[2025.03.05] Kenshi Yonezu x Yuzuru Hanyu - "BOW AND ARROW" music video for anime Medalist

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.16

 

Source: https://www.oricon.co.jp/news/2374303/full/

Archived: https://web.archive.org/web/20250316053126/https://www.oricon.co.jp/news/2374303/full/

 

Music video featuring Kenshi Yonezu and Yuzuru Hanyu has surpassed 10 million views; opening credits for "Medalist" continue to draw attention

 

The music video for "BOW AND ARROW," the opening theme song for the TV anime "Medalist," sung by singer Kenshi Yonezu , surpassed 10 million views on the 16th. The video attracted attention because it featured Yuzuru Hanyu , a gold medalist at both the 2014 Sochi and 2018 Pyeongchang Olympic Games, and Yonezu's collaboration with Hanyu's skating was realized.

 

The music video for "BOW AND ARROW," which was released on Yonezu's official YouTube channel on the 6th , features Yonezu singing with a dignified demeanor against the backdrop of a vast sky, and Hanyu skating beautifully and powerfully on the ice. It is a fast-paced video that seems to spark the wishes of the two men. The skating choreography was done by Hanyu himself, and the music video was directed by Hayashi Kyotaro.

 

On X, "Medalist" became the number one trending topic in the world, and the number of views of the video exceeded 2 million in half a day from 8 pm on the 6th. And it exceeded the 10 million mark in 10 days after its release.

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://trilltrill.jp/articles/3958882

Archived: https://web.archive.org/web/20250327000615/https://trilltrill.jp/articles/3958882

 

Yuzuru Hanyu: "This is something I have to do even if it kills me" - The intense pressure he felt during his "first experience"

 

"BOW AND ARROW" is a song created by Kenshi Yonezu as the opening theme song for the TV anime "Medalist". Yuzuru Hanyu appears in the music video and performs a short program that he choreographed himself to accompany the song.

 

Spoiler

On the occasion of this collaboration, a conversation between two of Japan's leading artists and figure skaters, Kenshi Yonezu and Yuzuru Hanyu, was held on Kenshi Yonezu's official YouTube channel. The two talk about the song "BOW AND ARROW" and the production of its program, about the creative process they faced head-on and their thoughts about each other. It's a rare opportunity to get a glimpse of the two's commonalities and their attitudes towards creation.

 

"I have to do this even if it kills me" - Hanyu's determination for the piece

Yuzuru Hanyu spoke frankly about how he felt when he received an offer from Kenshi Yonezu to work on the music video for "BOW AND ARROW." "To be honest, I was under a lot of pressure," Hanyu recalled. He was constantly aware that "I got an offer from the very famous Kenshi Yonezu ," and felt the weight of the responsibility.

 

Hanyu always thought about what kind of images Yonezu had imagined when he composed the song, and thought, "I'll add an essence that only I can bring to it, and make it more visible ." It is clear that he put his whole heart and soul into making the song's "strength, speed, and transience" visible. You can feel that Hanyu's high ideals and the effort and strength of his desire to make them come true have produced a professional figure skater who is active around the world.

 

"I was constantly being pushed forward" - Hanyu felt the power of the music

Regarding the influence of the song "BOW AND ARROW," Hanyu said, "I've always listened to this song while practicing, and I've always listened to this song, and I've always run toward one goal." For him, this song was not just music for skating, but a strong source of motivation.

 

"For the past few weeks, I've been feeling like I've been getting a push from behind, and when I was told to fly, I felt like I could fly, and when I was told to go, I could go straight," said Hanyu. For Hanyu, who continues to practice without a coach at the moment, this song is so important to him that he describes it as "a push from behind with all his might, all the time."

 

Particularly impressive was the part where he talked about how the song gave him a push. Hanyu said that the song gave him a push, without any sense of logic, as if it completely affirmed who he was as a person, saying, "You're fine just being you, just go for it." Hanyu spoke passionately about the power of the song, saying that the song's freshness and momentum "gave me so much strength in life too."

 

"My ideals are just too high" - Hanyu's pursuit of perfection

Hanyu normally has high ideals, and calmly recognizes the gap between reality and his ideals, saying, "I fully understand that my abilities are not good enough in that area."

 

But he doesn't see this gap as a negative thing. "I think I continue to look at that ideal because I don't have enough ability," he says. "If I had enough ability, the ideal probably wouldn't even become a dream, and I'm sure I'd get bored if it was within my reach." He stresses the importance of continuing to pursue something.

 

Hanyu had very high ideals for the music video production, due to his first experience of participating in a music video and, above all, his strong belief that "in order for me to digest the spirit that Kenshi Yonezu gave me, I would have to have extremely high ideals in order to keep up . " He made up his mind that "this is something I have to do even if it kills me," and he cut out the unnecessary parts and faced the work in a pure state.

 

What did viewers think of this video?

"It's amazing that he's come this far with only his own talent and hard work, and that he continues to create freely. People who stick to their own unique style like this are true artists."

"It was an interview that showed him feeling the loneliness that comes with being a top professional, but at last meeting someone who could understand his feelings."

"After all, many people are involved in the creation of a single work, it takes a lot of time, and there are worries and conflicts. It is so precious that we should not regard it as entertainment. They put their lives into it and express themselves seriously."

Throughout this dialogue, it is striking how the two artists show deep respect and empathy for each other's creative approach. In particular, Hanyu's passion and thoughts about his work give a sense of the path he has taken with figure skating up until now.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://www.oricon.co.jp/news/2376148/full/

Archived: https://web.archive.org/web/20250327053839/https://www.oricon.co.jp/news/2376148/full/

 

Kenshi Yonezu's TV anime "Medalist" opening theme song "BOW AND ARROW" music video - Yuzuru Hanyu's skating commentary

 

A collaboration between Kenshi Yonezu and Yuzuru Hanyu.
Both of them read the original work of "Medalist," and the music video for "BOW AND ARROW" was born.

 

Spoiler

There is overwhelming emotion and passion behind both Yonezu's music and Hanyu's skating. We may not be able to understand all of that. Still, there is one thing we can understand. This is surely the best work, the best effort, for Kenshi Yonezu and Yuzuru Hanyu at this point in time.

 

Hanyu is the first skater in 66 years to win the men's singles at the Olympics twice in a row, and the only skater to achieve the Super Slam (winning all six major competitions at senior and junior levels, including the Olympics and World Championships). The person he reveres as a “god” is Kenshi Yonezu. Hanyu has been a fan since Yonezu’s Hachi days, describing how his music has deeply resonated with him, offering not just courage but a force beyond words.

 

The result of this profound connection is BOW AND ARROW, the greatest work of Yuzuru Hanyu at this point in time. But what exactly makes it special, and what meaning does it hold? Let’s take a closer look.

 

■ Hanyu is skating a program he choreographed himself

Hanyu first choreographed his own program in 2022. Since then, he has showcased his self-choreographed performances in his ice shows and on his YouTube channel. Unlike competitive programs, these performances have no restrictions on length, required elements, or technical components like jumps and spins.

However, BOW AND ARROW stands apart. It was choreographed as a competitive-style short program, incorporating difficult elements under the current figure skating rules. This sets it apart from his previous self-choreographed pieces.

 

■ Why did Hanyu choreograph BOW AND ARROW in the structure of a short program (competitive program), even though he is no longer competing?
This is because "BOW AND ARROW" is a 2 minute 56 second song, which is close to the performance time of a short program, which has a rule that the performance must be completed in 2 minutes and 40-50 seconds.

In competitions, even one second increase or decrease in the time limit will result in a deduction, so if the 2 minute 56 second "BOW AND ARROW" is left as is, points will be deducted. So in the MV, Hanyu decided to wait about four seconds without moving even after the music starts to play.
According to the ISU Technical Rules (General Regulations, Rule 502), timing begins “when the skater starts moving or skating and ends when they come to a complete stop at the end of the program.” So to make sure that the time from starting to move to completely stopping does not exceed 2 minutes 50 seconds, he waits four seconds at the beginning and stops moving a few seconds before the music ends.

 

■ What kind of program is he skating?

Let’s take a step-by-step look at BOW AND ARROW, a fully competition-style program. Hanyu himself shared the seven technical elements of the routine on X. Below, we’ll introduce these elements along with other key highlights.

 

■ Sit TwizzleA few seconds after the music begins, Hanyu performs a dynamic spinning move while in a crouched position. In the Kenshi Yonezu × Yuzuru Hanyu - BOW AND ARROW Interview, Hanyu refers to this as a signature movement of his. It is also sometimes called the sit twizzle.

Hanyu incorporated it as part of the step sequence in his free program "Romeo and Juliet" (commonly known as "Romeo and Juliet in Nice") at the 2012 World Championships (Nice), where he won the bronze medal in his first appearance at the age of 17. Later, he performed a longer, more fluid version in his White Legend exhibition after winning gold at the 2014 Sochi Olympics.

However, in BOW AND ARROW, the sit twizzle is executed with extraordinary intensity and speed—unlike anything seen before. The program begins with this breathtaking move, immediately raising anticipation for what’s to come.

 

■ 4Lz (Quadruple Lutz)　
The first jump in the program is a quadruple Lutz, one of the most difficult jumps in figure skating. Very few skaters can land it successfully in competition.
Hanyu was the first Japanese to perform the quadruple Lutz in an official competition. In October 2017, during the Pyeongchang Olympics season, the quadruple Lutz he performed at the beginning of his signature piece, "SEIMEI," in the free program at the GP Russia tournament was a wonderful performance that earned him a +1.14 Grade of Execution (GOE) bonus. However, a big incident was waiting for him ahead.

In November 2017, during practice at the NHK Trophy, Hanyu fell on a quad Lutz attempt, injuring the ligaments in his right ankle—the foot he uses for landing. As a result, he withdrew from the NHK Trophy, missed a chance at a historic fifth consecutive Grand Prix Final title, and was forced to skip the Japanese Nationals in December. Leading up to the 2018 PyeongChang Olympics, he endured months of rehabilitation without stepping on the ice.

At PyeongChang, Hanyu delivered a miraculous performance and defended his Olympic title, but he opted not to include the quad Lutz in his routines.

It took two years for him to reintroduce the jump in competition. In December 2019, at the Grand Prix Final, he successfully landed both the quad Lutz and a quad loop (another high-difficulty jump that he was the first to land in competition in 2016).

A single jump lasting only a few seconds carries such immense history and significance. And now, two and a half years into his professional career, Hanyu brings the quad Lutz back in BOW AND ARROW.

 

■The beauty of the takeoff

The quad Lutz in this program is filmed from a top-down angle, making it easy to appreciate the elegance of Hanyu’s takeoff.

Figure skating features six types of jumps, all rotating counterclockwise (for right-handed skaters). The Lutz is executed by skating backward on the left foot and using the right toe pick to launch into the jump.

At this point, pay attention to your left foot.The Lutz requires the skater to strongly tilt their left foot outward (on an outside edge). However, since the body rotates counterclockwise, there’s a natural tendency for the left foot to turn inward, which can lead to an incorrect edge.

However, in Hanyu's quadruple Lutz, the edge is beautifully tilted to the left, and at the moment of takeoff, the left edge is pressed down even deeper. It’s a perfect execution of the jump’s defining characteristic. There is no judge this time, but I'm sure the bonus points (score for the execution of the technique) for this quadruple Lutz are very high.

 

■ Expressing the Spirit of BOW AND ARROW and Medalist

In competition, difficult jumps are usually performed early when the skater has the most stamina. Given the time constraints of a short program (maximum 2 minutes and 50 seconds), the first jump is typically executed around the 20-second mark.

At the Pyeongchang Olympics, where he won his second consecutive gold medal, and at the 2020 Four Continents Championships, where he achieved the Super Slam, Hanyu performed his first jump around 23 seconds after the start.

However, Hanyu performs the first jump of "Bow and Arrow" (a quadruple Lutz) around 45 seconds after he starts moving. This is because he is timing it to coincide with the jump of Hikaru Kamisaki in the opening video of the anime "Medalist". However, performing the first jump here means that he has to show six technical elements with about two minutes remaining. Nevertheless, Hanyu made this choice.

