BYJ Classics / The Scenes

From the pamphlet of BYJ Classics/Concert - The Scenes.

Damdeok in Action

From BYJ Classics / The Scenes "Mozart's Symphony No.41"

Wolfgang Amadeus Mozart (1756-1791): Symphony No.41 in C major, K.551 “Jupiter” – 4. Molto allegro

London Symphony Orchestra, Claudio Abbado

Although the “movie capital” of the world generally means Hollywood (of L.A. on the west coast of the U.S.), New York (on the east coast) is also a city which has brought forth many movies with distinctive qualities. Director Woody Allen is one of the leading creators of such films. He has created many great works with N.Y. as its backdrop including “Annie Hall”, and continues to do so even today. Although Allen is famous for being an Oscar regular (“Annie Hall” won the awards for "Best Director" and "Best Original Screenplay") he did not attend the Academy Awards Show with the exception of one night. The one time he did show up was at the ceremony held on the following year of the 911 terrorist attacks. Allen made a surprise appearance in a special tribute section, where he introduced a montage of movies filmed in N.Y. It was the most moving scene. I believe films have the role to heal sorrow. If there is even single person who would heal his soul through my works, nothing would please me more as an actor.

(music from "Annie Hall" 1977 / U.S.)

From BYJ Classics / Hero "Così fan tutte"

BYJ on Wolfang Amadeus Mozart (1756 – 1791):

From the opera
Così fan tutte, K.588 – Act I “Un’aura amorosa” (A Loving Breath)

Hans Peter Blochwitz (tenor)
Wiener Philharmoniker
James Levine (conductor)

Mozart depicted the various personalities and desires of man – at times he ridiculed them in a comic manner and ultimately raised it to the level of art. Although the libretto of this opera is not written by Mozart himself, what gave life to the characters and created the drama is definitely his music. If I had a career as an opera singer, I would no doubt perform in his works, and would have been moved by the experience. The title “women are like that (così fan tutte)” (I beg your pardon me if it seems like I am teasing you ladies) in fact depicts the truth that although human beings regardless of sex yield to small temptations at times, that is the very reason life is joyous, and we come to think about various matters through these experiences. Every aria is rich in nuance, each word too fascinating to be overlooked.

From BYJ Classics / Hero "Ein Heldenleben"

From BYJ Classics / Hero

Special Edition

BYJ on Richard Strauss (1864-1949):
Ein Heldenleben, Op.40 – Der Held

(A Recording by Berliner Philharmoniker, conducted by Herbert von Karajan)

When I listen to various works of classical music, what often comes to my mind is, “what kind of personality does this composer have?” I know very little about Richard Strauss. By listening to this magnificent piece called “Ein Heldenleben (A Hero’s Life)” I imagine this composer having an ambitious dream of his own, and his working fervently towards it. Some people say that this piece is a self portrait of Strauss, and being only in his thirties at the time, he composed it envisioning his own life. If that is so, I think his life was a most happy one, blessed with a good partner (wife) and great zeal for composition. Listening to this “Hero”, I too dream about my life down the road. I feel joy and happiness when I contemplate on my personal life together with my life as an actor.

(Maestro Seikyo Kim gave the following story on Strauss in his blog:

Strauss confided to his friend, the writer Romain Rolland, "I am not a hero. I do not have the strength to be one. I do not want to fight, I just want to live a quiet and peaceful life.")

Damdeok from Episode 15

Why People Are Attracted to BYJ

Excerpt from an essay by Kang Hi Bong from the magazine "I Love Korean Dramas!" No.10

As long as we consider ourselves unhappy, our power to receive the charm emitted from BYJ is weak. Because, to preserve the happy image given by BYJ in one’s hearts, we need to have the foundation to see ourselves in a positive way.

Perhaps people who consider themselves unhappy are seeking for something more tangible than an enigmatic image.

However, although it is natural to possess a desperate yearning to see BYJ in person, it is not necessarily the best thing. What is more important is to have a positive attitude of ourselves, for continuing the journey with the image we have conceived in our hearts. It gives us great comfort just to think that we are not alone.

As for myself, I would like to treasure the image of BYJ I have in my heart. This image belongs to me. Though there is only one BYJ, depending on how people perceive him, the number of images is infinite. Mine is just one of them, but it is a one and only image.

(Kang Hi Bong, the editor of the magazine “I Love Korean Dramas” is a second generation Korean in Japan. His essays analyzing why we are attracted to BYJ has been compiled into two volumes.)

Conductor Seikyo Kim and His Camera

This is an excerpt from an interview by Maestro Seikyo Kim (who conducted the orchestra for the "April Snow" event at Saitama Super Arena, and will also conduct the BYJ Classics Concert next month), for the Ricoh (Japanese camera brand) website.
(photo is also from the same site.)

Interviewer: I would like to ask you a bit about your work. Being a conductor, do you listen to a lot of classical music in your daily life?

Seikyo: No, I don’t listen to it much at home. I try not to listen to it, including my own recordings --- actually, this came naturally, and it has been this way for some time now. Although I do install everything I think that would be useful in iTune, so I can listen to it any time it’s necessary. But it’s more in the way of “reference” for my work, rather than “appreciating” music for its own sake.

At home, I have a lot of jazz playing on my stereo – especially by the pianist Yutaka Shiina. I collaborated with him in the past, and I really like his music.

I: Is it since you became a professional conductor that you have come to listen to less classical music?

Seikyo: No, I listened to it a lot even after I became a conductor. It’s probably in the past one or two years that I’ve stopped listening to it. It got to the point that my mind was always filled with music and I was always in the frame of mind for work. It became difficult to shift gears for me. From that perspective, because the world of digital cameras is a totally visual one, it is useful for me in switching modes.

When I am in the state of concentrating on music for work the whole time, I am so saturated with music that my visual senses become neglected. I am less moved when I see things. Then, I would be inclined not to notice all the beautiful things the world is filled with. I thought this is a waste. This is what led me to take photographs. Taking photographs helps me shift to a different mode.

I: Obviously, your sensitivity is essential for your work. So, I guess you try to condition your senses (by doing what you just explained).

Seikyo: I think you can say that. And once I started, it didn’t take long to become passionate about my camera (laughs).

(my previous post on what the maestro thought of BYJ:

http://flowerbossa.blogspot.com/2006/06/bae-yong-joon-as-seen-by-maestro.html)

Ordering BYJ Classics

(photo from brokore site)

Our dear sister tomato has provided the following information on how to buy the new BYJ CLASSICS CD.

