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Editor-in-Chief of a Free Magazine: “Passing on Good Seeds to the Next Generation“
Starting her career as a model, and with an increasing number of acting roles in her late 20s, you also took on the role of editor-in-chief of EA magazine and have been actively sharing your interests. What is your intention behind engaging in real-time, quick responses, and taking the initiative to share your thoughts?
EA magazine is a free magazine founded and edited by Nairu Yamamoto, aiming to create opportunities to think about various social issues and challenges. Past contributors include Kemio, Marika Koizumi, the editor-in-chief of the gal magazine Ane Ageha, and Naritaka Kobukuro, among others.
Yamamoto: I have a desire to pass on positive influences to the younger generation. If I’m in a position where my words or writing can reach as many people as possible, I want to use that influence effectively. It’s not about trying to change society or anything grand, but because I’m very aware of what I lacked when I was younger. I also feel deeply that there were adults and environments that didn’t teach me what I needed at the time.
The more opportunities you have to gain knowledge, meet people who inspire you, and make choices that help you grow, the better—especially the sooner that happens. In that sense, I want to touch on those topics as much as possible. I see it as natural behavior toward younger people. Because I work in a field that involves communication, I’m the type who dislikes the idea of being unable to express myself, so I share what I feel in an authentic way. I want to share that with everyone. It’s not about imposing my opinions; it’s about creating opportunities for conversation. This applies to everyone, regardless of age or gender. I want to spark many “glitches” in everyday life.
Yamamoto: By the way, in ‘SUPER HAPPY FOREVER,’ my character Nagi was someone who created ZINES (small self-published booklets), and during filming, I was actually making my own ZINES and selling them. It wasn’t something I was asked to do—it was something I enjoyed doing on my own—but Director Igarashi incorporated it directly into the movie. I interpret that film as a story about things that disappear and things that still exist, and photos are one of those items, right? I was truly making ZINES, taking photos regularly, and I love vintage clothes, so through my role as Nagi, a part of my own culture is reflected.
You’ve openly mentioned that you grew up in a large apartment complex and had limited exposure to culture. I feel there’s a similarity with the power that Moyoco Anno, who grew up in a suburban housing complex and incorporated that experience into her work, brings.
Yamamoto: Yes, exactly. Where we grew up and the environment we were in are what shape us, so I think it’s more interesting not to ignore those aspects. The past can’t be changed from now on, right? The emotions I felt at the time are unique to me. So, I try to listen to those voices from back then in my everyday life.