Also, one of the reasons he included a quadruple Lutz in this program is that Jun Yodaka performed a quadruple Lutz in "Medalist", so you can really feel his respect for the competitive figure skating series "Medalist".

 

■3A (Triple Axel)

The second jump in the program is a triple Axel, one of Hanyu’s most consistently stable jumps. However, this particular attempt is anything but easy.

He takes off with only a short lead-in, first executing a difficult counter turn—a quick directional switch that increases the complexity of the jump. Without pausing to adjust his balance, he immediately launches into the triple Axel. This technique makes the jump much harder, as the counter turn creates instability before takeoff.
Furthermore, the moment he gets off the triple axel, he does a twizzle (a technique where you spin around on one foot) with the foot that he landed on, to the sparkling sound in the music. He performs this element directly in front of where judges would be positioned in competition. In competitions, you especially don't want to make mistakes in front of the judges. Moreover, since it is close to the boards, he jumps with a sense of fear. The entire sequence of the triple axel is full of difficult things.

 

■FSSp (Flying Sit Spin)

The "Flying Sit Spin" is familiar to fans of "Medalist." This spin incorporates the "Broken Leg" (a position in which the free leg is thrust out to the side), a technique shown by the main character, Yuitsuka Inori.

However, Yuzuru Hanyu doesn't stop there.

After the Broken Leg position, he transitions into a Sit Back position (also called Sit Behind), where the free leg is placed behind the skating leg—a particularly difficult variation. As he finishes the spin, he moves into a knee slide, striking a pose reminiscent of Medalist character Jun Yodaka.

 

■Layback Ina Bauer

Though not one of the seven required technical elements in the short program, Hanyu includes the layback Ina Bauer as a form of artistic expression. In the "Ina Bauer", the left and right feet are opened 180 degrees, and then the upper body is tilted back (layback) while moving forward. This position requires a high degree of flexibility, as the back and waist are bent considerably.

In "BOW AND ARROW," Hanyu performs this move during the phrase, “And all the brilliance you’ve grasped is yours.” This moment resonates deeply, reflecting his many achievements and his ability to deliver a performance of the highest caliber as a professional skater. It is a few seconds of pure artistry to be savored.

 

■Quadruple Salchow + Triple Toe Loop Jump Combination

This jump combination is performed in the latter half of "BOW AND ARROW," making it especially challenging.

By the time he attempts the quadruple Salchow + triple toe loop, approximately two minutes into the program, Hanyu has been skating at full intensity. Executing such a high-risk jump combination while fatigued is incredibly demanding.

Furthermore, the difficulty of this jump is also related to the characteristics of the short program. In the short program, three jumps are required... to put it very simply, one is an axel, one is a single jump, and one is a jump combination.

A jump combination is one in which the second jump cannot be executed unless the first jump is landed cleanly. Therefore, if possible, it is common to plan the first jump of the short program as a combination. If the first jump fails and does not become part of a combination (counting only as a single jump), a skater can add another jump after a subsequent single jump to create a combination instead.

However, if the third jump is intended as a combination jump, as in this case, and the skater fails to execute the combination, the jump will not meet the short program requirements. As a result, it will be considered invalid and receive 0 points, leading to a significant drop in the overall score.

Despite this risk, Hanyu chose to make his third jump a combination in Bow and Arrow. This decision reflects his absolute confidence that "I will not fail here."

 

■ Combination jumps at the Pyeongchang Olympics
The jumps that Hanyu jumped in the short program at the Pyeongchang Olympics, where he won his second consecutive gold medal, were a quadruple salchow, a triple axel, and a quadruple toe loop + triple toe loop. The types of jumps are slightly different from now, but the critical composition of making the third jump a combination remains the same.

 

■ Bonus Points for Jumps in the Second Half

In figure skating, jumps executed in the latter half of the program receive a 10% base value bonus. By positioning his quadruple-triple combination jump here, Hanyu maximizes his potential score. "BOW AND ARROW" is structured to achieve the highest possible points, a testament to his strategic brilliance.

 

■"Fly!"
When Hanyu hears the voice "Fly", he launches off with a quadruple Salchow + triple toe loop.
The word "Fly"...Hanyu's fans may think of the 2014 Grand Prix Cup of China.

During the six-minute practice for the free skate at this competition, Hanyu collided with another skater and was bleeding profusely. He was taken to the medical room. The competition continued without any information on Hanyu's condition, but when it was his turn, he appeared on the side of the rink with his head wrapped in bandages. He finished his free skate in that condition, but at that time, the words that Hanyu shouted to encourage himself as he stepped out onto the rink were "Fly".

 

■CCoSp (change of foot combination spin)
■Biellmann spin
A spin in which the skater shows various positions and changes the pivot foot (change of foot) in the middle. In this spin, the skater stretches his arms out as he rotates, grabs the blade, and then lifts his foot from behind, which is the "Biellmann" position.

The Biellmann spin requires a lot of flexibility, as it requires a lot of bending of the hips and back. As with the "Layback Ina Bauer," even if men can do it when they are young and flexible, they often become unable to do it as they grow older and gain muscle strength. There was a time when Hanyu did not perform the Biellmann spin, However, after turning professional in 2022, he reintroduced it into his routines at the age of 27.

It is quite rare for a male skater to perform the Biellmann spin again after having once put it away.

Since it is not required in competition, there is no obligation to perform it. Yet, Hanyu chose to reclaim it, balancing the muscle strength needed for quadruple jumps with the flexibility necessary for this graceful spin. His ability to execute both at the highest level is a testament to his years of dedication, discipline, and relentless training. It reflects his identity as a skater and the pride he takes in his craft.
This is the Biellmann spin performed by Hanyu, a 30-year-old male skater.

 

■A competitive program filled with attention to detail

Hanyu himself has said that he put great care and attention into this program. Small yet meaningful details can be found throughout—such as the moment during the lyrics “Have I become the kind of adult I once longed to be?” where he gazes toward the sky, or when he mimics drawing a bow during the phrase “I pulled strongly.” Each movement reflects his personal interpretation and deep connection to the music.

 

■Short program, "BOW AND ARROW"
At the beginning of the performance, Hanyu exhales white breath into the cold air, waiting for the music to start.  At his feet, on the ice surface he will be skating on, there are already countless traces (traces of skating).
Also, when you look at the surface of the ice where he is heading to jump the quadruple lutz, that part is extremely white. These are traces where the ice has been scraped. It shows that he has repeatedly taken off and landed the quadruple lutz at that place. Throughout the footage, we see various traces etched into the ice, all left by a single skater during just a few hours of filming. It is astonishing to realize how many times Hanyu must have performed "BOW AND ARROW" with full intensity to create such a scene.

And yet, despite this grueling effort, Hanyu does not appear to be sweating. Normally, whether in training, competition, or ice shows, he perspires heavily. Here, however, the air is so bitterly cold that even from afar, his breath visibly expands in the icy air. The rink is dimly lit, with spotlights moving sharply across the ice, adding to the challenge of executing such a difficult program.

Despite that, Hanyu put in all his effort. He continued to jump and trace his movements until he reached a level where he could leave a lasting impression on the world, incorporating incredible techniques and believing that this was the image of the Hanyu Yuzuru who had achieved so much glory. And that's how his miraculous masterpiece, the short program "Bow and Arrow," was born.

 

(Writer: Hasegawa Hitomi)

 

[yuzurujenn]

2025.03.27

 

Source: https://us.oricon-group.com/news/3983/

Archived: https://web.archive.org/web/20250327082633/https://us.oricon-group.com/news/3983/

 

Kenshi Yonezu's "BOW AND ARROW" Music Video — A Commentary on Yuzuru Hanyu's Skating for the TV Anime Medalist Opening Theme

 

The opening theme for the anime Medalist, titled “BOW AND ARROW”, has received a music video unlike any before. This project is a collaboration between Kenshi Yonezu and Yuzuru Hanyu, both of whom deeply immersed themselves in the Medalist manga before creating this visual expression.

 

Spoiler

The result is a fusion of Yonezu’s powerful music and Hanyu’s emotive skating — a piece overflowing with intensity, spirit, and meaning. While the full depth of their vision may elude us, one thing is clear: this is a culmination of each artist’s current best. It is, without a doubt, a landmark work in both of their careers.

 

Hanyu’s Tribute: A Competitive Program Unlike Any Before

Hanyu, the only male skater to achieve a Super Slam and a two-time Olympic gold medalist, has long admired Kenshi Yonezu — calling him a “god.” Inspired by Yonezu’s songs since his early “Hachi” era, Hanyu found emotional strength and courage beyond words in his music.

 

“BOW AND ARROW” is a reflection of that admiration and collaboration. It marks a departure from Hanyu’s past self-choreographed programs (which began in 2022) that were unconstrained by competition rules. Instead, this new program follows the structure of a competitive short program, meticulously tailored to the current figure skating rules and compressed into a precise time limit.

 

Despite not participating in official competitions, Hanyu choreographed BOW AND ARROW to mirror a short program, since the song’s length—2 minutes and 56 seconds—closely aligns with competition timing. To comply with technical rules, Hanyu waits 4 seconds after the music starts before moving, and ends just shy of the 2:50 cutoff.

 

HOMEKenshi Yonezu's "BOW AND ARROW" Music Video — A Commentary on Yuzuru Hanyu's Skating for the TV Anime Medalist Opening Theme
2025-03-26 23:08 (EST)Japan Anime News Edit by Taimu Tsuji    
Kenshi Yonezu's "BOW AND ARROW" Music Video — A Commentary on Yuzuru Hanyu's Skating for the TV Anime Medalist Opening Theme
Last modified : 2025-03-26 23:09 (EST)
The opening theme for the anime Medalist, titled “BOW AND ARROW”, has received a music video unlike any before. This project is a collaboration between Kenshi Yonezu and Yuzuru Hanyu, both of whom deeply immersed themselves in the Medalist manga before creating this visual expression.

The result is a fusion of Yonezu’s powerful music and Hanyu’s emotive skating — a piece overflowing with intensity, spirit, and meaning. While the full depth of their vision may elude us, one thing is clear: this is a culmination of each artist’s current best. It is, without a doubt, a landmark work in both of their careers.

Yuzuru Hanyu and Kenshi Yonezu collaborate in the "BOW AND ARROW" MV

Yuzuru Hanyu and Kenshi Yonezu collaborate in the "BOW AND ARROW" MV

Kenshi Yonezu - BOW AND ARROW /Yuzuru Hanyu Short Program ver.

Hanyu’s Tribute: A Competitive Program Unlike Any Before
Hanyu, the only male skater to achieve a Super Slam and a two-time Olympic gold medalist, has long admired Kenshi Yonezu — calling him a “god.” Inspired by Yonezu’s songs since his early “Hachi” era, Hanyu found emotional strength and courage beyond words in his music.

“BOW AND ARROW” is a reflection of that admiration and collaboration. It marks a departure from Hanyu’s past self-choreographed programs (which began in 2022) that were unconstrained by competition rules. Instead, this new program follows the structure of a competitive short program, meticulously tailored to the current figure skating rules and compressed into a precise time limit.

Despite not participating in official competitions, Hanyu choreographed BOW AND ARROW to mirror a short program, since the song’s length—2 minutes and 56 seconds—closely aligns with competition timing. To comply with technical rules, Hanyu waits 4 seconds after the music starts before moving, and ends just shy of the 2:50 cutoff.

The Elements of “BOW AND ARROW” — Technique Meets Emotion:

Sit Twizzle
A few seconds after the music begins, Hanyu executes a dynamic move where he spins vigorously while gliding forward in a crouched position. In the “Kenshi Yonezu × Yuzuru Hanyu – BOW AND ARROW Conversation”, Hanyu referred to this as “a movement I use as my signature,” and it’s sometimes called a “sit twizzle.”

This move has been a staple in Hanyu’s repertoire since he was 17, when he debuted at the 2012 World Championships in Nice and won bronze. There, he incorporated the twizzle into his step sequence in the Romeo and Juliet free skate (nicknamed “Nice R&J”). In his exhibition skate White Legend at the 2014 Sochi Olympics, he performed it with serene elegance.

 

But in BOW AND ARROW, the sit twizzle is executed with ferocious strength and incredible speed—unlike anything we’ve seen before. The explosive momentum sets the tone for the rest of the program, raising anticipation from the start.