HMV Japan
http://www.hmv.co.jp/search/index.asp?keyword=byj

You may also want to try writing to BOF International.
Contact : info@bofi.jp

GOOD LUCK!!

Fumi-ssi on Korean Culture and BYJ's Talent as an Actor

Originally posted on JOB on Feb.25, 2008

Hello everyone. I think you remember Yong Joon himself claimed, “I do not have the ‘ki’ as an actor.” I explained the meaning of this ‘ki’ a few times in the past, but it is a word that is difficult to explain.

(flowerbossa's note: pls refer to my previous post http://flowerbossa.blogspot.com/2006_05_28_archive.html)

In Korea, there is a traditional genre of music called Samul nori. It is performed with a few instruments such as the janggu (a traditional portable drum) and jing (another traditional instrument). I would think that those of you who are interested in Korean culture have had the chance to see this. Incidentally, an artist by the name of Kim Duk-soo is famous for the performance of Samul nori.

I once heard something like this from an expert of this area.

“The Korean Samul nori traditionally did not have rules or patterns, and was performed according to the artists’ feeling. For this reason, it was impossible to perform the authentic Samul nori when one did not have ‘ki’ (natural talent). It was Kim Dak-soo who established the rules, patterns and score for this genre and by doing so, ordinary people without special talent became capable of playing this music. The number of groups that came to perform Samul nori increased, and it was also introduced abroad. I think Kim Dak-soo’s achievements in giving this art a form for the purpose of making it more accessible should be evaluated highly. However, I want to make it clear that it is not the authentic Samul nori.”

I thought what he said explains some aspects of the traditional Korean culture. Taking the gardens for example, unlike the Japanese or English gardens, the characteristic of the Korean gardens (as seen in the Jongmyo Shrine) is something that is “removed from nature in its original form to the home, with nothing added by man.”

I think there is a part in Korean culture that dislikes formalization. Perhaps you can say that traditionally, our culture has always valued ‘ki’ (the talent in that particular field). (To add, Korean Confucianism abhorred and denied embellishments. I believe that is why we have come to appreciate and value things which are natural, art that is created naturally through a genius who do not depend on formalized styles, born musicians who perform by feeling without scores etc.)

Today, in terms of actors too, I think we tend to regard people with natural talent, in other words, actors with ‘ki’ higher than those who strive to improve their craft. In Korea that is. As YJ himself said, I think few people consider YJ a “genius” as an actor

But here is my opinion. Just who among the Korean actors can be called a genius – who possesses the so called ‘ki’? Personally, Moon Sori always came to my mind in terms of a talented actress with ‘ki’. I do not think YJ is a genius as an actor. However, I would like to ask everyone (who is not a fan of YJ) - do you think your favorite actor is a genius?

I personally cannot come up with any Korean male “to be a born actor (someone who really has ‘ki’).

Therefore, ‘ki’ in the true sense means an innate talent as an actor, and in reality, it means someone with the personality cut out for an actor.

There are many actors in Korea who I think are cut out to become an actor, but I can’t think of anyone who is a true genius. This of course is my opinion.

In YJ’s case, his personality is not really cut out for an actor, nor is he a genius. So, I agree with what YJ said about himself that he does not have ‘ki’.

But, in Korean culture and in everything else, what is most important is soul.

It can be beauty of form, effort, or whatever, but in order to exert effort of a significant amount, you need soul, and works and performances which are created with a significant amount of effort is penetrated with soul.

This is what I think.

What traditional Korean culture really demands is not a genius but soul. And very rarely there are those who are blessed with this soul from heaven, but it is basically something that is born through effort.

Form is created so that people who are not geniuses are able to attain a certain level, and the beauty of form is brought forth through effort.

Because YJ is not a genius, it is through his strenuous effort that he shows us the finished beauty of form, and the beautiful world that it expresses. There lies soul- everything is penetrated with soul when an extraordinary amount of effort is exerted for it, and we who feel this soul are moved.

On the other hand, we can be moved by something a genius created in just 10 minutes.

Koreans tend to favor geniuses.

So,

I ask, please show me a genius.
There aren’t any.
I like YJ.
He’s no genius.
But what has he taught me?
That effort brings forth soul.
Soul moves me more than a genius does. A genius impresses me too. But I cannot determine who among the Korean actors is a genius.

That is why I like YJ. I like him even more for being a man who frets over not being a genius. That’s right, you are not a genius. But, you move me with your effort, and the soul that is a product of that effort. I would like to enjoy the performance of a genius too, but I cannot acknowledge any. So…. we come to the conclusion that Bae Yong Joon, there is only you.

This was fumi, thinking I must continue to analyze the soul of Yong Joon.

(from flowerbossa:

Samul nori is a genre of traditional percussion music originating in Korea. The word samul means "four objects" and nori means "play"; samul nori is always performed with four traditional Korean musical instruments.

from wikipedia)

Films Chosen for BYJ Classics / The Scenes - Spectacle

1. Richard Strauss’s "Thus Spoke Zarathustra"

(from the film " 2010 : A Space Odyssey")

