nntsuzu/KFTT huggingface dataset:
English: Longing for the animated films of Walt Disney he watched in his childhood, he entered the animation division of J.O. Studio (later, Toho Kyoto Film Studio) in Kyoto through a connection of his relatives, and worked as an animator.
Japanese: 少年時代に見たウォルト・ディズニーのアニメ映画にあこがれ、親戚の伝手で京都のJ.Oスタヂオ（のち東宝京都撮影所）の動画部門に入り、アニメーターをつとめる。
English: In 1936, he published 6-minute short animation film, "The new theory of Mount Kachikachi" created all by himself including the script writing, drawing, filming and editing processes.
Japanese: 1936年（昭和11年）には脚本・作画・撮影・編集をすべて一人でおこなった6分の短編アニメ映画『新説カチカチ山』を発表。
English: This Toho Kinuta Film Studio was his home his whole life up to his 'farewell party' held after his death except the short period in the New Toho film studio and about 10 years in Nikkatsu and Daiei.
Japanese: この東宝砧撮影所は、以後、短い新東宝時代、10年程度の日活・大映時代を除き、没後の「お別れの会」に至るまで終世のホームグラウンドとなった。
English: Ichikawa is one of the few filmmakers who succeeded in moving from animation films to live-action films.
Japanese: 市川はアニメーションから実写映画に転身して成功を収めた数少ない映画人である。
English: He transferred from the Toho Tokyo Film Studio to the New Toho film studio amid Toho conflicts, and later returned to the Toho Tokyo Film Studio again.
Japanese: 東宝東京撮影所から東宝争議のなかで新東宝撮影所に転じ、のちにまた東宝に復帰した。
English: He made films such as "Three hundred sixty five nights" which was a blockbuster classic soap opera, while experimental works generated publicity in this period, including unique caricature comedies such as "Pu san," "Okuman choja" (Billionaire), "A wedding march" produced with the fast-talking style, and "Nusumareta Koi" (I Love You) with bold video processing.
Japanese: この時期は『プーサン』や『億万長者』などの異色風刺喜劇や早口演出の『結婚行進曲』、大胆な映像処理の『盗まれた恋』などの実験的な作品で話題を読んだが、『三百六十五夜』のようなオーソドックスなメロドラマの大ヒット作品も撮っている。
English: In 1955, he transferred to Nikkatsu which had just restarted film making the previous year.
Japanese: 1955年（昭和30年）にはその前年映画制作を再開したばかりの日活に移籍。
English: He established his position, publishing masterpieces centering on literary films almost every year, including "Kagi" (Odd Obsessions Key), "Nobi" (novel), "Enjo" (Flame of Torment Conflagration) (movie), "Hakai" (The Broken Commandment) (novel), "Kuroi juichinin no onna" (Eleven women in Black), "Nihonbashi," "Bonchi," "Watashi wa nisai" (I am two years old), and "Yukinojo henge."
Japanese: 文芸映画を中心に『鍵』、『野火(小説)』、『炎上(映画)』、『破戒(小説)』、『黒い十人の女』、『日本橋』、『ぼんち』、『私は二歳』、『雪之丞変化』など名作を毎年のように発表して地位を確立した。
English: Especially, "Ototo" (Brother) in 1960, which was beautifully described as the affection between sister and brother in the Taisho era shot by Kazuo MIYAGAWA, was selected for the top ten of Kinema Junpo for the first time in his career.
Japanese: とりわけ1960年（昭和35年）の『おとうと(1960年の映画)』は大正時代を舞台にした姉弟の愛を宮川一夫のカメラで美しく表現、自身初のキネマ旬報ベストワンに輝く作品となった。
English: It was this period that he had actively worked for making films such as "Taiheiyo hitoribocchi" (in 1962) starring Yujiro ISHIHARA.
Japanese: また石原裕次郎主演で『太平洋ひとりぼっち』（1962年）を撮るなど、意欲的な映像活動に取り組んでいたのもこの時期のことである。
English: He created the "Record of the Tokyo Olympics" as a general director in 1965 and it caused much sensation.
Japanese: 1965年（昭和40年）には総監督として製作した『東京オリンピック記録映画』が一大センセーションを起す。
English: Ichikawa believed that the Olympics were not less than the sprawling drama without a set program.
