When I heard the band’s image for the piece, I decided to build it from the feelings I had in my own youth. I directed it with the intention of turning those everyday moments from back then, and the emotions that strangely remain when you look back on them, into the visuals as they are. The apples that appear in the work are a visual expression of memories of youth. For me, youth is strongly connected to cinema as well, so I’ve also included a few slightly film-like scenes and ways of showing them here and there. By using an old compact digital camera and having the cast actually take some of the shots themselves, I think I was able to create a texture that feels close to the perspective and memories of the people who were there.

I created this work with the idea of keeping the visuals polished and beautiful, without overly emphasizing its dark worldview. I feel it was one of the more daring works among my own projects. I also paid close attention to the aspect ratio, and to create a greater sense of immersion, I adjusted it so that no black bars appear when viewed on a smartphone.

I created this work with an emphasis on atmosphere. I was conscious of how the two of them would appear, like a vivid memory burned into the brain. For the singing cuts, I also included separate locations so they wouldn’t appear in the same way, while filming at places that evoke memories, as if the song were about the two of them.

I created this piece with an emphasis on the contrast between the band performance and the drama segments. I wanted to strongly bring out the surreal comedic feel in the drama segments, so I packed in all kinds of elements almost to the point of overdoing it, and intentionally kept the performance cuts simple. My thanks to everyone in Bye-Bye Nietzsche and to Mr. Yamada for their dedicated acting.