 

4Lz (Quad Lutz)
The first jump in the program is the quad lutz—one of the most difficult jumps in figure skating, successfully performed by only a handful of athletes in competition.

Hanyu was the first Japanese skater to land a quad lutz in official competition. In October 2017, during the free skate at the Rostelecom Cup (part of the Grand Prix series), he opened his performance of SEIMEI with a quad lutz that earned a +1.14 grade of execution.

 

However, this success was followed by a major setback. In November, during practice for the NHK Trophy, he fell on a quad lutz attempt and tore ligaments in his landing foot. He had to withdraw from the NHK Trophy, miss a potential fifth straight Grand Prix Final appearance, and sit out the Japanese Nationals. He spent the months leading up to the PyeongChang Olympics unable to train on the ice.

 

Though he miraculously recovered in time to win his second Olympic gold medal, he did not include the quad lutz in that program.

 

The jump that caused such a serious injury—so pivotal to his career—didn’t return to his competition programs until nearly two years later. At the 2019 Grand Prix Final, he successfully landed it along with a quad loop (another high-difficulty jump he first landed in 2016).

 

Such a brief moment—a few seconds—can hold immense meaning and history. Now, more than two years into his professional career, Hanyu showcases the quad lutz once more in BOW AND ARROW.

 

The Beauty of the Takeoff
The quad lutz in BOW AND ARROW is filmed from an overhead angle, making it easy to see—and stunning in execution.

 

There are six types of jumps in figure skating, all of which rotate counterclockwise (to the left). The lutz takes off from a backward glide on the left foot, with the skater launching using the toe pick of the right foot.

 

Key to the lutz is the use of the outside edge of the left foot. Ideally, the edge should lean strongly outward—toward the clockwise direction—while the skater rotates counterclockwise. Many skaters lose this edge at takeoff, causing the jump to blur into a flip.

 

But Hanyu’s edge remains beautifully tilted to the left. At takeoff, the edge deepens firmly and cleanly. It’s a textbook example of what makes a lutz a true lutz. Though there are no judges here, this jump would undoubtedly receive a high grade of execution.

 

Expressive Choices in “BOW AND ARROW” and Medalist
Difficult jumps are typically placed early in the program when stamina is highest. In a short program limited to 2 minutes and 50 seconds, skaters must include seven technical elements. For this reason, the first jump usually happens around the 20-second mark. At the PyeongChang Olympics and the 2020 Four Continents—where Hanyu achieved the Super Slam—his first jump occurred around 23 seconds in.

 

But in BOW AND ARROW, the quad lutz comes at about 45 seconds after movement begins. Why? Because Hanyu matched the timing of a jump by the character Hikaru Okazaki in the opening sequence of the anime Medalist.

 

This meant he had to fit six more technical elements into the remaining two minutes—an immense challenge he willingly accepted.

Another reason for including the quad lutz was the manga’s own depiction of Jun Yodaka landing the same jump. Hanyu’s deep respect for Medalist, a story centered on competitive figure skating, is evident throughout.

 

3A (Triple Axel)
The second jump is a triple axel, a jump Hanyu is known for mastering. But that doesn’t mean it’s easy.

 

He approaches with a short entry and performs a “counter”—a difficult turn—before launching directly into the jump. This means he transitions from backward to forward and immediately jumps, a sequence that’s hard to control and land.

 

He lands the jump in perfect sync with a sparkling chime in the music, then seamlessly transitions into a twizzle—spinning quickly on one foot.

 

Notably, he executes this entire sequence in a location close to the boards and directly in front of where judges would sit in competition. It’s a high-pressure zone where skaters usually avoid mistakes. This area of the program is packed with complexity.

 

FSSp (Flying Sit Spin)
Fans of Medalist will recognize the Flying Sit Spin, a move showcased by protagonist Inori. In BOW AND ARROW, Hanyu incorporates the same move, including the "broken leg" position—where the free leg extends horizontally.

 

But Hanyu doesn't stop there.

 

After the broken leg, he transitions into a “sit back” (also known as “sit behind”), a more challenging position where the free leg is placed behind the supporting leg. He finishes the spin with a knee slide, kneeling on the ice, evoking the presence of Medalist character Jun Yodaka.

 

Quad Salchow + Triple Toe Loop Combination
A rare and bold decision: placing this exhausting combo jump late in the program, around the 2-minute mark. In competition, this strategy carries risk — a failed combo at this point could mean scoring zero for the jump. Hanyu’s confidence here is striking.

 

Layback Ina Bauer
While not one of the seven required short program elements, Hanyu includes the Layback Ina Bauer as a powerful expressive moment.

 

This move involves spreading both feet 180 degrees apart, gliding sideways while arching the upper body backward in a deep curve—requiring immense flexibility in the back and hips.

 

Hanyu performs this move during the lyric, “And all the brilliance you’ve grasped—now it’s yours.” The pose, coupled with his skating history and mastery, brings a poetic resonance to the phrase. It’s a few seconds of pure, unforgettable beauty.

 

4S + 3T (Quad Salchow + Triple Toe Loop Combination)
The jump combination in BOW AND ARROW is a 4S+3T (quad Salchow + triple toe loop), placed in the second half of the program—an unusual and difficult choice.

This sequence occurs around the two-minute mark, after nearly continuous, high-intensity skating. Attempting such a physically demanding combination at this point is extremely challenging.

 

What’s more, the structure of the short program adds further pressure. Skaters must complete three jumps:

One Axel-type jump
One solo jump
One combination jump

 

Combination jumps must connect smoothly from the first jump’s landing. To mitigate risk, most skaters place the combination early—so if they miss it, they can still attach another jump later to meet the requirements.

 

But Hanyu chooses to perform the combination as the third and final jump, leaving no room for error. Missing this could result in a score of zero for that element. His decision reflects absolute confidence in his ability.

 

Combination Jump at PyeongChang 2018
At the PyeongChang Olympics, Hanyu’s short program jump layout included:

Quad Salchow
Triple Axel
Quad toe loop + triple toe loop

 

While the jumps were different, he still placed the combination as the third element—a testament to his boldness and strategy.

 

Second Half Bonus
In figure skating, jumps performed in the second half of the program (after 1:25) earn a 10% base value bonus.

By placing his highest-scoring combination jump in the second half, Hanyu maximizes scoring potential—BOW AND ARROW is built to deliver extraordinary points.

 

"Fly!"
Hanyu launches into the 4S+3T combination at the cue “Fly!” in the lyrics.

 

This moment may bring back memories for longtime fans of the 2014 Cup of China, where Hanyu suffered a severe collision during the six-minute warm-up. Despite heavy bleeding and head trauma, he returned to the ice—his head wrapped in bandages—and skated his free program. Before stepping onto the rink, he shouted to himself: “Fly!”

That same word echoes here.

 

CCoSp (Change-Foot Combination Spin) & Biellmann Spin
In this spin, Hanyu transitions between various positions and changes his skating leg mid-spin. He finishes with the rare and demanding Biellmann position—grabbing the blade of his skate and pulling his leg behind his head while spinning.

 

The Biellmann requires extreme back and hip flexibility. Like the layback Ina Bauer, it’s a move that male skaters often leave behind as they age.

 

Hanyu stopped performing it for a time, but after turning professional in 2022, he began incorporating it again—starting at age 27. It's a rarity for a male skater to bring back such a move after shelving it, especially after turning pro.

 

Yet Hanyu made it happen.

 

Balancing the explosive power needed for quad jumps and the flexibility required for the Biellmann is no small feat. Achieving both is the result of relentless training, unshakable belief, and deep pride in his identity as a skater.

 

This is the Biellmann Spin of Yuzuru Hanyu at age 30—a symbol of everything he has built and become.

 

A Program Crafted with Care and Vision
Hanyu stated, “I packed a lot of intention into this program.”

At the lyric “Have I become the adult I once dreamed of?” he looks skyward. At “Pulled it strong”, he draws a bow with his arms—each moment filled with deliberate storytelling.

 

Short Program “BOW AND ARROW”
At the beginning, Hanyu exhales visible breath into the cold air, waiting for the music to start. Beneath him, the ice is already marked with countless traces—evidence of repeated practice.

 

The area where he launches his quad lutz is worn white, the ice visibly shaved down. It shows he has taken off and landed this jump again and again in the same spot.

Throughout the video, we see these traces. In just a few hours of filming, alone on the rink, Hanyu left behind all that evidence—a testament to how much he poured into this routine.

 

And yet, on this day, he is not sweating.

In practice and shows, Hanyu usually sweats heavily. Here, even his breath turns to mist. The cold is biting. The arena is dim, lit only by shifting spotlights.

It was a harsh environment for executing high-difficulty jumps and an intense program.

 

Still, Hanyu gave everything.

He performed at a level that could be preserved for eternity. This is the Yuzuru Hanyu the world has watched win glory. This is the skater who jumped again and again—leaving behind every trace—until he created this miraculous masterpiece: the short program “BOW AND ARROW.”

The Skating Scene in the MV
As the music begins, Hanyu exhales in the cold air, standing still amid a rink marked with countless skate traces — signs of tireless repetition. The ice is visibly carved where he practiced the quad lutz.

 

Despite the grueling routine, in freezing conditions and under shifting lights, Hanyu doesn't appear sweaty. It’s a testament to his professionalism and preparation.

This video wasn’t just a performance — it was a legacy, created and delivered with absolute intensity and grace. BOW AND ARROW is, quite possibly, Hanyu’s greatest masterpiece to date.

 

(Written by Hitomi Hasegawa)

 

Link: 

 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://www.tokyo-sports.co.jp/articles/-/338920

Archived: https://web.archive.org/web/20250327110919/https://www.tokyo-sports.co.jp/articles/-/338920

 

[Figure Skating] SML explains the details of Yuzuru Hanyu's "BOW AND ARROW"

 

The "obsessions" of professional skater Yuzuru Hanyu (30), who won the men's figure skating gold medal at the Olympic Games for two consecutive years, have been revealed.

 

Spoiler

He appeared in the music video for the opening theme song for the TV anime "Medalist," "Bow and Arrow," by Kenshi Yonezu (34), and performed a program he choreographed himself. The program incorporates highly difficult moves while following the current rules of the sport.

 

　Sony Music Labels Inc. (SML) published an explanation of Hanyu's skating technique on the 27th. "Hanyu makes his first jump (quadruple Lutz) about 45 seconds into his movement. This is because it is timed to coincide with the timing of Hikaru Kamisaki's jump in the opening video of the anime Medalist. However, jumping the first jump here means that he has to show six technical elements with about two minutes remaining. Nevertheless, Hanyu made this choice," the company wrote.

 

　He further explained, "One of the reasons he included a quadruple Lutz in his program was that Jun Yodaka jumped a quadruple Lutz in 'Medalist,' so you can really feel his respect for the competitive figure skating series 'Medalist.'"

 

　He went on to say, "Behind both Yonezu's music and Hanyu's skating, there is overwhelming emotion and passion. We may not be able to understand all of that. But there is one thing we can understand. This is surely the best work, the best effort of both Yonezu and Hanyu at this point in time." This ultimate collaboration seems to have touched the hearts of many. (Comment in original)

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://realsound.jp/2025/03/post-1966645.html

Archived: https://web.archive.org/web/20250327140129/https://realsound.jp/2025/03/post-1966645.html

 

The Values, Contradictions and Similarities of Artists and Athletes Seen in the Conversation between Kenshi Yonezu and Yuzuru Hanyu "BOW AND ARROW"

 

"BOW AND ARROW" by Kenshi Yonezu was released on January 27th as the opening theme song for the TV anime "Medalist" (TV Asahi). Since the tie-up was decided, Yonezu's love for the original work has been a big topic of conversation, and the song was also debuted during the nationwide tour "Kenshi Yonezu 2025 TOUR / JUNK" held at the same time, and it has been a hot topic since the end of last year, attracting people's attention.

 

Spoiler

Many listeners closely followed the song's progress, likely due in part to the presence of its music video. Another track released around the same time, Plazma, also featured a large-scale MV reminiscent of Mobile Suit Gundam GQuuuuuuX. Additionally, the fact that BOW AND ARROW had a slightly delayed information release heightened anticipation for what kind of visual world would be depicted in its MV. As a result, many fans eagerly awaited its unveiling.