Japanese: 市川はオリンピックは筋書きのない壮大なドラマに他ならないと考えていた。
English: He wrote a sophisticated script from the opening ceremony to the closing ceremony with Natto WADA, Shuntaro TANIKAWA and Yoshio SHIRASAKA, and completed filming this documentary movie based on it.
Japanese: 開会式から閉会式に至るまでの緻密な脚本を和田夏十・谷川俊太郎・白坂依志夫とともに書き上げ、これをもとにこのドキュメンタリー映画を撮りあげた。
English: He completed an extremely artistic film totally different from the traditional 'record films' in various unique ways; putting the scene of Tokyo losing its old image due to construction of athletic facilities in the beginning of the film, shooting one scene from various angles with many cameras, capturing athletes' heartbeats and sweat on their foreheads with a 2000-millimeter telephoto lens like a telescope, describing not only athletes but also spectators, not only winners but also losers, not only joy but also despair and so on.
Japanese: しかも冒頭に競技施設建設のため旧来の姿を失ってゆく東京の様子を持ってきたり、一つのシーンを数多くのカメラでさまざまなアングルから撮影したり、望遠鏡のような2000ミリ望遠レンズを使って選手の胸の鼓動や額ににじむ汗を捉えたり、競技者とともに観戦者を、勝者とともに敗者を、歓喜とともに絶望を描いたりするなど、従来の「記録映画」とは全く性質の異なる極めて芸術性の高い作品に仕上げた。
English: The criticism by Ichiro KONO, Minister of the Olympics saying 'It lacks in recording performance' caused big controversy 'whether "Tokyo Olympic" is a record film or an art.'
Japanese: これをオリンピック担当大臣の河野一郎が「記録性に欠ける」と批判したことから、「『東京オリンピック』は記録映画か芸術作品か」という大論争を呼び起こすことになった。
English: Amid the transition of the film industry from heyday to falling period due to the start of TV broadcasting service, many people involved in films held hostility towards TV and looked down on it.
Japanese: テレビ放送の開始で、映画が全盛期から斜陽期へと向かう時代が忍び寄る中、映画関係者の中にはテレビに敵対意識を持ったり、蔑視する者が少なくなかった。
English: In such circumstances, Ichikawa paid his attention to the potential for the television as a new media, and positively entered into this field from 1959.
Japanese: そんな中、市川はテレビを新メディアとしての可能性に注目し、映画監督としては1959年（昭和34年）よりこの分野に積極的に進出。
English: He played a leading role on TV history, making films from film-recording TV movies and commercial films to varieties of dramas such as live dramas, video recording dramas and dramas shot with high-definition cameras during the experimental period.
Japanese: フィルム撮りのテレビ映画やコマーシャル・フィルムにはじまり、生放送ドラマ、ビデオ撮りのドラマから実験期のハイビジョンカメラを使ったドラマまでを手がけ、テレビ史においても先駆的な役割を果たした。
English: The series of TV commercials for Suntory RED (whiskey) using Reiko OHARA had been aired for many years.
Japanese: テレビコマーシャルでは、大原麗子を起用したサントリーレッド（ウィスキー）がシリーズ化され、長年に渡って放映された。
English: Nowadays, "Kon ICHIKAWA Theater, Monjiro KOGARASHI Series" (Fuji Television), a series of TV period drama directed and supervised in 1972 is a legendary work in view of its novel interpretation and vivid pictures, and is said to put a great influence on subsequent TV period dramas.
Japanese: 1972年（昭和47年）に監督・監修を手がけた連続テレビ時代劇『市川崑劇場・木枯し紋次郎シリーズ』（フジテレビジョン）は、その斬新な演出と迫真な映像から今日では伝説的な作品となっており、その後のテレビ時代劇に大きな影響を与えたと言われている。
English: He formed 'Yonki no kai' (film directors) with four members consisting of Akira KUROSAWA, Keisuke KINOSHITA and Masaki KOBAYASHI in 1969 and wrote the script of "Doraheita" together.