2. Wagner’s Opera “Die Walkure”
(from “Apocalypse Now”)

3. Johann Strauss II’s “The Blue Danube”
(from “2001: A Space Odyssey”)

4. Stravinsky’s Ballet “The Rite of Spring”
(from “Fantasia”)

5. Wagner’s Opera "Die Meistersinger von Nurnberg"
(from “Crisis Express 109” starring Ken Takakura)

6. Mussorgsky’s “Night on Bald Mountain”
(from “Fantasia”)

7. Holst’s “Planets” Jupiter
(from “The Right Stuff")

BYJ Classics / The Scenes - Art

1. Mahler’s Symphony No.5 in C Minor
(from the film “Death in Venice”)

2. Rossini’s "Barbier di Siviglia"
(from “Fellini 8 1/2")

3. J.S. Bach's Orchestral Suite No.3 in D major BMW 1068
Air for the G String
(from “Se7en”)

4. Mozart’s Symphony No.41 in C Major “Jupiter”
(from “Annie Hall”)

5. Johann Pachelbel's Canon
(from “Ordinary People”)

6. Beethoven’s Symphony No. 9 in D Minor Op.125
(from “Nostalghia”)

BYJ Classics / The Scenes - Dramatic

1. Mozart’s Symphony 25 in G Minor K.183
(from the film “Amadeus”)

2. J.S. Bach's Concerto in D Minor for 2 Violins BWV 1043
(from “Music of the Heart")

3. Mussorgsky ‘s “Pictures at an Exhibition”
(from “No Regrets for Our Youth” directed by Akira Kurosawa)

4. Rimsky-Korsakov's “ Scheherazade”
(from “An Officer and a Gentleman”)

5. Mascagni’s "Cavalleria Rusticana"
(from “Godfather Part III")

6. Tchaikovsky’s Overture “1812”
(from “Dead Poets Society”)

BYJ Classics / The Scenes - Love Story

1. Dvorak's Symphony No.9 "From the New World"
(from the film “Clear and Present Danger”)

2. Puccini's 'Turandot, Nessun Dorma'
(from “The Killing Fields”)

3. Beethoven's 'Piano concerto No.5, Emperor'.
(from “Immortal Beloved”)

4. J.S. Bach’s Harpsichord Concerto in D Major
(from “Love Story”)

5. Rachmaninoff's Piano Concerto No.2
(from “Brief Encounter”)

6. Barber's "Adagio for Strings" (from “Amelie”)

Congratulations BOF International!

What a DOLL!

Japanese sister yoshikohan made FIFTEEN sets of these adorable "Winter Sonata" dolls, and pallet was one of the lucky ones to get a set!

The dolls are about 17 cm tall, and with the artificial leather shoes, they are able to stand on their own. Yujin's pink polaris necklace is so cute♪

(Incidentally, the snowman you see in the back are from the BYJ figurine set.)

Kim Hae-sook talks about BYJ

I remembered that I once translated Japanese sister Cranberry's sled from B.S.J. (satovic's circle) and posted it on KOB. Just for the record, I will repost it here.
(originally posted on KOB 12.25.2005)
photo from Amazon.co.jp

Annyong! Last week, Ms. Kim Hae Sook (Yujin's mother in “Winter Sonata”) came to Japan. As you all know, Ms. Kim appears frequently in Korean dramas – so frequent in fact, that you start to wonder if there is a shortage of actresses in Korea to play the mother figure. She ended up appearing in all four of Director Yoon Seok Ho’s drama series based on the four seasons, and is presently shooting “Spring Waltz”, which is the last drama in this series.And yes, although it was not a major role, she also played Jaeho’s mother as well.I think she always does a wonderful job in portraying maternal love in a variety of mother roles.Ms. Kim recently wrote a book of essays called “The Inside Story on Winter Sonata”. I attended the autograph signing & handshake session she held in Shin-Okubo (in Tokyo) on the 20th.For me, the rahmen-haired, overwhelming ‘onma’ she played in “Autumn in My Heart” left a stronger impression then Yujin’s mother. So, she caught me off guard when she appeared in front of us as a gorgeous actress. She certainly had the aura of a star, and was very beautiful. It seemed like she was on a very busy schedule, hence the event was short, but Ms. Kim was very talkative as she answered the MC’s questions rapidly. The interpreter must have felt very rushed. Even a chatterbox (‘oshaberi’ in Japanese) like myself (cranberry!) had to admit defeat! Ms. Kim said that she had visited Japan a few times in the past, but had suffered a sleepless night as she was worried about the attendance of the autograph session.The venue capacity allowed about 150 people, but as it turned out, the place was packed! Ms. Kim seemed very pleased, and somewhat excited.

Of course, she shared episodes on Yong Joon ssi as we had hoped. It is said that God only bestows one gift to each individual, but when it comes to Yong Joon ssi, he is “papekt (perfect)”! Not only is he good-looking, he is extremely diligent and thorough. He is caring towards those around him, and she claims she almost felt jealous that such a person exists. She said that he may give the impression of being soft with feminine qualities, but he is actually quite manly and very chivalrous. All of us in the audience nodded deeply in assent to this comment. We think we know everything about Yong Joon ssi that there is to know, but to hear the same information from someone who actually worked with him, makes it more convincing.Because dramas like “Winter Sonata” and “Autumn in My Heart” which are called mini series in Korea, are aired twice a week, she revealed that the exhaustion they experience for the shooting is beyond words. We remember seeing the NG video where Director Yoon Seok Ho fell asleep after giving his cue! As for Yong Joon ssi, he was not feeling well towards the end of “Winter Sonata” and had to receive injections to keep on working. The staff fell asleep while on their feet, and ended up destroying the set! It is no wonder that Yong Joon ssi fell asleep snoring, when he was shooting a scene where he was lying in bed! And of course, the battle against the severe cold…Mentioned also in her book, Ms. Kim claims that she never witnessed Yong Joon ssi rounding his shoulders, or massaging his hands even in the coldest weather. What a professional! We can just imagine how hard he must have worked.But I do remember seeing him walking at the ski resort with his hands in his pockets, fighting the cold.Oh, but of course that was him ACTING!!For Ms. Kim, the scene in “Have We Really Love” where she reunites with Jaeho who had gone blind, is especially memorable. In this scene, Jaeho suffers from both impaired sight and hearing, and therefore the mother had to communicate with her son by writing in the palm of his hand… Yong Joon ssi gave a beautiful performance in delivering the complicated and delicate emotions of this scene with great control and technique. She said that although it was not shown in the drama, she saw a trickle of tears running down his face in the end of the scene.

After reading the book, I learned that although Ms. Kim Hae Sook is now considered the “Mother of Korean Dramas”, she experienced much difficulties in the past. Once an actress who played lead roles, her career took a great tumble. In her recent book, she wrote of episodes that she never revealed to the Korean media. She said that it would please her if the stories about the times of difficulty would help the women readers of her book.We can guess that this work means a lot to her.She was very friendly as she signed my book, saying “Annyong haseyo, OO-san!”In the beginning of this book, 11 Korean actors who she had worked with gave congratulatory comments:Celebrities such as Choi Ji-Woo, Jang Dong-Geon, Won Bin, Song Hye-Kyo, Park Young-Ha….And needless to say, our prince appears at the very beginning.The photo must be the one that he always carries around with him when he gives out autographs.On the photo was his autograph and a heartfelt message.”I have had the pleasure of working with Mother Hae Sook in many works. I am very excited to hear that your book filled with your stories is coming to the world.I pray that this book will become a memorable one for many readers.”Bae Yong Joon Even in such messages, you are PA-PEKT! as always!

Have a wonderful Christmas Eve!

