably has a completely different perspective from mine. We grew up with different influences, but in Aquarion terms, you could say we’re still connected across 12,000 years.

Kawamori

Right, because you both played the protagonists of different Aquarion series.

Terashima

I think Kaji and I both see each other as special in a way. That connection feels almost like fate. And it’s not just between the two of us—so many actors and creators who have worked with you have unique bonds. It would be interesting to have a discussion that crosses different fields, all centered around the theme of life.

Kawamori

That would be an amazing conversation.

Terashima

Yeah, if just the two of us are having this much fun, imagine how fascinating it would be with more people involved.

Kawamori

It would be incredible.

Terashima

I really think so. This was such a great opportunity—thank you so much.

Kawamori

Thank you as well.

Terashima

Thank you.