Japanese: 1969年（昭和44年）には黒澤明、木下惠介、小林正樹と4人で「四騎の会(映画監督)」を結成し、『どら平太』の脚本を共同で執筆。
English: He directed 'Kosuke KINDAICHI Series' written by Seishi YOKOMIZO in the 1970s, and its story became a blockbuster with luxury and beauty in its pictures and its way of speaking with a cozy tempo.
Japanese: 1970年代は横溝正史の「金田一耕助シリーズ」を手掛け、絢爛豪華な映像美と快テンポの語り口で全作が大ヒットとなった。
English: He succeeded in a variety of fields including big literary works such as "Sasameyuki," "Ohan," "Rokumeikan" (a play), "Kofuku" (Happiness) (the film in 1981) adapted from a foreign mystery, a period drama "Chushingura forty seven assassins," "Doraheita," and "Ka chan" (Mother).
Japanese: さらに『細雪』、『おはん』、『鹿鳴館(戯曲)』などの文芸大作、海外ミステリーを翻案した『幸福(1981年の映画)』、時代劇『忠臣蔵四十七人の刺客』、『どら平太』、『かあちゃん』など、多彩な領域で成果を収める。
English: In 2003, a special big program was set to screen 65 films including his early works at the Film Center of The National Museum of Modern Art, Tokyo.
Japanese: 2003年（平成15年）には東京国立近代美術館フィルムセンターにて初期作品も含めた65本を上映する大特集が組まれた。
English: With his works in his early to middle period onto DVD one after another around this time, his works in the first half of his life proceeded to be evaluated again.
Japanese: 前後して初期・中期の作品が相次いでDVD化されるなど、前半生の作品の再評価も進んでいった。
English: He was the second oldest director following Kanehito SHINDO in view of actively working at his age of over 90, and had the greatest career in both the record of winning awards and the box office in the Japanese film industry.
Japanese: 90歳を超えても現役で活躍したという点では新藤兼人に次ぐ長老監督に位置し、日本映画界においては受賞歴と興行実績をあわせたキャリアにおいて比肩する者のない存在となった。
English: In 2006, however, he remade his own work "The Inugami family" (the film in 1976) directed 30 years ago, without slowing his spirit of challenge despite his age.
Japanese: しかし、2006年（平成18年）には30年前に監督した『犬神家の一族(1976年の映画)』をセルフリメイクするなど、老いてなおその実験精神は衰えなかった。
English: Because of pneumonia, he passed away in a hospital in Tokyo at 1:55 on February 13, 2008.
Japanese: 2008年（平成20年）2月13日午前1時55分、肺炎のため東京都内の病院で死去。
English: His last activity was his appearance (in the role of a film director shooting "A hundred and one women in black") in one scene of the film "The Magic Hour" (directed by Koki MITANI) released in June 2008.
Japanese: 2008年6月に公開された映画『ザ・マジックアワー』（三谷幸喜監督作品）に1シーンで出演（『黒い101人の女』を撮影する映画監督役）する姿が最後の活動となった。
English: Evaluating his achievement for contribution to the film industry for many years and for the development of Japanese culture, the Japanese government on March 11, 2008 decided to award him the Order of the Rising Sun, Gold and Silver Star as well as Shoshii (Senior Fourth Rank) retroactively to February 13, 2008 when he died.
Japanese: 2008年（平成20年）3月11日、日本政府は閣議に於いて市川に対し、彼の長年の映画界への貢献及び日本文化の発展に尽くした功績を評価し、逝去した2008年2月13日に遡って正四位に叙すると共に、旭日重光章を授与することを決定した。
English: It is surprising that he spent his 60-year director life without belonging to specific companies for the long term and also continued to shoot with little absence in the sagging Japanese film industry.
Japanese: なお、60年の監督生活を長期間特定の会社に専属することなく過ごし、なおかつ低落し続ける日本映画界でほとんどブランクなく撮り続けた実績は驚異的である。
English: However, he had no bond with Shochiku, only in the leading film companies in spite of his several transfers (he made one film in Toei while it was Toyoko Film Company).
Japanese: だが、これだけ各社を飛び回りながら、大手映画会社では松竹とだけ縁がなかった（東映は東横映画時代に1本撮っている）。
English: Besides, he was proposed to direct the works written by Shotaro IKENAMI as well as Cinema Japanesque, but neither came true.