Cranberry

The "Mothers" Who Supported BYJ

The Two "Omonis" of "Have We Really Loved"

Interview by Maki Tsuchida

(AERA 2005.9.30 edition)

Kim Hae-sook

Proud of Her Hands Rough from Housework
The Roles in films influenced her real life.

"My 2 year daughter kept on crying saying she wanted to go with me. I felt as if my heart was being torn apart - so much that I almost considered giving up my acting career."

KHS who is called "the omoni of Korean dramas" for her many portrayals as a mother, and her kind and loving expression looks back on the days when she was struggling as an actress, wife and mother. The conflict makes her treasure her time with her time with her family all the more, and she manages all of the housework on her own. She shows her hand rough from the wet work and laughs somewhat wryly but also proudly, that they are not the hands of an actress.

"I am optimistic by nature. Don't you think it's more pleasant to think about the positive side of things, rather than worrying? And the fact I have a family makes my job more rewarding."

Rather than her affection towards her family reflecting on her acting, KHS claims that her performances influence her real life. Because she is the type that immerses herself in the role, the boundary of her real self and the mothers she plays in dramas and films tend to become obscure.

Loved by Young Actors
"The Affection of Real Mother and Child"

"I had an interesting part in a recent drama - she couldn't carry a tune, but loved karaoke, and spoke in a sugary way. I couldn't get out of that way of talking, and my daughter laughed at me. In reality, I am not such a good mother like I play in the dramas, but I am supported by my family's understanding."

Although she has played many parts, the role that left the greatest impression was those in "Tale of Autumn" and "Pearl Necklace". Both were mothers with a complex character, but they were challenging roles as an actress.

"When I was playing the mother of "Tale of Autumn", I felt depressed. Just reading the script made me cry. The mother of "Pearl Necklace" had emotional problems, but it is a role I would like to try again."

Happily she claims that she has many children. In "My Brother", she played the part of Wonbin's mother. Being loved by the young actors, she receives many offers to play mother roles.

"I always order the actors who will be my children to call me "mother" even off screen before the shooting starts. They are bewildered at first, but we eventually begin to develop an emotional relationship resembling that of a real child and parent. Even when we meet after some time has passed since the shooting, they still call me mother."

Double Role of Actress and Mother
"It's fun once you get used to it"

The most difficult role was the mother role in "Have We Really Loved". Because the character setting indicated she had abandoned her young child (BYJ), it was a big topic among the viewers who would play this part, and that became a big pressure for her.

"Frankly, I had my grudges against the director. In order to express motherliness, I need to work closely with the actor playing the child. To express the sadness, I continuously listened to sad music from the previous evening right up till the shooting, and tried to build up my emotions. When I got an OK with just one take, I couldn't help clapping right there and then."

Playing the role of an actress and mother. It has never been easy, but it does not bother her. When she feels she is not fulfilling either, then is the time she must give up one of them.

"Even if I am not perfect, if I can show that I am doing my best, my family will understand. Fulfilling both roles is indeed difficult, but by working, I build a sense of responsibility, and because I am doing something I like, doing both is fun once you get used to it."

Yun Yeo-Jeong

Questions the Significance of "Good Wife and Wise Mother"
Always Works to Improve Herself

"Every mother is different. There are mothers who even abandon there children and family. I always try to portray the mothers that exist in the real world," declares Yun Yeo-Jeong. She too is a veteran actress who has played many mothers. Rejecting the conventional styles of acting, the reason she always takes on the challenge of new roles is because she has her doubts with the "good wife and wise mother" model. YYJ once left the drama scene after she got married and lived in the U.S. for 13 years. When she came back as an actress many people working in the drama world saw her as a woman with a "Western air". Having acquired an objective perspective of Korea from her experience abroad, she reflected that in her acting, but people turned their backs to her attitude.

"I had experienced divorce as well, and when you think differently from the ordinary Korean women, people did not like it so much back then. Because of that, I came to think I would do the parts that pleases me and for this reason, I feel close to the majority of the roles that I have done till this day."

Failure of Entrance Exams Lead Her to Acting
"I became free"

YYJ is very modest about her career, and is always striving to be better.

"Unless you are truly gifted, your talent as an actor could always deteriorate. Even now, I practice acting. Some of my colleagues say, 'why are you still practicing at that age?' but I think the reason I am capable of continuing my job as an actress is because of my training."

A quiet and shy girl in her youth, YYJ chose to become an actress when she failed her university entrance exam. It was the age when television broadcast started in Korea, and the new media caught her interest.

"People around me opposed, but since I had lost my purpose in life at that time, I think I wanted to do something new. Failing the exams, I felt I had become free from what had been tying me down. My film debut was in "Fire Woman" in which I played a girl who ruins someone else's home- I guess I had the foundations of my present acting even back then (laughs)"

In terms of a role as a mother, she claims the one that left the strongest impression was that of HWRL. She was originally cast for the role of BYJ's aunt, but the actress who was scheduled for Kim Hye-soo's mother left the role, and she was suddenly asked to become the pinch hitter. YYJ acted out the complex emotions of a mother who gives approval to her only daughter's marriage to a young man who was suffering an incurable disease. The controlled performance characteristic of YYJ brought out the reality of the drama.

Later, she again performed with BYJ in “Hotelier". Seeing that he had grown as an actor, she felt his charm as a man.

"BYJ is an actor with a very sincere attitude towards acting. He is the type that cannot get into his acting until his emotions are heightened, and I am sure the shooting of "Hotelier" must have been difficult for him involving a lot of specialized terminology. Looking at him when he went out to smoke in order to calm himself, he was so attractive that it came me the chills."

A Born Actress
"Will act in any role."

She later came back on the screen with "A Good Lawyer's Wife". Presently she leads a busy life, taking part in 2 dramas simultaneously, and she feels that she might be just a bit too busy, but she enjoys acting. She is an actress by nature.

"There is no role that I want to do in particular. It's not something that would come true by wishing for it. If there is a possibility that I can play it freely,
I am looking forward to any challenge."

Happy Birthday Jun Sahng!

We love you!

BYJ and Jung Sahng

From "The Diary of Winter Sonata" by PD Yun Seok-ho (2005)

Dec.15 2001

... Shooting JS's solo cut also required a long time. The issue was - how much should BYJ's face be covered by the book? BYJ is the type who cannot get into his acting until he can fully accept the situation he is playing, and to have him understand the necessity of the scene I gave my explanation. Of course I could see his point too, but I had my idea as well. We came to an agreement after talking it over, and resumed shooting.