 

Amidst these rising expectations, the long-awaited MV was finally released in early March. The video not only featured Kenshi Yonezu singing on an ice stage but also showcased figure skater Yuzuru Hanyu delivering a stunning performance in sync with the music. Given the nature of the song, there had been speculation that it might one day be used as a program piece in figure skating. Ultimately, the MV surpassed all expectations by featuring one of Japan’s most prestigious performers, resulting in a collaboration that far exceeded public predictions. This extraordinary MV, going beyond even the highest expectations, became one of the key reasons for the overwhelming enthusiasm among listeners.

 

A spectacular collaboration between two of the same generation, transcending the boundaries of genres, featuring a top artist in the current Japanese music scene and a treasure in the world of Japanese figure skating. The performance was crafted with an unparalleled level of dedication, requiring even Hanyu, who has achieved historic global feats, to surpass the abilities he demonstrated during his competitive career. Moreover, the song’s title, BOW AND ARROW, and the fateful connection to Hanyu, whose name means “one who ties the bowstring,” add a layer of profound significance. This MV collaboration became an extraordinary project for both Yonezu and Hanyu, overflowing with a depth of meaning and artistic brilliance that defies simple explanation.

 

Given the circumstances, there were many voices calling for a song talk project, which Yonezu has often held in the past, in which he invites guests. As if to meet those expectations, about one week after the MV was released, a video of the conversation between Yonezu and Hanyu was released, along with a MV of Hanyu's short program. The latter, capturing the present brilliance of the genius skater, held immense value as a rare performance archive. As a testament to his enduring excellence, the video amassed 2 million views on YouTube within just three days. Nearly seven years since his back-to-back Olympic victories, the video allows you to fully experience the outstanding talent that continues to evolve solidly even in his 30s.

 

Building on the immense buzz surrounding this MV, let’s take a closer look at the invaluable conversation video. This discussion covers a wide range of topics, including their impressions of each other, their understanding and connection to the work Medalist, the sport of figure skating, and even their personal philosophies.

The conversation unfolds on the basis of the great respect that the two men of the same generation have for each other, but the most memorable scene is one that symbolizes the contradictions and similarities between the two, who continue to run as top talents in their respective fields.

 

In the first half to the middle of the conversation, there were many moments where the contrast between their personalities became apparent. Many people likely perceive both Yonezu and Hanyu as mysterious and quiet, or gentle and calm. While Yonezu largely matched this impression with his attentive listening, Hanyu, who spoke with passionate intensity throughout, could be seen as having a completely opposite personality.

 

As for the source of their differences, as was mentioned at times during the conversation, it likely lies in the distinction between 'Kenshi Yonezu the artist' and 'Yuzuru Hanyu the athlete.' As professionals, both are certainly affected by numbers such as sales and attendance. However, when it comes to creative fields like music and art, discussing them in terms of absolute right and wrong or purely relative evaluation is somewhat nonsensical. On the other hand, as depicted in Medalist, the world of sports operates under a harsh hierarchy, where only those who continuously win competitions and deliver results are allowed to survive. It is fascinating how this exchange clearly highlighted the contrast between Yonezu’s choice of words and receptivity—shaped by his artistic background—and Hanyu’s stoicism and ambition, which stem from his world of competition.

 

Kenshi Yonezu and Yuzuru Hanyu talk about "happiness" and "sacrifice." What do they have in common?

 

Toward the end of the conversation, when the topic shifted to happiness and sacrifice, the dynamic took a turn. In contrast to the differing impressions they had given earlier, the two engaged in a deeply introspective exchange, revealing strikingly similar values. In Medalist, the concept of happiness and sacrifice is depicted in contrast through the characters Tsukasa Akeuraji and Jun Yodaka. It was particularly noteworthy how both Yonezu and Hanyu expressed understanding toward both perspectives.

 

As the discussion continued, they resonated strongly with the idea of not perceiving sacrifice as sacrifice. Rather, they found happiness in becoming utterly immersed in something—to the point where they might even push themselves to their limits as a means of proving their existence. Despite working in entirely different fields, their shared mindset, or perhaps the inherent precariousness of their relentless pursuit of excellence, became increasingly apparent. They do not see hardship as hardship, nor do they consider taking an easier path an option. Instead, they willingly and unwaveringly forge ahead on a thorny road of their own choosing. Born into this world as a certain kind of clumsy human, they nonetheless firmly affirm their chosen path as "enjoyable." This scene strongly conveyed that such a mature mindset is another commonality between them and a significant part of their appeal. 

 

Looking back, the anime adaptation of Medalist, along with the worlds of figure skating and BOW AND ARROW, seems to have brought together an intricate web of people and encounters. Sports, and music. Because these people are usually from completely different genres and categories, this series of encounters must have been a very precious and valuable opportunity. I'm sure that in the future, they will continue to have a huge impact on many people in their respective fields.

 

 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.28

 

Source: https://trilltrill.jp/articles/3958883

Archived: https://web.archive.org/web/20250328001157/https://trilltrill.jp/articles/3958883

 

Kenshi Yonezu: "What does it mean to do your best?" He speaks frankly to Yuzuru Hanyu about his "resistance to the cheers" and "change in stance"

 

The song "BOW AND ARROW", created by Kenshi Yonezu as the opening theme for the TV anime Medalist, features Yuzuru Hanyu in its music video. In the video, Hanyu performs a short program that he personally choreographed to match the song.

 

To coincide with this collaboration, a conversation between musician Kenshi Yonezu and figure skater Yuzuru Hanyu, two artists who have built their own unique worldviews in their respective fields, was held on Kenshi Yonezu's official YouTube channel. The conversation, which discusses each other's attitudes and passion towards production, as well as the relationship between Yonezu's songs "Peace Sign" and "BOW AND ARROW," is a rare opportunity to get a glimpse into the inner workings of these two creators.

 

Spoiler

"BOW AND ARROW" is a self-homage to "Peace Sign"

Yonezu describes BOW AND ARROW as "a sort of self-homage, or rather, an extension of something I had done before." The song is positioned as a continuation of Peace Sign. When composing the theme for the manga Medalist, the creators specifically requested "a song with a similar feel to Peace Sign," which naturally connected the two pieces.

 

Reflecting on this connection, Yonezu explains, "Now that I’ve grown older and matured, I feel like I can create music not from a child's perspective, but from the standpoint of someone who supports them." While Peace Sign embodies the energy of pushing forward with a child's viewpoint, BOW AND ARROW shifts to the perspective of someone providing support.

 

The change in Kenshi Yonezu's perspective

Yonezu also candidly shares how his approach to creation has changed over time. He once felt that he had achieved success "through his own strength," carrying a sense of pride as someone who "rose up from an outsider position."

 

However, as time passed, he realized, "I was actually a tiny existence, supported by countless people who had been involved with me in various ways." He acknowledges that he had been protected and, in many ways, had leaned on that support throughout his journey. This shift in awareness significantly influenced his approach to creating BOW AND ARROW.

 

Resonance Between Two Artists
Kenshi Yonezu candidly admits that he used to feel a sense of resistance toward cheers and words of encouragement from others. He distanced himself from being supported, often thinking, "What does 'Do your best' even mean?" or "That has nothing to do with me." However, after encountering the manga Medalist and taking on the role of creating a song for it, his perspective changed.A sense of responsibility began to emerge, as if to say, "I'm in that position now," and "I've become someone who has to take on a role."

 

On the other hand, Hanyu describes his approach to the song by saying, "In order to fully absorb the soul that Kenshi Yonezu put into this song, I decided to strip everything away—everything." He felt a deep responsibility to commit himself wholeheartedly to the performance. Being a longtime fan of Peace Sign, Hanyu even thought, "Maybe it’s more fitting for me to skate from the perspective of Peace Sign instead." Despite coming from different creative disciplines—one as a musician, the other as a figure skater—their artistic sensibilities resonated perfectly.

 

Yonezu also describes "cheering someone on" as "something incredibly frightening." He acknowledges the weight of pushing someone forward, as well as the burden on the person being pushed to keep moving. This awareness is deeply embedded in BOW AND ARROW, and Hanyu, understanding its essence, brings it to life through his skating.

 

How did viewers react to this video?

Quote

"Their sense of responsibility for their work is incredible."

"Yonezu is an amazing musician, and Hanyu is such a passionate athlete."

"Watching this made me realize why these two have remained at the top for so long."

"You can really feel their shared pursuit of perfection."

 

Yonezu, through his music, and Hanyu, through his performances on the ice, are always trying to surpass their own limits. Behind this lies a strong sense of responsibility to "create" and their pride as artists. Viewers seem to find inspiration in their dedication, discovering hints for their own lives and forms of expression.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.30

 

Source: https://trilltrill.jp/articles/4031794

Archived: https://web.archive.org/web/20250330032946/https://trilltrill.jp/articles/4031794

 

Yuzuru Hanyu: "I just try to be unhappy every day" – His unique 'Unhappiness Point Theory'
Kenshi Yonezu bluntly responds: "That's weird."

 

"BOW AND ARROW" is a song created by Kenshi Yonezu as the opening theme song for the TV anime "Medalist". Yuzuru Hanyu appears in the music video and performs a short program that he choreographed himself to accompany the song.

 

In this special collaboration, a conversation between Kenshi Yonezu and figure skater Yuzuru Hanyu—two of Japan’s most iconic artists—was featured on Yonezu’s official YouTube channel. Their discussion revealed a unique mindset behind their success. While talking about the characters in the manga Medalist, Hanyu shared his surprising philosophy of "Unhappiness Points," which he practiced leading up to the PyeongChang Olympics. His words offer a glimpse into what allows them to remain at the top.

 

Spoiler

Yuzuru Hanyu’s Unique Theory: Accumulating ‘Unhappiness Points’
During the conversation, Yuzuru Hanyu revealed a personal and unconventional approach he practiced leading up to the PyeongChang Olympics.

 

"At that time, I was constantly working on ‘accumulating misfortune,’" he explained.

 

His reasoning stemmed from a personal theory: "The more negative experiences you accumulate, the greater your happiness will be in the end."

 

Simply put, he thought, "If I become really unhappy, then I’ll become really happy later, right?" With this mindset, he deliberately told himself every day, "Let’s be unhappy, let’s be unhappy," consciously collecting what he called “Unhappiness Points.”

 

One way he practiced this was "taking the initiative to do things that I don't want to do."

 

Hearing about this strange and unique philosophy, Kenshi Yonezu, who was asked by Hanyu, "I must seem like a weird person, right?" didn’t hesitate to respond with a wry smile, "Yeah, that’s weird." However, he also admitted, "I kind of get what you mean."

 

It’s possible that this mindset of accumulating "Unhappiness Points" was one of the hidden driving forces that propelled Hanyu to the top of the world. Instead of avoiding hardships, he actively sought them out—a paradoxical approach that lies at the core of his professionalism.

 

"What is sacrifice?" The professionalism of these two men seen in their shared understanding
One of the key moments in their conversation was their shared understanding of sacrifice.

 

When Yonezu compared Hanyu to Yodaka, a character from the manga Medalist, Hanyu agreed, saying, "Yeah, I guess there is a certain cold-hearted side to me. Also, the idea of achieving glory through sacrifice... I really understand that."

 

The two's thoughts on "sacrifice" encapsulates the success philosophy of top creators. They don't see "sacrifice" as simply something negative, but as a necessary investment for success .

 

Yonezu responded, saying, "The more negatives you accumulate, the closer you get to happiness." He suggested that this principle holds true in creative work as well.

 

Their deep understanding of the connection between sacrifice and success speaks volumes about the price they’ve paid to reach the top. True success always comes with sacrifices, but they don’t see it as suffering—it’s simply a given. For them, sacrifice is not something to be feared but something to be embraced as part of the journey. This mindset is likely the key to their extraordinary strength.

 

"Adversity is the meaning of existence" - Their way of life and philosophy
What emerges from their conversation is a unique way of life—one that actively embraces struggles and hardships as part of their identity.

 

Hanyu stated, "Negativity isn’t always a bad thing," emphasizing the value of lessons learned through overcoming difficulties.