Japanese: そのほか池波正太郎作品映画化（作者が市川を高く評価していた）やシネマジャパネスクでも名前があがったが、いずれも実現しなかった。
English: His works ranged over so many fields including 'literary work,' 'period drama,' 'animation,' 'documentary,' 'comedy,' 'soap opera,' 'mystery,' and so on, and were ambitious ones in every field.
Japanese: 市川の作品には、「文芸作品」「時代劇」「アニメーション」「ドキュメンタリー」「コメディ」「メロドラマ」「ミステリー」など、非常に多くの分野が含まれ、どの分野でも野心的な作品を撮った。
English: He made a wide range of works in various styles, for example, working on the puppet play "Topo Gigio and the Missile War" after the epic "Tokyo Olympics" and making "Hi no Tori" (Phoenix) (comic), the fantasy fiction combining animation during the period between the eerie "Gokumon Island" written by Seishi YOKOMIZO and "Jouou bachi" (Seishi YOKOMIZO).
Japanese: 大作『東京オリンピック』の後に人形劇『トッポ・ジージョのボタン戦争』を手がけたり、横溝正史のおどろおどろしい『獄門島』と『女王蜂(横溝正史)』との間にアニメ合成を駆使したファンタジー『火の鳥(漫画)』を製作するなどその活動の幅は広く、作風は多彩である。
English: Late in life, "Shinsengumi" all shot with paper dolls of cartoons by Hiroshi KUROGANE stunned its fans.
Japanese: 晩年では黒鉄ヒロシのマンガによる紙人形で全編を撮影した『新選組』がファンの度肝を抜いた。
English: Besides, he used the same leading actor based on the same script in "The Inugami family" (the film in 2006) remade after 30 years.
Japanese: また、30年ぶりにセルフリメイクした『犬神家の一族(2006年の映画)』では、まったく同じ脚本を用い同じ主演俳優を起用してみたりもした。
English: Though many scenes followed the original ones in the cut segmentation and composition, the last scene in which Kindaichi casually went to the train in the original film was changed to the one in which he bowed in front of the screen in the remake.
Japanese: カット割や構図も前作を踏襲したものが多いが、前作では飄然と汽車に向かう金田一が今回は画面に向かってお辞儀するラストとなっている。
English: Some people over-interpret that this scene implies the end of the series over the record long period and the goodbye from the director who felt this film could become his last work.
Japanese: 記録的な長期間に及んだシリーズの打ち止めと、遺作となる可能性を意識した監督自身の別れの挨拶と深読みする人もいる。
English: Though he often asked his colleague, Wada to make all his scripts, he participated in writing the scripts of most of his works after Wada retired because of his illness.
Japanese: 脚本はすべて同志でもあった和田に委せることが多かったが、和田の病気引退後は大部分の作品に自らが執筆参加している。
English: His pseudonym, 'Kurisutei' (a parody of Agatha CHRISTIE) used for the scripts of mystery films was initially the joint name with Wada and later with Shinya HIDAKA.
Japanese: ミステリ映画脚本の際に用いられるペンネーム「久里子亭」（くりすてい、アガサ・クリスティーのもじり）は当初は和田と市川の、後年は日高真也と市川の共同名義である。
English: Ichikawa made so many serious literatures into movies that people made fun of him as 'the complete collection of Japanese literatures' (Mitsutoshi ISHIGAMI), and he was also very familiar with mystery as shown in this name.
Japanese: 「日本文学全集」（石上三登志）と揶揄気味に評されるほど純文学の映画化が多い市川だが、このネーミングに示されるようにミステリーへの造詣も非常に深い。
English: "The Inugami family" was a featured problem-solving drama without an occult touch from the initial writing of the script to contrast strongly with "Yatsuhaka-mura" (Eight Tomb Village) (the film in 1977) (in 1977, Syochiku, directed by Yoshitaro NOMURA) released around the same time.
Japanese: 『犬神家の一族』では脚本第一稿からオカルト色を排除して謎解きドラマを押し出し、同時期の『八つ墓村(1977年の映画)』（1977年、松竹、監督：野村芳太郎）と好対照を成した。
English: In other Kosuke KINDAICHI series, the intellectual game elements were outstanding, for example, the story that Kindaichi's friendship was reset with the police man played by Takeshi KATO showing the same character in the different name of the role every time, adding colorful splatter scenes.