The shooting of the high school scenes are indeed difficult.

Grow up fast everyone- please!

Another Hidden Treasure from WLS

Happy Valentine's Day!

Speaking of hidden treasures of WLS, here’s a HOT one wuri Satovic introduced in her book “satovic Yon-sama Theater” (2005)

In episode 17, Yujin is discouraged because her mother opposed to their marriage. JS tries to cheer her up by preparing a dinner at the mountain lodge café and makes the decision of “living their lives together”. That evening, he suffers a nightmare. The following day, JS suggests having their photograph taken – but before this scene, there was an episode we never got to see…

JS wakes up from a nightmare. He hears a loud banging on the door, and Yujin is crying out “Jun Sahng! Jun Sahng!” When he opens the door, Yujin is standing there crying.
“I had a terrible dream. You disappeared… you went away alone. I was so scared.” As Yujin lets these words out in tears, JS holds her tight.
“Don’t be stupid, you know I’ll never go anywhere.”
“Don’t go JS. Please don’t go away”
Yujin sobs uncontrollably. After awhile, she falls into a deep sleep (AS usual). JS kisses her face softly.

The next morning, Yujin wakes up on JS’s bed AND as usual, is in the state of “where am I? Who am I?” Enters JS, who has just come out of a shower – and what do you know! According to the script, he has come JUST out of the shower, with his hair still wet and naked down to his waist! Yes, you can say he’s clad only in a towel. Ooooh, his broad chest … (no, that’s not included in the script, but you can easily imagine!)

It doesn’t stop here!
Yujin cries out, “come on, put on your clothes!”
JS – “This is my room. I can put on my clothes, leave them off, do whatever I like. Hey, does it bother you? Don’t you remember about last night?

Here, JS acts like the playboyish Min Hyung in the way he teases Yujin. (He’s probably not wearing his glasses, don’t you think?) Ooooh, why oh why did you have to cut this scene, PD YUN!!!

Another Story Behind Episode Two of WLS

This is another excerpt from the book “Another Winter Sonata”. The writers reveal the inside story behind episode two.

The Alternative Episode for JS, Yujin, and Sang Hyuk (SH)

The setting of the tragic parting between Yujin and JS was already decided in the very beginning, but we had prepared many alternatives for the process of their parting. Under normal circumstances, it is usual to write many versions of the script for episodes one and two because those are the most important in a drama, and this one was no exception. We had prepared more than 10 versions of these two episodes.

For example, in episode 2, the final version only included Yujin getting lost in the mountains and JS finding her, but initially, we thought of inserting a scene with Cherin drowning herself deliberately to gain JS’s attention. This was an episode we thought would allude to Cherin’s role of becoming Yujiin’s rival. But considering the briefness of the school days they share, we decided that we must concentrate on the love between Yujin and JS, and we cut this scene from the final script. For that reason, the explanation behind how much Cherin really liked JS and how she had been obsessed with him may had been lacking somewhat. We feel the scene that ended up being cut may have been useful in having the viewers understand that JS was Cherin’s first love as well.

Among the episodes that were cut, there is one scene we are very fond of. We will share it with you briefly… In the story that was aired, there are no scenes in which SH, Yujin and JS spend time together in an intimate way. Actually, in the original version, there was a scene where after fighting with each other fiercely, SH and JS finally become friends with the help of Yujin.

Wittgenstein is a famous Austrian-born English philosopher. And the “Wittgenstein game” is a game he invented for fun when he went on walks with a married couple he was intimate with.

Three people take on the role of “sun”, “earth”, and “moon” respectively. As we all know, the earth revolves around the sun, and the moon revolves around this earth which is revolving around the sun. In the game, the players imitate this action – obviously, the one who has to walk the most among the three is the “moon”. He must always stick with the earth that is revolving towards the sun.

On a day with snow lying thick on the ground, with JS’s suggestion, the three of them decide to play the Wittgenstein game. JS mischievously offers to play the role of “sun”, and ignorant of the situation, Yujin and and SH end up with “earth” and “moon”. JS who is the “sun” easily walks through the fields with snow softly falling on them. Yujin, as “earth” tries hard to go in a circle revolving around JS. SH on the other hand continues to walk steadily staying close to Yujin who makes big circles around JS. Working up sweat, it does not take long for Yujin and SH to realize why JS had offered to become the sun. JS, who was walking alone with ease, laughs heartily, and Yujin and SH cries out they’ve been tricked. The two throw snowballs at JS, and the three of them end up in a snowball fight. Thus, they spend the most peaceful and beautiful moment of their lives together… that was how the story went.

The earth that goes around the sun and the moon that just continues to revolve looking only at the earth… The relationship of the sun, earth, and moon seems to imply that of JS, Yujin and SH. No matter how much the moon continues to revolve around the earth, the earth would never revolve towards the moon. Yujin would walk looking up to JS, and can never look at SH. That was their fate.

The director also liked this scene, but regrettably, it was cut. However, the imagery of the sun, earth, and the moon was always expressed throughout the drama taking on different forms. If you ever have the chance to walk through the fields covered with snow on a snowy day with some friends, why don’t you try this Wittgenstein game? If you can spend time with the person you love during the snowy season, it should be fun even if you are not the sun. But for those of you who are enduring the heartbreak of unrequited love, whatever you do, don’t accept the role of the “moon”. It would no doubt make you very sad…

Leslie Kee's Interview from "We Love Korean Dramas"

Happy Lunar New Year to Everyone!

The following is an excerpt from Leslie Kee's interview on his impressions of BYJ from the Japanese magazine "Aishiteru! Kankoku Dorama" (We Love Korean Dramas!)

Vol.19 (Feb.2008)

Leslie Talks About Bae Yong Joon

Interviewer: Looking at BYJ through the viewfinder, was there anything unique about him compared to other artists?

Leslie: When I met him for the first time, I ran up to him and said “Thank you for (coming?) today”. He seemed surprised. I guess he was not used to being greeted like that. The reason I acted that way was because I imagined that since BYJ is such a big star, people would not talk to him very much. But I had a feeling that a man big as him is actually interested in what people are thinking - he probably wants to talk more with all kinds of people. I wanted to convey my own excitement, and he too opened up to me in return. To be honest, before actually met him, I imagined him to be the same as the other Hanryu stars. Why? Always the smiles, bright lights - I had thought this was the only style he was willing to compete with. But when the shooting began, and I made my requests in English, he immediately began to show the artistic side of himself for me. Also, he was such a gentleman - like an English gentleman. Even when he was speaking to the stylists and interpreters, he was really polite. I think you can say he does have prince like qualities.