 

What's interesting is that they are aware that those around them see them as "pitiful" for choosing this "suffering." Yonezu confides, "When my friends see me, they say, 'That's so pitiful,'" to which Hanyu nods in agreement. However, for the two of them, it's simply the most natural way to live that "even before I consider whether I should sacrifice it or not, it's what feels most comfortable" and "it's not even an option."

 

Hanyu even expressed that dedicating himself to his craft is "proof that I exist," and without it, "I wouldn’t be able to prove my own existence."

 

This mindset—finding meaning and identity in adversity—is what has propelled them to such extraordinary heights. Their conversation reveals a philosophy of turning struggles into fuel for greatness, offering a glimpse into the unique mental strength that defines true professionals.

 

A conversation between two people that touched the hearts of viewers... Reactions to their "philosophy"

Quote

"The phrase ‘fighting desperately just to keep enjoying it’ really resonates."
"He enjoys what may seem like hard work, and even says he wants to do it. That sensibility moves people's emotions and fascinates them."
"I was deeply moved by this conversation between two people who live and work with such intense passion."

 

The unwavering dedication and unique values of Yonezu and Hanyu have left a lasting impact on many. Their discussion on ‘Unhappiness Points’ and the philosophy of ‘sacrifice and success’ may be truths known only to those at the very top, but at its core, their commitment to 'living life seriously' offers invaluable insight to anyone striving for success in any field.

 

 

[yuzurujenn]

machine translation, inaccuracies exist*

 

 

2025.06.11

 

Source: https://mdpr.jp/interview/detail/4583940

Archived: https://web.archive.org/web/20250611115258/https://mdpr.jp/interview/detail/4583940

 

[Interview with Kenshi Yonezu] The behind-the-scenes story of the production of "Plazma" and "BOW AND ARROW" - "A premonition of certainty" gained from his first dome and overseas tour

 

Kenshi Yonezu released his new single "Plazma / BOW AND ARROW" on June 11th. This work includes "Plazma," the theme song for the anime "Mobile Suit Gundam GQuuuuuuX," and "BOW AND ARROW," the opening theme for the TV anime "Medalist." In addition to the background of the creation of both songs and the thoughts he put into them, we asked Yonezu about the single's packaging, for which he himself drew a jacket illustration and supervised the design of the first limited edition, the music videos for both songs, including "BOW AND ARROW," which attracted a lot of attention with its appearance by Yuzuru Hanyu, and his first dome tour and overseas tour held this year.

 

*Only B&A parts

Spoiler

"Bow and Arrow" is written from the perspective of those who support and push children forward.

 

— Tell us about “BOW AND ARROW” as well. I heard that you were originally a fan of the Medalist manga and that you yourself approached them about making the theme song for the anime.

Yes, that’s right. I happened to read the manga one day and found it unbelievably good. I thought, Wow, an incredible manga has just started. Then I saw online that it was going to be adapted into an anime. That’s when I reached out and said, “I’d love to do it.” That was the beginning.

 

— What aspects of Medalist did you find so appealing?

Medalist is centered around figure skating and the relationship between a coach and a student, but even in scenes that don’t necessarily try to be emotional, I found myself deeply moved, tearing up, even. Just watching this elementary school girl earnestly strive toward her goal, putting in the effort with such passion, and seeing her form friendships along the way, that alone was incredibly touching. It felt so precious. When I read the manga, I found myself reading from the coach’s perspective. If I’d read it when I was in my teens or twenties, I probably would’ve empathized more with the student. But reading it now, I realized my point of view had shifted. I felt like I had become part of the side that holds authority now. It was a manga that made me aware of that change in myself. And because of that, I had a strong intuition that I could create a song for this work not just for the anime, but for myself as well.

 

— What kind of discussions did you have with the anime production team?

Before I started working on the song, I got some input from their side. They suggested creating something with a similar vibe to “Peace Sign.” Hearing that, I thought, Okay, then this song will be a response to “Peace Sign,” or something that follows in its path.

“Peace Sign,” which I made as the theme for the anime My Hero Academia, was written from the perspective of the kids—kids moving forward with passion, just as they are. In contrast, this time, I thought I could write from the viewpoint of someone supporting and encouraging those kids from behind. That’s where it all began.

 

— The title of the song is “BOW AND ARROW.” Given the story of Medalist, many listeners will surely realize that this symbolizes the relationship between Tsukasa, the coach, and Inori, his student. Did the bow-and-arrow motif come to you right away?

Actually, I only decided on the title after I finished recording the first chorus. So the motif wasn’t there from the beginning at all. It came from the lyrics about “letting go.” But at the root of that idea is really the power dynamic, what you might call a hierarchy of authority.

It could be a teacher and student, or a parent and child. Basically, I was thinking about how to interpret the relationship between the protector and the one being protected. And I started to feel that “letting go” is incredibly important.

 

— What made you think that?

There are relationships where parents impose a strong sense of dependency on their children. This might be a bit of a stretch, but I once heard a story from someone who grew up as a second-generation member of a religious group. They said that when they worked really hard and achieved something as a child, their effort was always credited to prayer—like, “It happened because we prayed”—and that really bothered them.

It’s the idea that “No, I’m me.” Of course, it’s a given that children can’t survive without parental support. But that doesn’t mean a child is just an extension of their parent. Success is something they achieve for themselves, and even if they fail, that too is the result of their own choices. Regardless of the reality, I think it’s incredibly important for a child to be in an environment where they can feel that way.

For that to happen, the protector needs to let go. I am me, and you are you. The child must eventually separate and become independent. That’s where the phrase “letting go” came from, and from there, the bow and arrow image emerged.

When you pull back a bow, there’s tension. You keep tightening and tightening, and when you finally let go, the arrow flies far. That relationship felt like the perfect metaphor.

 

Collaboration MV with Yuzuru Hanyu "Scenes reflected in a kaleidoscope"

 

— The lyrics of this song use a lot of rhyme. Even from the A melody, there’s a repetition of the “e” sound in lines like “kutsu wa yogore” (my shoes are dirty), “ame” (rain), “yume” (dream), and “soiree.” In the chorus as well, phrases like “ike ike oitsukenai sokudo de” (go, go, at an unreachable speed) keep echoing that same vowel. It feels like the entire song is driven forward by the momentum of that “e” sound. Was that intentional?

Yes, I structured the lyrics so that everything else used the “e” sound in order to make one key phrase stand out. I wanted to draw attention to two particular lines: “Kitto kono toki o kanjiru tame ni umaretekita nda” (Surely I was born to feel this very moment), and “Kitto kimi no mabushisa ni daremo ga kidzuku darou” (Surely everyone will come to see how radiant you are). By relentlessly using rhyme, I created a kind of tension—like pulling back a bow—and then released it all at “umaretekita nda” (I was born), for that emotional release.

 

— Those two lines are certainly some of the most striking in the song. Why were they so important to you?

They’re like a “double-page spread” in a manga—those big, dramatic panels where a major moment or a character’s impactful line is delivered. That’s how I imagined it visually.

Both of those lines reflect the virtue or nobility of the one doing the sending off—of the person staying behind, watching someone else go forward. There’s also a contrast between the moving and the stationary. In “Peace Sign,” the perspective itself was speeding forward. But in this song, the perspective is stationary; what’s moving quickly is what it’s looking at. That contrast in relative motion creates a sense of speed, or velocity. That was the image I had in mind.

 

— In the music video for "BOW AND ARROW," you had the opportunity to collaborate with Yuzuru Hanyu. His skating, structured like a short program, conveyed a strong sense of respect for both the song and the manga Medalist. Looking back, how do you feel about the collaboration?

Since I made the offer with the mindset that it would probably be rejected anyway, I remember being very surprised when I received the news that he would appear. I wanted Hanyu-san to perform in a way that was easy and comfortable for him, so we kept our requests to the absolute minimum. But even so, he poured deep respect into both the original song and the manga, and the way he skated with immense strictness and intensity toward himself was simply overwhelming. I can’t help but feel that people like him are the ones who truly reach the top of the world.

The dull sound of his blades scraping the ice, the white breath illuminated in the spotlight, the speed of his spins that seemed almost beyond human. And yet, he wasn’t some fairytale or illusion. He was right there, real and tangible, with weight and presence. It felt surreal. I think that scene will probably appear in my life’s final moments, like a flashback.

 

 

 

 

 

[Wintek]

*machine translation, inaccuracies exist*
2025.08.25

 

Interview with Hiroshi Okuyama

Source: https://deepedgeplus.kyodonews.jp/column/figureskating-art-cafe/118914/ 
Archive: https://web.archive.org/web/20250825063632/https://deepedgeplus.kyodonews.jp/column/figureskating-art-cafe/118914/

Translation of post:
This is an interview with director Hiroshi Okuyama about his thoughts on making the film “Boku no Ohisama” (My Sunshine), which portrays the delicate emotional movements of a teenage boy and girl through the theme of figure skating.

The skates worn during the side-by-side filming of Kenshi Yonezu’s MV BOW AND ARROW, in which Yuzuru Hanyu appeared, actually have a connection to the film…

[link to article]

Filming figure skating that no one has ever seen before – Interview with director Hiroshi Okuyama about the film “Boku no Ohisama”

 

 

 

Filming figure skating no one has ever seen before – Interview with film director Hiroshi Okuyama of My Sunshine

The film My Sunshine, which depicts the delicate emotional movements of a boy and girl in adolescence through the theme of figure skating, was officially selected in the Un Certain Regard section at the 2024 Cannes Film Festival. In August, its DVD and Blu-ray were released.

 

Spoiler

The director, Daishi Okuyama, is one of the most noted up-and-coming filmmakers today, having also worked on music videos and TV dramas for popular artists. Okuyama himself has experience in figure skating. What he learned as a child eventually connected to the making of My Sunshine, and for the skating scenes he himself put on skates and filmed on the ice.

Okuyama also joined the staff for the music video of Kenshi Yonezu’s song BOW AND ARROW, the theme song of the figure skating anime Medalist—a work that drew major attention thanks to the appearance of Yuzuru Hanyu performing original choreography. For that project, Okuyama took on the challenge of parallel skating shots alongside Hanyu.

He reflects that in both works, “I wanted to capture images of figure skating that no one had ever seen before.” We spoke with him about his feelings toward creation and behind-the-scenes stories from filming.

—It’s been about a year since the release of My Sunshine, and now the DVD and Blu-ray are coming out, right?

“Yes. Actually, today (July 24) the product sample arrived. We paid a lot of attention to the packaging. These days streaming is overwhelmingly dominant, and DVDs don’t really sell. So when that’s the case, I felt it was really important to focus on design and make it something that you’d want to physically own as an ‘object.’ It’s the same with movie pamphlets—we really crafted it carefully.”

—The worldview of the film comes across strongly.

“Yes, exactly. We even paid attention to the quality of the paper. The DVD and Blu-ray will be released on August 2. About a year has passed since the premiere, and in that time I was able to attend film festivals and award ceremonies. But above all, it’s about the movie theater. This time, at Theatre Shinjuku, which screened it continuously from the advance release through the main run, we’re being allowed to do encore screenings, and it feels like we’ve been able to ‘return home,’ which makes me happy.”

Following his older sister to skating classes

—Let me ask again about your own skating background—you skated for about six and a half years, I heard.

“That’s right.”

—At what age did you start?

“If we’re talking about when I began to properly do it, that would be first grade in elementary school. But even before that, when I was about kindergarten age, I would tag along with my older sister who was learning figure skating, and gradually played around on the ice. From around the time I became self-aware, I was being sent to classes, and once I became more serious about it, I started taking private lessons.”

—So you also had private lessons.

“Yes, I did. At Shin-Yokohama Prince FSC (Kanagawa). I was taught by Ms. Nobuko Fukui (who also coached Akiko Suzuki and others).”

—Ms. Fukui also appears as a coach in your film, right?

“Yes, exactly. I owe her so much for this film. In terms of the realism of the skating scenes in the movie, that was strongly supported by Kanata Mori (former ice dancer, interviewed previously in Deep Edge Plus). But when it comes to the realism of Mr. Ikematsu’s skating, who played Coach Arakawa in the film, that was thanks to Ms. Fukui’s strength, and also the skating teachers she introduced to us.”