Japanese: その他の金田一耕助シリーズでも、派手なスプラッタ場面などを織り込みつつも、毎回同じキャラクターなのに違う役名で現れる加藤武演ずる警部とは、金田一との友情もリセットされてしまうなど、知的な遊びの要素が際立っていた。
English: Chiho KATSURA who wrote the script of "Jouou bachi" with ICHIKAWA was said by him that 'I would like to shoot the picture of a white horse running along the beach.'
Japanese: 『女王蜂』の脚本を共同執筆した桂千穂は、市川から突然「海辺を疾駆する白い馬の絵が撮りたい」と言われた。
English: She spoke highly of the episode that he replied to think yourself how it would relate with the story when she asked him.
Japanese: それはストーリーとどう結びつくのかと尋ねたところ、そこを君が考えてくださいと返されたエピソードを賛嘆を込めて記している。
English: He was not good at explaining his own works theoretically in interviews, and once irritated an ex-commentator Francois TRUFFAUT when he came to Japan.
Japanese: インタビュー等でも作品論を理論づけたりすることは得意ではなく、来日した評論家あがりのフランソワ・トリュフォーを苛々させたこともあった。
English: Though he was supported by Natto WADA, Shuntaro TANIKAWA, Shinya HIDAKA, Keiji HASEBE, and others as his brains, he was extremely sensuous and the bane of commentators.
Japanese: 和田夏十、谷川俊太郎、日高真也、長谷部慶治らがブレーンとして支えたとはいえ、極度に感覚的で、批評家泣かせであったといえる。
English: He also had a strong bond with Keiko KISHI like a colleague with an outstanding connection in the period, the number of works, a variety of roles, and she was offered to stand in for Fujiko YAMAMOTO who could not appear in "Sasameyuki."
Japanese: また、岸恵子は期間、本数、役柄の多彩さ、いずれも抜群で同志的とも言える結びつきがあり、『細雪』では山本富士子が出演できなくなった代わりにオファーを受けている。
English: Isao BITO, Saburo ISHIKURA, and others discovered their potentials as wonderful supporting actors by Ichikawa.
Japanese: 尾藤イサオ、石倉三郎などは市川に名バイプレイヤーとしての素質を発掘されている。
English: Because he had been active for a long period, many people worked with him over two or three generations.
Japanese: 長期間現役を貫いたこともあり、親子二代・三代にわたって仕事を共にした人々も少なくない。
English: Juzo ITAMI, the son of Mansaku ITAMI who was Ichikawa's master, became a regular actor in Ichikawa's works and debuted as a director that was greatly impressed by him.
Japanese: 師匠にあたる伊丹万作の息子・伊丹十三は常連出演者となり影響を強く受けつつ監督デビュー。
English: As for other examples of Ichikawa's staffs, there are the father and the son of Naozumi YAMAMOTO and Junnosuke YAMAMOTO who are both composers and Toshio YASUMI and Yoshio SHIRASAKA who are both playwrights, and Shuntaro TANIKAWA who is a poet and wrote many scripts and Kensaku TANIKAWA who is a jazz pianist serving as a musical director in almost all of Ichikawa's works in his late life.
Japanese: その他には作曲家の山本直純と山本純ノ介、脚本家の八住利雄と白坂依志夫らが親子、詩人で多くの脚本を書いた谷川俊太郎、その子で晩年作品のほとんどで音楽監督をつとめたジャズピアニストの谷川賢作らでスタッフとなっている。
English: Ichikawa's established unique picture expressions greatly influencing younger film directors.
Japanese: 市川の独特の映像表現には定評があり、後輩の映画監督に多大な影響を与えている。
English: Shunji IWAI, a film director who established the picture technique called 'Iwai aesthetics' refers to "The Inugami family" in 1976 as 'my textbook for making films.'
Japanese: 「岩井美学」とまで呼ばれる映像手法を確立した岩井俊二監督は1976年（昭和51年）の『犬神家の一族』を「自分の映画作りの教科書」と呼んでいる。
English: Iwai who admires Ichikawa produced "Ichikawa Kon monogatari" (A story of Kon ICHIKAWA) in 2006.