I: So you felt that what is reported through the media is true?

Leslie: Yes I did. I thought it was not a lie. In the way he walked, and the moment he entered the room, you could feel this special aura. What’s more, it’s not like an intentional act, it's perfectly natural. He possesses elegance and qualities of a gentleman. Going through many sessions with him, I felt this very strongly.

I: I understand you had opportunities to photograph him even after the “Superstars” project.

Leslie: Yes, I had a session with him just a few months ago, too. One was for an advertisement for a Japanese company, and the other for the promotion of “TWSSG”. I also worked with him four or five times before that. For example, the photographs for the CD jacket of the compilation album of classical music selected by BYJ himself, and the poster for the Japanese version of the drama “Hotelier”. The more I work with him, I discover that he has various dimensions in him.

I: Do you know anything about BYJ’s own interest in photography?

Leslie: I know that he takes photos on his own, but I don’t know what kind of photos he takes. But I heard that he gave a photo that he took with his own camera to President Sohn of IMX as a birthday present. I understand that it was photo of a bicycle.

At the Mountain Lodge

The Bashful Side of BYJ

The following is another part from the book "Another Winter Sonata" written by the scenario writers of WLS, Kim Eun-Hee and Yoon Eun-Kyoung (published Sept. 2004)

Our first encounter with BYJ and Choi Ji Woo (CJW) took place in the elevator of the annex of KBS. On that day, all the actors were to assemble for the first reading of the script. Arriving there with mixed feelings of excitement and anxiety, we hurriedly jumped into the elevator as it was half closing. Pardoning ourselves the moment we got on, we saw two people who looked familiar. Greeting them with our eyes thinking, “I know them… who were they…?” It only took a half a second to realize the truth.

“You stupid! It's BYJ and CJW of course!”

This is how we first met Yujin and JS.

On Bae Yong Joon

Indeed He was a Handsome Man

The first impression of BYJ –ssi who appeared wearing a black leather hat low over his eyes, was that he was truly “Jun Sahng” himself. The slightly dark skin, sharp intelligent eyes, and the stiff expression he wore when he asked quietly about his character showed “the JS –like charisma that made him difficult to approach”. Perhaps it seemed so all the more, because the character he played in his previous drama was that of a cold person like JS. However, as you all know, JS may seem cold on the outside, but he is actually a boy of a very sensitive and shy nature. When we met for the first time for the script reading, we realized instantly that “BYJ also had these qualities”.

To be honest, the most embarrassing and awkward time for scriptwriters is the day of the script reading when we meet the actors for the first time. As much as it is a happy moment for us to have the imaginary characters come to life with the help of the actors' voices, it is unavoidable to have the feeling of sitting on a bed of nails, under the pressure that “we should have done better”.

CJW has to get into becoming the 18 year old Yujin and run around the lake with JS…, BYJ has to identify with JS and drop leaves over Yujin pretending it’s snow, promise to go on a date with her on the first snow of the season… As scriptwriters, we were afraid that we had ended up writing something that would give one the shivers. We felt responsible, and wanted to crawl in a hole to hide ourselves.

Frankly speaking, the script of episode 1 and 2 had too many scenes that were way too corny for a grownup man over his 30s to play (We were aware of this. But JS was still a high school student, so even if it seemed like a corny scene from a grown up’s perspective, we needed to put it in).

The highlight of the day was the scene of the first kiss between Yujin and JS. When JS made the 2 snowmen kiss and jokingly say, “you lucky guy”, BYJ got stuck in the middle of his line, and ended up bursting into laughter as he was not able to get it right. Most of the other actors in the room laughed, too. Feeling guilty (!) for making the lines so “corny”, we took a peek towards BYJ and tried to see how he was reacting. He seemed to be finding it uncomfortable to act out such a scene, and with the script covering his face, he was expressing great embarrassment. In that moment we thought, “Huh? This is rather unexpected…” The “cold, intellectual charismatic young man” we were used to seeing on TV was no where to be seen, and instead, sitting in front of us was a bashful boy … “Oh, Yonsama, who would of thought you possessed these endearing qualities!”

Standing in the Rain

From "Another Winter Sonata"

The following is an excerpt from the book "Another Winter Sonata" written by the scenario writers of WLS, Kim Eun-Hee and Yoon Eun-Kyoung
(published Sept. 2004)

The information may not be new, but the 2 writers reveal what BYJ himself thought about his role Min Hyung in the early part of the drama.

Original in Japanese
Translated into English by flowerbossa

One of the things we remember the most during the time we were writing episode 8 is receiving a phone call from YJ-ssi. When we write a script it usually cannot be completed at one shot. After writing the first draft, we examine the flow of the entire story, rewrite it …. and this process is repeated as we make changes. Sometimes, we end up with something completely different from the original draft (and as a result of this process, the amount of script actually written far exceeds that worth 20 episodes!). Of course, it may be possible for a good writer to draw up a scenario only at one try, but being novice writers then, and plus the project being a joint effort between the two of us, there was much more we had to work on together compared to writing alone.

So, customarily we did not show the early drafts to any one but the producer, let alone the actors, but YJ-ssi insisted that he wanted to see it to prepare for his role. We hesitated, but we sent it to him indicating that this was still “a draft”.

The next morning, we received a phone call from YJ-ssi. There were times when we talked on the set concerning the character settings, but since this was the first time to receive a call from him, it some how made us worried. And as we anticipated, YJ-ssi politely addressed his questions to us on the character of Min Hyung.

Actually, YJ-ssi had questions for us while they were shooting episode 6. When Yujin had shed tears mistaking MinHyung for JunSanhg, MinHyung flirted with her by acting like JunSahng in the beginning but in the end confessing that he was actually only MinHyung and accused her for her scheme. In this scene, YJ-ssi just could not understand the emotions of MinHyung. He claimed that watching Choi Ji Woo’s eyes over flow with tears, he was on the verge of tears himself, and couldn’t see how someone could act so cruelly.

He was right of course. In a normal situation, Min Hyung would not have acted so cruelly. But caught in Cherin’s trap, he was forced to mistake Yujin’s truthful expression as deceit. We gave a detailed explanation of the situation and YJ-ssi was finally satisfied, but he was chagrined over his character while shooting the scene claiming that even under the circumstances, HE would never take Yujin’s actions the wrong way.