—So Ms. Fukui actually taught for the film too.

“Yes, both Ms. Fukui and other coaches from her figure skating club gave us lessons. And since Mr. Ikematsu was very busy, for example, if we were filming in Ibaraki, he couldn’t go back to Tokyo in between shoots to practice. But if it was Ibaraki, then he could—so I asked Ms. Fukui if there was somewhere he could skate and if she could introduce a coach. Thanks to that, Mr. Ikematsu was able to get in repeated lessons.”

—His skating looked so natural—it was surprising. So you yourself had private lessons with Ms. Fukui when you were a child.

“Yes, I learned from Ms. Fukui, but around the time I entered junior high, I quit skating.”

—So you skated through all of elementary school.

“Yes, I did all through elementary school. That said, if you compare it to the intensity of kids who are real competitive skaters now, mine was so relaxed that, condensed, it might be equivalent to just three months’ worth of training. I really was doing it half-heartedly.”

“When I was learning, around 2006, it was when skaters like Daisuke Takahashi and Nobunari Oda were starting to make figure skating gradually recognized as a sport for boys too. I sort of rode that wave, and people around me treated me kindly, like, ‘Good boy, you’re doing well,’ and praised me. That kindness and encouragement made it fun, and that’s why I continued. But if you ask whether I felt the pure joy of skating itself… I wasn’t good at skating, so I admired those who skated well. I liked watching more than doing.”

—Was Shizuka Arakawa also around then?

“Yes, she was. She was training under Coach Nobuo Sato. But the period when I was skating coincided with the 2006 Torino Olympics. So Arakawa-san suddenly became not just a skating star, but a national star. I thought she was really cool.”

—Did you have much interaction?

“I was just one of the many little kids around. We hardly ever skated on the same rink. But I did things like flower boy/flower girl roles. I don’t know how the system is now, but when competitions were held at the rink, the club members would all be called in. Before I knew it, I was out on the ice picking up bouquets. At the time, Arakawa-san and Mao Asada were already hugely popular, so stuffed dogs and such would be thrown in enormous amounts, and all us kids would be mobilized to collect them.”

—That was about the time new star skaters were emerging, right?

“Yes, it wasn’t just one star, but several at once. Unlike the era of Midori Ito, I feel like suddenly there were many athletes that everyone knew. Figure skating as a sport seemed to be rising steadily, and I just happened to be around at that time. At first there were very few boys, but gradually the number increased.”

—Did you play any other sports?

“No, I didn’t. But one of the big reasons I quit skating was that I got hooked on the manga Slam Dunk. Around fifth or sixth grade, I started mini-basketball, and by junior high I decided I was going to join the basketball club. For a while I was doing both skating and basketball, but in the end I wanted to focus on basketball. But now, there are so many more times when I think it was really good that I had done skating.”

—Why is that?

“As an adult, it turns out that in my generation, a boy who did figure skating is simply rare. When I say I did skating, it leaves an impression. In the younger generations the ratio of boys has increased, and even when I visited rinks for My Sunshine interviews, I was surprised at how many boys there were.”

Making a Figure Skating Film Wasn’t Realistic

—You’ve said you liked watching skating more than skating yourself, but how did your figure skating experience connect to making a film?

“For my first film, I Hate Jesus (2019), I shot it based a lot on my real experience of attending a mission school for many years. The reason I tried making a film in the first place was my graduation project at university. When I wrote down in a notebook what I might be able to make, the first thing that came up was figure skating. It was the most straightforward of my real experiences, and there hadn’t been that many films that depicted it. But figure skating… if a university student tries to film it independently, there are so many hurdles. First, how do you rent out a rink? Then, how do you find people who can both skate and act? Even if you did, how long could you tie them down? Considering all of that, I thought it just wasn’t realistic and, in a way, gave up.

The other idea I’d written down in my notebook at that time was about attending a mission school. Right after I turned that into a film, I graduated and found a job. I thought I probably wouldn’t make another film. But because that first work was taken to film festivals, I received offers to make another. In that flow, I encountered Tokyo Theatres, who handled the planning, production, and distribution of this current work. During planning meetings, I said, ‘After all, I really do want to make a film about figure skating,’ and they told me, ‘That’s a really good idea.’ But, like I said before, I’d studied skating in such a laid-back way that just putting my memories on screen wouldn’t make a movie. Still, I was certain figure skating was a fantastic subject for film. Then the big question was: what story should I tell? I wrestled with that a lot. There was a five-year gap between my first film and the release of my second, Boku no Ohisama. For the first three years, I was thinking about how I could shape figure skating into a story. For me, the line between what can and can’t become a film is very clear. I had a strong desire not to just make a personal ‘memory re-creation video.’ And during that time, I had two big encounters. One was meeting Ikematsu (Sōsuke Ikematsu, actor), and the other was discovering the song Boku no Ohisama by Humbert Humbert. From there, the project really began to move toward realization. But I was always anxious. Would we find kids who could skate and also play Takua and Sakura? Would Ikematsu-san be able to learn to skate? With each of those walls, I relied on the help of so many people, and somehow we managed to bring it into shape. In the end, I feel we created something beyond what I had originally envisioned.”

Why Ice Dance Felt “Cinematic”

—Among skating disciplines, what led you to choose ice dance as the focus?

“As I was considering various storylines, I recalled my own experiences: watching older girls skate so gracefully and thinking, ‘It must feel amazing to skate like that,’ while being captivated by them. I wanted to put such a scene on screen, to make a film that started from that feeling. Then I asked myself, how could the story develop from there? Ice dance came up naturally as an idea. But I wondered if it was the right choice, so I heard there was a time slot at Jingu rink when kids in their early teens were practicing ice dance, and I went to observe. At that age, just holding hands with someone of the opposite sex usually comes with some embarrassment, right?”

—Especially in Japan, it seems likely.

"Exactly. But what I saw was kids, a little embarrassed, yet skating with pride. During the music or when taking their starting pose, suddenly their distance would shrink. Then, when the music stopped, it was as if a spell was broken, and they would drift apart again. Watching that, I thought, ‘This is incredibly cinematic.’ Of course, adults who skate singles while also pairing up for dance, or those who specialize only in dance, their skating is beautiful. But there’s a kind of transience I don’t feel from them. There’s a unique atmosphere that only pairs of that age can produce. In that sense, it was very good that I did that observation. At that point, I wasn’t yet sure about focusing on ice dance. And actually, at that time, I noticed Kiana Nakanishi (who later played Sakura), and thought she fit the role well.”

The Gap with My Own Skating Experience

—The fleetingness of youth portrayed in the film, together with the pale light of the rink, really matched beautifully. You mentioned that when you were a child, there weren’t many boys doing figure skating. In the film, too, skating is referred to as a “girl’s sport,” as a hurtful remark directed at Arakawa-sensei. Did you yourself feel that kind of perception?

“This work is set in the early 2000s, when I was skating. At first, I considered setting it in the present day, because that would have kept production costs down and made things smoother. But if you depict a specific time period, then you need to recreate even the smallest props. For example, there’s a scene where they eat Cup Noodles. We even had to recreate the packaging for that. And when I did research, I realized the situation around figure skating had changed a lot since back then. When I went to the rink after many years, I found the boys and girls were about half and half. There are now male stars like Yuzuru Hanyu, Shoma Uno, and more. I can’t compare ability, of course, but at least compared to before, there are more athletes in the spotlight. Considering how society views boys who skate now, I felt there was a gap with my own experience. One method could have been to base the story on my memories, while adjusting the setting. But what I wanted to depict was a time when there was gender bias in sports and in society: boys should do this, girls should do that. And I wanted to show the human relationships that arise precisely because of that situation. By setting the story more than ten years in the past, and not in Tokyo but in a small provincial town, I felt I could portray the misunderstandings born out of the values of that era.”

How to Capture Images Nobody’s Seen Before

—You shot while skating yourself. Do you think that had a big influence on the film?

“Yes, I do. By showing the two kids skating from Arakawa-sensei’s perspective, the audience could empathize more easily. And I also hoped to create a feeling of skating together with the three of them. If you shoot only from outside the rink, the images inevitably have a sense of déjà vu. For Japanese people today, simply seeing figure skating on screen doesn’t feel fresh. So I wrestled with how to make it into something where people would say, ‘I’ve never seen that before.’ Since I could skate, I thought I should use that ability in how I shot the film.”

—By “not fresh for Japanese people,” do you mean because they often see skating on TV?

“Exactly. Compared to other countries, figure skating is really a popular sport in Japan. And Japan has many skaters active on the world stage. Because of that, I wondered how I could create images that even the variety shows on TV had never shown.”

—Through filming, did your perspective on figure skating change, or did you make any new discoveries?

“The more I reflect, the more I feel glad that I skated. That’s really what I feel. To me it was just one of my extracurriculars, and I didn’t think of it as such a special experience. But the more time passes, the more I realize it was precious.”

—Do you mean that specifically as an artist, a creator?

“Yes, as a creator too. Even in small competitions, you’re placed alone in the middle of a huge rink,  basically a stage. That gives you a kind of guts, or courage, that’s important for an artist. There aren’t that many sports that give you that, I think.”

An “Ideal” Reflected in Ikematsu

—You mentioned earlier that ice dance has inherent narrative qualities. Sports usually divide boys and girls, right? But there aren’t many like ice dance where men and women can show something together.

“Exactly. That’s why another story could have been: Arakawa-sensei teaches boys’ singles and girls’ singles separately, and a three-way relationship develops within that. But I think Arakawa-sensei saw in Takuya a reflection of his own childhood — unable to put feelings into words, unable to express ‘I like you,’ unable to take initiative. He must have wanted to give Takuya a push. Maybe there was a bit of projection in that, but still, if Arakawa-sensei wanted to encourage Takuya, it would make sense to have him pair with Sakura for ice dance. That’s how I shaped that storyline.”

—When we imagine coaching in figure skating, we often picture strictness. In both your first film and this one, there are scenes of adults sitting side by side with children, conveying an equal relationship. Arakawa-sensei isn’t “Spartan” either. You’ve said earlier your own skating days were fun and full of praise. Do you think that experience influenced this?

“Yes, I think it did. But if you ask me whether the coach I trained under resembled Arakawa-sensei, I’d say in gender, age, everything, they were completely different. What’s reflected instead is more like the ideal of ‘I wish I’d had an older brother like this,’ or ‘It would have been nice to have someone like this.’ I feel that ideal character is reflected in Ikematsu-san.”

—Supervision was by Kanata Mori, and many others were involved in skating instruction. Even the “passionate parent” aspect in the story felt realistic. Was that intentional?

“I didn’t put in Sakura’s mother as some kind of stereotype ‘skating mom.’ But the character, as played by Maho Yamada, does carry the weight of society’s gaze. When Sakura says she wants to quit ice dance and even stop taking lessons from Arakawa-sensei—and because Sakura only gives her mother fragments of information—misunderstandings pile up. And through speaking her thoughts within those misunderstandings, her mother creates even more misunderstanding. I was conscious of that dynamic while writing. In today’s society, I don’t think such misunderstandings would arise to that extent. But at that time, for example, just seeing two men shopping together at the supermarket could make people view them with suspicion. That wasn’t because she was a ‘skating mom,’ but rather, because she was a mother living in a provincial town in that era. As a person, she bore that perspective.”

- - - - -
◆Earlier this year, Mr. Okuyama received a request to join as staff for Kenshi Yonezu’s music video for the anime Medalist’s theme song, “BOW AND ARROW.”

This work, in which Yuzuru Hanyu skated original choreography and drew great attention, was directed by visual creator and photographer Kyotaro Hayashi. Mr. Okuyama was in charge of parallel filming alongside Hanyu. He says that, in order to capture speed and skating beyond imagination, he made repeated efforts, and was greatly influenced by Hanyu’s figure as he pursued expression to its limits.

- - - - -

Repeated Tests of Parallel Filming

—For Yonezu’s music video, how did the request come to you?