Japanese: 市川を崇拝する岩井は2006年（平成18年）に『市川崑物語』を製作している。
English: Juzo ITAMI clearly mentioned 'My master is Mr. Kon ICHIKAWA' in the press conference for the public presentation of "Ososhiki" (The Funeral).
Japanese: 伊丹十三は、『お葬式』製作発表の記者会見で「わたしの師匠は市川崑さんです」と明言している。
English: Teruhiko KUZE mentioned 'It is enough to watch Ichikawa's works only for Japanese films. Everything for films as well as plays lies in "Ototo" (Brother).'
Japanese: 久世光彦は、「日本映画は市川作品だけを観ていればよい。『おとうと』には映画のすべて、芝居のすべてがある」と発言している。
English: Beat Takeshi mentioned that he was greatly influenced by "Tokyo Olympics" directed by Ichikawa.
Japanese: ビートたけしは市川の『東京オリンピック』に強い影響を受けたと語っている。
English: Saul BASS mentioned that the title background of 'Grand Prix' was influenced by "Tokyo Olympics."
Japanese: ソウル・バスは、「グラン・プリ」のタイトル・バックに『東京オリンピック』の影響があると語っている。
English: The film directors from the so-called 'Ichikawa-gumi' includes Kengo FURUSAWA, Koji HASHIMOTO, Masaaki TEZUKA in Toho, Toshio MASUDA, and Mio EZAKI in Nikkatsu and Yasuzo MASUMURA, Tokuzo TANAKA, and Kazuo IKEHIRO in Daiei.
Japanese: いわゆる「市川組」出身の映画監督には、東宝の古沢憲吾・橋本幸治・手塚昌明、日活の舛田利雄・江崎実生、大映の増村保造・田中徳三・池広一夫らがいる。
English: "Hikari to uso shinjitsu to kage Ichikawa Kon kantoku sakuhin wo kataru" (Kawade shobo shinsha, Publishers, in 2001) written by Makoto WADA and Yuki MORI received tributes from Ichikawa fans in the various fields, including Shinya TSUKAMOTO, Hisashi INOUE, Yasuharu KONISHI, Osamu HASHIMOTO, Makoto SHINA, and Miyuki MIYABE.
Japanese: なお和田誠・森遊机編の『光と嘘真実と影市川崑監督作品を語る』（河出書房新社、2001年）では塚本晋也、井上ひさし、小西康陽、橋本治、椎名誠、宮部みゆきなど各界の市川ファンが賛辞を寄せている。
English: Ichikawa is one of the few people who was polarized among commentators, while he, as a master in the Japanese film industry, had more hit films and popularity than others.
Japanese: 日本映画の巨匠としてはヒット作や大衆的人気にめぐまれた方だが、一方でこれだけ批評家の間では好悪が分かれた人も少ない。
English: Finally, he was not featured in the library 'Filmmakers in the world' issued by Kinema Junpo, in spite of so many awards received.
Japanese: 錚々たる授賞歴の一方で、キネマ旬報社の叢書「世界の映画作家」では最後まで取り上げられなかった。
English: In his late life, commentators felt embarrassed by Ichikawa's ever-lasting style which was incongruous for the master and by his willingness to work on TV and entertainment films.
Japanese: 後期には巨匠らしからぬ変幻自在な作風や、テレビや娯楽映画も厭わずにこなす姿勢への批評家側の戸惑いがあった。
English: With some exceptions in 'Biruma no tategoto' (The Burmese Harp) and 'Kofuku' (Happiness) as well as satirical comedies in the 1950s, it is unconventional that he had few films featuring the social themes compared with other masters in this rank and period.
Japanese: 「ビルマの竪琴」「幸福」や50年代の風刺喜劇に若干の例外的要素は見られるものの、このクラス、年代の巨匠としては社会的テーマを前面に打ち出した作品がほとんど存在しないのも稀有である。
English: There were many faithful supporters while there were people including Shigehiko HASUMI and Sadao YAMANE who would not acknowledge Ichikawa.