The point YJ-ssi felt the most uncomfortable with was (as in episode 6) how MinHyung’s behaved so coercively towards Yujin. In the beginning part of the draft of episode 8, MinHyung asked Yujin, "who do you really love?” in a much stronger manner. After we wrote the draft, we also had felt that the expression was much too strong considering MinHyung’s character, and planned to change it, so when we received that phone call from YJ-ssi, we were really in a bind. That was exactly why we didn’t want to him to see the initial draft… We explained to him the content of what we planned to change, and after he learned that the gentleness of MinHyung’s character was going to be retained, he was relieved and hung up the phone.

We felt very sorry towards YJ-ssi at the time. Actors need to be immersed in the emotions of the characters they are playing, but we felt that we had confused him unnecessarily due to the draft. We were also embarrassed, too. We have to admit that just as actors want to be seen at their best and most beautiful in front of the viewers, we writers would prefer to avoid showing the process of trial and error we go through. This wouldn’t have happened if we were able to come up with a great script with just one draft… But, it’s no use talking about it. It was the result of our own lack of ability.

However, what we ARE able to promise is that we will continue to make changes to the script in effort of making it a better one, until the very moment the final shooting takes place.

Min Hyung-ssi

We had our "choum" snowfall in the Tokyo/Yokohama area.

Makes me miss Min Hyung-ssi...

Message from Leslie Kee

From the pamphlet "The Making of Super Stars" (Nov, 2006)

Original in Japanese
Translated into English by flowerbossa

In a model, I seek the “not so real” in the poses, yet “gracefulness” in their expressions – that is my style of photography. Putting it more simply, even if the pose itself may seem a bit sleazy, it would look cool. In that way, Yonsama fit into my photos more than I expected. Although I have worked with many Korean stars up till now, he has given me a lot. In a word, he is a person with a really kind heart. What I felt deeply when he was posing for me and in our exchange during the session is that he is highly motivated and cooperative. Actually, when I asked him that I wanted to go on taking some more shots, he worked with me until I was able to take photos I was satisfied with. A quite a few actors surprisingly don’t care so much. But he doesn’t give up with the attitude, “hey, this is good enough”. I thought that was the secret of him being loved by so many people. I think Yonsama is a man of many more variations and possibilities.

(Note by flowerbossa: Leslie is fluent in Japanese. I think the original text is in his own words.)

Asleep

Who does this right hand belong to?
Could it be ... yours?

Message from BYJ

The following translation is provided for your personal enjoyment.
Respecting the rights of the original writer, please inform me if you wish to share this article with others. Thank you for your understanding!
(Jan. 19,2008)

From the pamphlet "The Making of Super Stars"
(Nov, 2006)

Original in Japanese
Translated into English by flowerbossa

A New BYJ, Only Brought Out by Leslie

“A lucky coincidence”, might be the most appropriate expression describing my encounter with Leslie. The shooting was not merely fun, but from the moment it began, the pure and innocent part hidden inside me seemed to be revealed…. I was able to be my natural self, and really enjoy the session. So, our first meeting left a strong impression, too. Leslie ran up to me the moment I stepped into the studio. Because it was so unexpected, I was a bit surprised, but I was able to sense how much he had been looking forward to this shooting, and moreover, feeling his passion and pure heart, I myself loosened up to him.

Normally, even for professionals, it often takes time to get used to each other’s tension in the first shooting. However, with Leslie, it was as if I was caught by his magic. How should I describe the expression of him looking into the lens…it was like that of a boy's, showing excitement over a big toy (laughs). After awhile, I found myself poising for him naturally, letting my own feelings and body lead me. Being with Leslie, I was returning to the child I had in me.

Actually, the session I had with Leslie took place after a long CM session, so I was quite tired out physically. But through the way he treated everyone in the same manner not creating any boundaries, the way he heightened the tension of the session as a professional, along with his motivation in bringing out a new dimension in me, he was able to bring out a masculine and sexy part of me which was something different from my past image. Recently, I have very strong thoughts on “my present self” and “my natural self” Needless to say, my past is important too, but each time I make an encounter with a new work, I face up to my new self, and little by little, I feel a change. In this sense, I hope I will be able to express my new self through my encounter with Leslie.

The Expressions of the Artists Collected Here Serves as a Tool for Thinking About Asia

The concept “ASIA IS ONE” that Leslie wanted to express through the “Super Stars” project is a fundamental one for me as well. Although the means of expression may differ – for me, through contents such as dramas and movies, and for Leslie through photography - we have connected with many countries of Asia. Perhaps that is why our meeting did not feel like a first, for we shared the same feeling of “ASIA IS ONE”. The reason I say this is because through you, my family (fans), I was actually able to feel “Asia becoming one”. I think that Asia is a community that can relate, help each other and develop together based on a cultural and emotional affinity. In Asia, there exist diverse cultures, languages, and customs and there are many parts which are different outwardly. However, every time I visit an Asian country outside my own, I feel “a spirit transcending language barriers”. Even when we are far apart, I am able to feel that we are one cultural community.

And in this project, I feel that the expressions of the artists that only Leslie was capable of bringing out will provide a new and wonderful tool to make one feel more familiar to Asia. It is a fact that when we receive love, we are all moved by this love. It is natural to share the love one receives and give something back in return, but in my position as an actor, the only thing I am able to do is present myself at my best in the works I appear in. This would lead to having you take interest in such matters as the world view of the work, the actors and staff who had created it, and the cultural roots of the work itself and of the people participating in the project, and this in turn should become a trigger for cultural exchange and mutual understanding. I also hope that every country of Asia will become capable of sharing a mind centering on culture rather than commercialism, so that even more exchange on an interactive level – not the exchange of merchandise such as movies and dramas as well as one way service – will be enhanced and also enable us to grow together.

The Gaze

From the Official Photo Book.

From the Official Photo Book

Wishing all of you a very happy new year!

AND... Congratulations, Yong Joon-ssi !!

Side by Side

From Episode 4 :Scolded by Aboji

Damdeok's First Battle

Composer Joe Hisaishi talks about TWSSG

Excerpt from the interview aired on NHK "Studio Park "
Nov. 17,2007

Two years ago, TWSSG Producer Kim who was a fan of Hisaishi's music asked him to compose music for this drama.
Hisaishi built his image of the drama upon reading the script, and after visiting the location site in Jeju last Sept, his concept was finalized.