“I think it was about one month before the music video shoot. I was in Onomichi, Hiroshima, participating in the Onomichi Film Festival with My Sunshine (Boku no Ohisama). While walking around thinking, ‘I wonder what kind of questions I’ll get during the Q&A,’ I got a message from director Kyotaro Hayashi saying, ‘Next time, Yonezu-san’s music video will feature Hanyu-san, would you like to take part?’”

—After accepting, did you do any preparations for the shoot?

“For My Sunshine too, I had been chasing images of figure skating no one had ever seen before. But since that film was about children’s ice dance, it’s something the general public has hardly ever seen. On the other hand, almost every Japanese person has seen Hanyu-san skate at least once. Of course, the footage of him winning his two Olympic gold medals is like that, and to surpass that level of impact, parallel filming would obviously become very important. So, we repeated parallel filming tests many times. But Hanyu-san’s speed is incredible, so it’s impossible for me to continuously chase him while skating in parallel. That’s why we needed to record every part fully even from outside the rink. We ended up increasing the number of cameramen much more than initially planned.”

—We heard there were around eight cameramen?

“Yes, we filmed with a team of eight.”

—Did you have time to practice skating for parallel filming yourself?

“Before the shoot, they arranged for us to rent out the rink at Minami-Funabashi in Chiba twice, and we practiced filming there. We had professional skaters skate at full strength, and I tested how much I could actually chase them. I tried using a sled, or carrying the camera while skating in parallel, but still couldn’t keep up.” However, recently there’s a new camera, where you carry the main unit on your back and the lens can be separated. That didn’t exist back when I was filming My Sunshine, and we were able to use it this time.”

—So it’s different from the way you carried the camera during My Sunshine?

“Yes. With this setup, you can detach the camera from the lens and attach the lens to the end of a pole, so you can skate holding it like a hockey stick. That worked really well. Being able to test it twice in practice sessions was also a big help.”

Pursuing the Rawness of the Image

—In the music video, the beauty of the moves was captured to the fullest; it made me want to watch it over and over. Did director Hayashi give you any specific instructions?

“I think the single order was, ‘We want to go aggressive.’ The song’s title is BOW AND ARROW, and it’s about that shun feeling of the arrow flying off from the person holding the bow. I think that’s what they wanted to show. In that sense, at the beginning you’re holding the arrow, and so the closeness between bow and arrow is important. You don’t have to be close the entire time, but when it came to wanting to capture a moment of jumping right from that close range, we discussed a lot as a team.Then, there’s that scene where Hanyu-san skates the step sequence, and the camera chases from behind, and ahead of him you also see Yonezu-san (around 2:30 into the MV). Actually, for that shot, I didn’t use the new separated-lens camera I mentioned earlier. I filmed it in a style closer to My Sunshine, carrying a large ‘cinema camera’ directly on the rink. What’s good about that? It’s hard to explain, but simply put, it shakes a lot. But I thought that shaking actually conveyed a kind of rawness of skating in parallel. So, for chasing the step sequence, I deliberately chose that camera. That’s why, in that scene, I think we were able to capture an image that no drone could ever film, something that makes the viewer feel like they’re right behind Hanyu-san, gliding along with him. I really like the way that step sequence begins.”

—Did you use your own skates?

 

“I don’t own my own skates. For My Sunshine, Arakawa-sensei’s (Ikematsu’s) boots were left over, and I was able to use them for this MV as well. During My Sunshine, the pair I used had been lent by the coach who helped with training, and I returned those after filming. Rental skates at rinks have almost no edge on the blade, so they’re slippery. If you almost collide with Hanyu-san during shooting, you need to be able to stop sharply, and rentals aren’t safe. But there wasn’t enough time to make new boots before the shoot, so I was a little anxious. Then I found out that Tokyo Theatres, who produced My Sunshine, had kept Arakawa-sensei’s boots for exhibition, so I borrowed them. Luckily, they happened to be the same size as Ikematsu-san.”

—So you filmed Hanyu-san while wearing Arakawa-sensei’s boots.

“That’s right. Back in My Sunshine, I also felt it was important that the boots looked natural as something a coach would wear. I didn’t want pros or figure skating fans to watch the film and think, ‘What? No way a former skater would wear those boots.’ Thanks to that attention to detail back then, this time I was able to film while wearing good skates, I was really lucky.”

—It turned out you ended up filming figure skating consecutively.

 

“Actually, right after filming My Sunshine, I got another request to film skating. But at that time, I felt like I’d already given everything during the movie shoot, so I declined, saying I couldn’t do it. But this time, by filming Hanyu-san, I feel like he taught me that I hadn’t captured everything at all. Now, I want to pursue things without easily thinking, ‘I’ve done it all.’”

—So it doesn’t mean you’re planning to film skating again specifically, but rather, you want to keep aiming higher for yourself?

“Exactly. For example, my first and second films both featured children, and at some point I thought I’d already captured that theme fully. But there are still countless aspects of children I haven’t filmed, countless emotions I haven’t managed to scoop up. I’ve come to feel I want to keep chasing after those kinds of things. If I hadn’t made My Sunshine, I definitely wouldn’t have been able to take part in this music video. Conversely, because I filmed My Sunshine, there were shots I could capture this time. I realized how one thing can lead to another, making each step into something better. As I said at the beginning, even before My Sunshine, there were various connections that led me to making films. Going forward too, like climbing a spiral staircase, I want to keep meeting new people and carefully create things one by one.”

----

Hiroshi Okuyama Biography

Born in 1996 in Tokyo. While attending university, he produced "I Hate Jesus" (2019), which won the Best New Director Award at the 66th San Sebastian International Film Festival. "My Sun" is his second feature film and his commercial debut. It was officially selected for the "Un Certain Regard" section of the 2024 Cannes Film Festival, a showcase of innovative works.

 

[Wintek]

*machine translation, inaccuracies exist*
2025.03.27

 

Source: https://www.cinra.net/article/202503-whn-yonezuhanyu_edteam

Archive: https://web.archive.org/web/20250327083709/https://www.cinra.net/article/202503-whn-yonezuhanyu_edteam

 

A passionate text has arrived explaining Yuzuru Hanyu's skating in Kenshi Yonezu's "BOW AND ARROW" music video [Full Text]
2025.03.27 Thu

A text explaining the skating performed by professional figure skater Yuzuru Hanyu in Kenshi Yonezu’s “BOW AND ARROW” MV has been released.

“BOW AND ARROW” is the opening theme song for the TV anime Medalist. In the MV, a collaboration with professional figure skater Yuzuru Hanyu was realized, which drew a huge response not only from music and anime fans but also from figure skating fans around the world. The choreography was created by Hanyu himself, and the MV was directed by Kyotaro Hayashi.

The commentary on the skating was written by writer Hitomi Hasegawa, and the full text is presented below.

 

Spoiler

---

 

Commentary on Yuzuru Hanyu’s skating 

by Hitomi Hasegawa

The collaboration of Kenshi Yonezu and Yuzuru Hanyu.

Both of them thoroughly read the original work of Medalist, and from that was born the MV for “BOW AND ARROW.”

In Yonezu’s music, and in Hanyu’s skating, there lies an overwhelming depth of thought and passion beyond the work itself. We may not be able to understand all of it.

Even so, there are things we can grasp.That this is, without a doubt, at this moment in time, the fullest expression and supreme masterpiece for both Kenshi Yonezu and Yuzuru Hanyu.

Hanyu is the one-of-a-kind skater who won back-to-back Olympic gold medals in men’s singles after 66 years, and the only male singles skater to achieve the Super Slam (winning all six major titles at the senior and junior levels, including the Olympics and World Championships).

And the one he calls “god” is Kenshi Yonezu.

He has been a fan since the “Hachi” era, saying that Yonezu’s music pierced into his innermost self, and that from it he has received courage, courage so great it cannot even be summed up in that single word.

And now, he has given birth to his current supreme masterpiece as a skater, “BOW AND ARROW.” What kind of work is it, and what meaning and feelings are contained within it? Let us take a closer look.

Skating a program choreographed by Hanyu himself

The first time Hanyu choreographed a program himself (self-choreography) was in 2022. Since then, he has presented self-choreographed programs in his ice shows and on his YouTube channel. In those, there were no rules as in competition—no set program length (time), no required jumps or spins—everything was free.

In contrast, “BOW AND ARROW” was choreographed like a short program, that is, like a program performed in competition. In this way, it is distinct from his past self-choreographed works. In “BOW AND ARROW,” Hanyu followed the current rules of figure skating, incorporating highly difficult elements, and performed them with full force.

Choreographing a short program (competition-style program)

Why did Hanyu choreograph “BOW AND ARROW” as though it were a short program, despite not competing?

It is because the song “BOW AND ARROW” is 2 minutes 56 seconds long, which is close to the short program’s rule-bound performance time of 2 minutes 40–50 seconds.

In competition, even one second over or under the time limit results in a deduction, so at 2 minutes 56 seconds, “BOW AND ARROW” would be penalized. To avoid this, in the MV, Hanyu waited for about 4 seconds after the music started before moving.

Regarding skating time, the rules state: “Time is measured from when the skater begins moving or skating until the complete stop at the end of the program” (excerpt from Technical Rules, General Rule 502). Therefore, to ensure the time from first movement to complete stop did not exceed 2 minutes 50 seconds, he waited during the first 4 seconds and stopped moving a few seconds before the song ended.

 

What kind of program is he skating?

So, what kind of program is this fully competition-style “BOW AND ARROW”? Let’s go through it step by step.

The elements (seven technical elements) that Hanyu listed on X are as follows. Below, these elements and other highlights will be introduced.

[Yuzuru Hanyu’s twitter post listing the technical elements: https://x.com/YUZURUofficial_/status/1897255288820129840 ]

Sit Twizzle
A few seconds after the music begins, he does a move spinning intensely while progressing forward in a crouched position. In “Kenshi Yonezu × Yuzuru Hanyu – BOW AND ARROW Talk,” Hanyu called it “the move I use as my signature,” a move sometimes called a “sit twizzle.”

At age 17, when he first competed at the 2012 World Championships in Nice and won bronze, he incorporated it into the step sequence of his free program Romeo and Juliet (nicknamed “Nīsu no romijuri”). In his exhibition White Legend, performed when he won at the 2014 Sochi Olympics, he presented it in a calm and extended form.

This time, in “BOW AND ARROW,” the sit twizzle is ferocious, executed with great force. On top of that, it barrels forward at tremendous speed. Such a sit twizzle has never been seen before. Starting the program with this explosive-speed sit twizzle heightens expectations for what will follow.

4Lz (Quadruple Lutz)
The first jump he performs is the quadruple Lutz. The 4Lz is extremely difficult, and only a very small number of skaters can land it successfully in competition.

Hanyu was the first Japanese skater to successfully perform a quadruple Lutz in an official competition. In October 2017, during the PyeongChang Olympic season, at the Grand Prix series event in Russia, he performed it at the beginning of his free program SEIMEI—a program considered one of his masterpieces—earning +1.14 points of grade of execution.

But ahead lay a major ordeal.

In November of that same year, during practice at the NHK Trophy, Hanyu fell on a quad Lutz attempt, injuring the ligaments in his right foot, the very foot used to land jumps. He had to withdraw from the NHK Trophy, and his bid for a historic fifth straight appearance at the Grand Prix Final vanished. He also missed the December National Championships. Until the PyeongChang Olympics, where he aimed for back-to-back gold medals, he could barely even set foot on the ice.

Through careful training, he returned at the PyeongChang Olympics and delivered a miraculous performance, defending his Olympic title. But the quad Lutz was absent from that program.

The quadruple Lutz, a jump that caused an injury so severe it shaped the course of his skating life. It took about two years before he would show it again in official competition.

In December 2019, at the Grand Prix Final, in his free skate, he cleanly landed both the quadruple Lutz and the quadruple loop (a high-difficulty jump first successfully performed by Hanyu in 2016).

Such profound meaning and history lie within just a few seconds of a jump. And now, about two and a half years into his professional career, he has shown the quad Lutz again in “BOW AND ARROW.”[1]

The beauty of the takeoff

This time, the quadruple Lutz is filmed from above at a diagonal angle, making it very easy to see, and you may find yourself captivated by the sheer beauty of the takeoff.

In figure skating, there are six types of jumps, all of which rotate counterclockwise (to the left). The Lutz is a jump where the skater glides backward on the left foot and kicks off the ice with the right toe pick.

Here, focus on the left foot.

In the takeoff of the Lutz, the left foot’s edge is pressed strongly outward. This means the left foot itself wants to rotate clockwise. But the jump rotates counterclockwise, so the body needs to twist to the left. Because of this, at the moment of takeoff, the edge is often pulled along with the body, leaning rightward instead.

However, in Hanyu’s quad Lutz here, the edge is beautifully angled leftward, and at the exact moment of takeoff, the left edge digs even deeper. It is a dreamlike, supremely beautiful scene, one that perfectly embodies what makes a Lutz a true Lutz. There are no judges this time, but without a doubt, the grade of execution (GOE) on this quad Lutz would have been extremely high.

“BOW AND ARROW” and Medalist — expressive choices

Difficult jumps should ideally be attempted early, when stamina is still high. On top of that, within the maximum 2 minutes 50 seconds, seven technical elements must be performed. For this reason, in competition, the first jump of a short program is usually executed around the 20-second mark.

At the 2018 PyeongChang Olympics, where he won back-to-back gold medals, and at the 2020 Four Continents, where he completed the Super Slam, Hanyu’s first jump came at about 23 seconds.

But in “BOW AND ARROW,” Hanyu’s first jump, the quad Lutz, comes at around 45 seconds after he begins moving. This was timed to match the moment when Hikaru Kamisaki jumps in the opening animation of Medalist.

Placing the first jump there, however, means that in the remaining two minutes, he must fit in six technical elements. Still, Hanyu deliberately made that choice.

Furthermore, one of the reasons he included the quad Lutz was because Jun Yodaka, a character in Medalist, performs that very jump. His deep respect for Medalist as a competitive skating story is powerfully felt here.

3A (Triple Axel)

The second jump is the triple Axel. Normally, Hanyu’s triple Axel is extremely consistent, but that doesn’t mean this one was “easy.”

After only a short entry, he executes a difficult counter turn, and immediately from that forward-facing motion, without pausing for timing, launches into the triple Axel. Because the forward-facing step is unstable, this is an especially difficult way of taking off.

Then, the instant he lands the Axel, he adds a twizzle (a rapid one-foot spin while gliding) with the landing foot, perfectly timed to the twinkling sound in the music.

All of this takes place directly in front of where the judges would normally be seated (though of course, there are no judges here). In competition, that spot is the one place where you absolutely don’t want to make a mistake. On top of that, being close to the boards adds its own fear factor. This section around the triple Axel is packed with layers of difficulty.[2]

FSSp (Flying Sit Spin)

Fans of Medalist will instantly recognize the “flying sit spin.” This spin includes the “broken leg” position (the free leg stretched out to the side), which the protagonist, Inori Yuitsuka, performs in the story.

But Hanyu doesn’t stop there.

After the broken leg, he transitions into the “sit back” (also called “sit behind”), a difficult position where the free leg is placed behind the supporting leg on the ice. To finish the spin, he goes into a knee slide, rising to one knee, a pose that even evokes the atmosphere of Jun Yodaka from Medalist.

Layback Ina Bauer

Although not one of the seven required technical elements of a short program, Hanyu adds a “layback Ina Bauer” for expression. In an Ina Bauer, the legs are split 180 degrees and spread front-to-back as the skater glides sideways. In the layback version, the torso is arched deeply backward, requiring extraordinary flexibility in the back and hips.

Hanyu performs this move on the lyric phrase: “And all the radiance you’ve seized is yours.” It resonates with the countless glories he has won, and with the fact that as a professional he is now presenting a program of the highest caliber. These few seconds are pure bliss to savor.

Quadruple Salchow + Triple Toe Loop Combination

A jump combination is when two jumps are connected in succession. In “BOW AND ARROW,” Hanyu performs a quad Salchow + triple toe loop in the second half of the program. This makes it especially challenging.

At about the two-minute mark from the start, he attempts this combination. By this point, he has been skating almost at full throttle non-stop, and then launches into a quad-triple combination, it is easy to imagine how grueling that is.

The difficulty is heightened by the nature of the short program itself. In simple terms, a short program must contain three jumps: one Axel, one solo jump, and one jump combination.

The catch is that if the first jump in the combination isn’t landed cleanly, the second can’t be executed. To avoid this risk, most skaters design their layout so that the first jump of the program is a planned combination. If they miss it, the jump still counts as a solo, and later they can tack a jump onto the second element to make a combination.

But if, as Hanyu does here, you place the combination as the third jump, then if you miss, the program fails to fulfill the short program’s requirements. That element would receive zero points, and the score would plummet.

Even so, Hanyu intentionally put the combination last. What comes through is an absolute confidence: “I will not miss here.”

The combination jump at the PyeongChang Olympics

In his short program at the PyeongChang Olympics, where he won his second gold medal, Hanyu’s jump layout was quad Salchow, triple Axel, and quad toe loop + triple toe loop. The types of jumps differ slightly from “BOW AND ARROW,” but the astonishing structure of having the third jump as a combination remains the same.

Additional Points in the Second Half

In figure skating, the last jump performed in the second half of a program receives a 10% bonus on its base value. In other words, if the third jump is a high-value combination jump and it is performed in the latter half, it leads directly to higher scores.

Thus, Yuzuru Hanyu’s jump layout in “BOW AND ARROW” is constructed to maximize scoring potential. It is a program designed for overwhelming technical advantage, and he chose to showcase exactly that.

“Fly!”「飛べ！」[3]

At the moment Hanyu hears the word “Tobe!” (Fly!), he launches into his quad Salchow + triple toe loop combination.

For Hanyu’s fans, this word “Fly” may immediately recall the 2014 Cup of China Grand Prix. During the six-minute warm-up before the free skate, Hanyu had a violent collision with another skater, leaving him bleeding heavily. He was carried to the medical room, and for a time, the competition went on without anyone knowing whether he would return. Yet when his turn came, Hanyu appeared rinkside with his head wrapped in bandages. Despite his injuries, he skated the entire free program.

At that moment, the word he shouted to encourage himself as he stepped back onto the ice was: “Fly!”

CCoSp (Change-foot Combination Spin) – Biellmann Spin

In this spin, the skater shows multiple positions while switching the skating foot (change-foot). Among them, the Biellmann position is especially iconic: while rotating, Hanyu stretches his arm upward, grasps the blade of his skate, and pulls his leg behind his head in a deeply arched position.

The Biellmann requires extraordinary flexibility in the back and hips. Like the layback Ina Bauer, it is far more common for women skaters to perform, since male skaters often lose flexibility with increased muscle development in adulthood. In fact, there was a period when Hanyu stopped performing it.

Yet after turning professional in 2022 at age 27, he began to reintroduce it into his programs. It is extremely rare for a male skater to bring back the Biellmann once set aside. Not only is it unnecessary for competition scoring, but Hanyu was already skating as a professional by then.

Still, he reclaimed it. The coexistence of the strength required for quad jumps and the flexibility required for a Biellmann spin is the fruit of many years of training sustained by unshakable conviction. This, too, is part of his identity as a skater, the balance of artistry and athleticism he insists upon.

This is what it means when a 30-year-old Yuzuru Hanyu performs the Biellmann spin.

A Competitive Program Infused with Intention

Hanyu himself has said: “I put a lot of careful thought into this program.”

For example, at the lyric “Have I grown into the kind of adult I once longed for?” he raises his eyes toward the sky. At the words “Pulled strongly”, he makes the gesture of drawing a bow. Throughout the performance, details of expression reveal his unique touch, his dedication and emotions woven into every nuance.

Short Program BOW AND ARROW

At the start, Hanyu exhales a white breath as he waits for the music to begin. On the ice at his feet—the very surface he is about to skate—countless traces (marks from skating) are already visible.

Looking closer at the takeoff point for the quad Lutz, one spot is especially scarred and white. It is the mark of repeated attempts, evidence of how many times he launched and landed that very jump during filming.[4]

In the footage, we see these many traces left behind. In just a few hours of shooting, he left enough marks for a whole rink, that is how intensely Hanyu skated “BOW AND ARROW”.

And yet, he was not sweating. Normally in practice, competition, or ice shows, he sweats profusely. Here, from a distance, you can even see the white mist of his breath. It was bitterly cold, not just cold, but freezing. The rink was dim, with lights lowered and moving spotlights dazzling his eyes. In such harsh conditions, executing difficult jumps and completing such a demanding program was no easy feat.

Nevertheless, Hanyu gave everything he had, over and over. With extraordinary skill and refinement, he created a record of himself, one that could stand for all time as a testament to what he had achieved after years of glory. He drew trace upon trace, jump upon jump, until he reached a level worthy of being preserved forever.

Thus was born this miracle of a masterpiece: the short program “BOW AND ARROW.”

 

NOTES:

[1] Yuzuru commented: “(There’s a character in the manga Medalist, which is about figure skating, who does a quad Lutz,) and I wanted to show respect to the original work. Plus, I had a desire to go beyond the original. I wanted to have all the weapons that every character had, and say, “And on top of that, I’m Yuzuru Hanyu.” That was the kind of mindset I had.”  [2025/06/30 Quadruple Axel 2025 Yuzuru hanyu Special]

 

[2] Yuzuru Hanyu commented: “It’s hard to see clearly in the footage, but I go into it from a hop jump, then immediately do a counter and jump the triple Axel. I’ve gotten pretty used to jumping an Axel straight from a counter, but this time, instead of setting the blade or my body straight before the counter, I kept the motion continuous from the hop jump, went into the curve, and jumped off that same curve. That was what made it really difficult for me. Since the trajectory was different from usual, I had to slightly adjust how I shaped the curve, as well as change how I took off and the speed of the rotation.

After landing the Axel, I go into a twizzle, but in that scene in BOW AND ARROW, there’s a pause in the music once, and then it goes into a “ta-ra-ra-ra-ra” rhythm. Normally, I enter the twizzle right from the back outside edge after landing the Axel, but in BOW AND ARROW, because of that pause in the music, I do a three-turn from the back outside edge and then enter a forward inside twizzle. That kind of subtle change was also a new experiment for me.

Also, I really wanted to nail the timing perfectly with the music, but if I jumped the Axel from the counter at my usual timing, I wouldn’t have made it in time for the beat. Because the fence was extremely close, I jumped the triple Axel very quickly and compactly. I kept the height low, relied solely on rotation speed to complete three and a half rotations, and adjusted the airtime to create a solid feel.”  [2025/06/17 Ice Jewels Vol 20]  

 

[3] 「飛べ！」(tobe) means “fly” or “jump.”

 

[4] Hiroshi Okuyama commented: “Filming required him to jump again and again, spin again and again. It’s not like in competition, where you just do it once and you’re done.

Even with breaks, from my experience, once you go into a warm room, your body stiffens, and when you go back out into the cold rink, it’s hard to move again. Plus, changing equipment and lighting takes time, filming with or without Yonezu-san takes time too.

Yet through all that, Hanyu-san kept himself in perfect condition, ready to skate at any moment. His stamina and mental strength were just… unreal. Even in the waiting room, you’d see him moving, jumping, warming himself up so he wouldn’t get cold. We filmed for six or seven hours straight. Maintaining that peak the whole time, it was a little scary. Truly incredible.”

[2025/07/31 Figure Skating Life Extra “Yuzuru Hanyu Professional Season 3”]

 

 

[Wintek]

Other articles about the BOW and ARROW collaboration and MV production
Machine translations available on Planet Hanyu, links below.

 

Spoiler

1) Figure Skating Life Extra "Yuzuru Hanyu Profesional 3,"  Special "BOW AND ARROW" MV Interviews:

• Kenshi Yonezu --What I felt at the rinkside was his immense passion for figure skating. 
• Kyotaro Hayashi: My impression of figure skating has changed from "elegance" to "strength." 
• Higashi Okuyama: I want to keep chasing after his back as a fellow artist. 
• Skating Commentary by Hitomi Hasegawa 

2) "Ice Jewels Vol. 20," Interview with Yuzuru

3) "Quadruple Axel 2025 Yuzuru Hanyu Special,"  Special Roundtable Discussion on the MV production: Mizuki Ohno × Koitaro Okuyama × Daishi Okuyama