Hisaishi: The protagonist of this drama "Damdeok" is a historical figure in Korean history that even appears in the text books. So this is a historical drama of a grand scale. With this in mind, I wanted to compose something that conveys the grandeur of this work in a tight style with the music performed by an orchestra. In addition to creating music that expresses the caliber of this work, I concentrated on writing melodies that would be felt deeply by the heart.

A recording session took place this March in Saitama.
Hisaishi composed 38 pieces amounting to approximately 180 minutes of music.

H: I composed an enormous amount of music. Considering that, I think I put in everything I have into this work, and I am satisfied with the outcome.

In"Damdeok's Theme", the main theme of this drama, Hisaishi layed the gracious and brave image of BYJ himself upon the character Damdeok.

H: The role of Damdeok itself is quite a passive figure - he is at the mercy of fate, and at times suffers (facing difficulties?) When BYJ plays Damdeok, the qualities of the two men seem to overlap. Damdeok is not a portrayed as a man who is merely masculine and strong. He is one that agonizes over problems and shows concern towards those around him. I tried very hard to express such a character.

(Hisaishi's impression of BYJ on the set)

H: When I met him on the set at Jeju, YJ said "PD Kim is always in a
good mood when you show up. So, please come to see us often!". He was cheerful, and oh how should I say it... I thought that he was a really nice person.

The story of how Suzini (a tomboy in her youth) gradually falls in love with Damdeok is one of the features of this drama. Hisaishi claims that "Suzini's Theme", triggered him to change his attitude towards the approach of composing the music.

H: When I began to write the beginning part of “Suzini’s Theme”, which is incidentally the sub-theme of this drama, I thought “oh, this piece doesn't fit into the drama. But since I started on it, I thought oh well, I might as well show it to the producer. He ended up liking it. You see, since my previous works were usually for films, I have been used to creating works with a formal style. But I realized that what was required in this drama was something easily accessible, at the same time conveying the grandeur of scale. After that, I switched my approach to fulfill these qualities.

(His impressions of TWSSG)

H: Other than this being a great historical spectacle, this work also offers the best qualities of Korean dramas, as it features such traits as human compassion and the clarity of how the characters are portrayed.. The amount of CGs used in the drama is more than you can imagine, and go far beyond the caliber of an ordinary drama. I would be happy if the viewers would take these things into account when they watch it.

I myself have only watched this drama up to episode 3, so I am looking forward to watching it on NHK when it airs.

(VOD can be found on QUILT posted on Nov.17 by Makishi – thanks Makishi as always!)

Wuri Prince Damdeok

Breathtaking Damdeok

Sleeping Damdeok

Damdeok in His Younger Days

Won-nim in the Mirror

He's HOT!

Courtesy of Pinky Ring

Remembering Won-nim on Chuseok

GQ Yong Joon

Brokore Magazine No.13

Special Features:

☆　The two years Brokore spent with BYJ

☆　BYJ returns with "TWSSG"!

☆　Articles on the two leading actresses of the drama.

This issue will be on sale from Sept. 25.

Look out for it!

Won Quilt!

Lovers of Lord Won collaborate!
Panel created by Japanese fan Pinky Ring.

Two Asian Leaders Talk About Asia and the World

Excerpt from the booklet “The Making of “super stars” by Leslie Kee“Asia is One”

Interviewer: Why did you (Pres. Sohn) decide to support Leslie’s “Super Stars” project?

Sohn: The work I do in my own company originally started with my wish to have the Japanese people see Asian content. The reason I wanted them to see them, is because I wanted them “to understand”. Because the Japanese media only introduces a small part of what is going on in the world, the people can see very little of the real life. If they are able to see just a little more of what is really going on, perhaps we can understand each other. I thought TV dramas would be a great means of making this possible. It’s not like competing with the west -I think Bae Yong Joon also thinks similarly on this – I think under the influence of modernization of Asia, we are forgetting the wonderful customs and values that have been carried on from the past. This trait is most evident in Japan, as they were the first to westernize. From a cultural perspective, the fact that I’m wearing a suit today is actually unnatural. It’s not just clothes – if we were to think about food, there must have been a cuisine that is appropriate for Asians. I sometimes think that we are even beginning to forget that we are Asians. There is a tendency to think that “becoming more like white people” is a standard in attaining beauty, and with “global standards” too, the idea is to go in line with the standards created by the Americans and Europeans. I think by becoming conscious of the fact that we are Asians, we can broaden our perspective, and we might be able to realize who we are. For this very reason, I think Asia should interact on a dynamic level. Leslie’s “Super Stars” project was initiated with his conviction that “neighbors should help each other”. He wanted others to feel this way, and it made me want to participate in this project because I truly empathized with his idea.

…… (omit)

I: What do you think is the meaning of Asia becoming one?

Sohn: I suppose if I were to put it simply, there are such ideas like creating joint works, but my idea is a bit different. Moreover, it’s not something on a political or diplomatic level – I only want to do facilitate things more on a cultural and a private level, say involving people’s sensitivity. It’s not about saying “NO” to things outside of Asia, either. In the end, it all connects to the world anyway. But before we go out to the world, we have to begin by loving one’s self, one’s company, one’s school, and one’s country. If we were to stretch this a little further, there is a unit called Asia.

Leslie: First, “Asia is One”. I have neither the charisma nor the ability to say “World is One” at the present. May be if I built up on my career for another 10 years, and I made a lot of acquaintances throughout the word, I maybe able to say so as an artist, but I don’t think this is something I can say very easily.

Sohn: For example, before the trend of Korean films, Hong Kong films which were the rage of the 90s became a content on a worldwide level. But Asia is still only looking towards the west. I think that kind of attitude is self-deprecating, and does not do any good. We must become more confident. In Asia, we have many beautiful people, beautiful scenery and wonderful talent. We should reassess them by Asian standards and not by the standards of the west.

Leslie: I think Asia’s standard is improving greatly over the past few years.

Sohn: It is full of energy, to say the least. Even with its great history, countries like China are changing dramatically. There is a certain unstableness, but potential counterbalances this. I hope many talented people like Leslie will have more and more opportunities to demonstrate their abilities.

Leslie: Yes, I hope so.


(translated by flowerbossa
If you are interested in sharing this post with others, I would appreciate it if you would notify me in advance. Thank you!)