Japanese: 蓮實重彦、山根貞男ら全く認めようとしない人々の一方では熱烈な支持者も少なくなかった。
English: One of these supporters, Hiromi URASAKI commented that 'Ichikawa was the "super" master who handled the various styles himself' in 'Kinema Junpo' after Ichikawa's death.
Japanese: その中で、浦崎浩實は没後の「キネマ旬報」に「多様な様式を一人でカバーした“超”のつく巨匠だった」との一文を寄せた。
English: Many actors who were taught by Ichikawa recall that he did not raise his voice in directing.
Japanese: 演出に際して声を荒げたりすることはなかったと、指導を受けた多くの俳優陣は述懐する。
English: According to the story of Koji ISHIZAKA who appeared in the TV program "Hello from Studio Park" aired on May 30, 2008, Ichikawa laughed and said 'It is not easy to change dietary habits at my age' when Ishizaka warned Ichikawa who was eating oily Gyudon (a bowl of rice topped with beef) every day.
Japanese: 2008年5月30日に放送された『スタジオパークからこんにちは』（日本放送協会）に出演した石坂浩二の話によると、ある日油分が多い牛丼を食べている市川を見て石坂が注意したところ「こんな年になってそう食生活なんて変えられないよ」と笑っていたという。
English: He smoked a hundred Cherry's (cigarette) every day, and was known for smoking by putting it them in his dentures.
Japanese: 一日にチェリー(タバコ)を100本は欠かさずに吸っており、手を使わずに喫煙できるように、抜歯した歯の隙間に挟んで喫煙していた事でも知られる.
English: Putting a cigarette into his mouth was his trademark during shooting, of course and when he was interviewed as well.
Japanese: 撮影中はもちろんインタビューを受ける時もくわえタバコがトレードマークだった。
English: When he appeared as a judge in "The NHK Kohaku Utagassen" (NHK Year-end Grand Song Festival) in 1994 in which he was selected for Bunkakorosha (Person of Cultural Merits), Ichikawa scratched his head, being advised from Ichiro FURUTACHI serving as the host 'Your understanding for non-smoking in this hall is appreciated.'
Japanese: 文化功労者に選出された1994年（平成6年）には『NHK紅白歌合戦』に審査員として出演したが、司会の古舘伊知郎から「場内は禁煙でございますので」と忠告され頭をかいていた。
English: Ichikawa sometimes burned film when seeing them through the light because he smoked during editing.
Japanese: 編集する際もタバコを咥えていたため、フィルムをライトに透かした際にフィルムを焦がすこともあったという。
English: He had stopped smoking for 5 or 6 years before his death due to advice from Sayuri YOSHINAGA in addition to starting to be careful of his health in his late life.
Japanese: しかし晩年には、健康に気を使うようになり始めたことに加え吉永小百合のアドバイスもあり、亡くなる5～6年前からは禁煙していたという。
English: Wada was a partner of Ichikawa in his professional and private lives, writing almost all the scripts for Ichikawa's works through his life and supporting his life for nearly 40 years.
Japanese: 和田は40年近くにわたって市川の生活を支えるかたわら、生涯でほとんどの市川作品の脚本を手がけるという、文字通り公私における市川のパートナーだった。
English: Natto WADA was originally the pen name used for co-writing when they belonged to Toho Film Studios.
Japanese: そもそも「和田夏十」（わだなっと）という名は東宝撮影所時代に2人が共同執筆するためのペンネームとして使っていたものである。
English: This became her own pen name after he gave it to her, saying 'I am far behind my wife in the talent for writing scripts' in "Koibito" (The Lovers) in 1951.
Japanese: 1951年（昭和26年）の『恋人(1951年の映画)』で「脚本の才能ではとても妻に及ばない」と市川がこれを妻に譲り、以後彼女専用のペンネームになったという経緯がある。
English: Motomasa KANZE (1394 or around 1401 - August 26, 1432) was a playwright and an actor of Noh (traditional masked dance-drama) during the Muromachi period.
Japanese: 観世元雅（かんぜもとまさ、応永元年（1394年）、あるいは応永8年（1401年）頃-永享4年8月1日(旧暦)（1432年8月26日））は室町時代の能作者、能役者。
English: He was born as the third leader of Kanze theater following his grandfather, Kanami, and his father, Zeami, who made the art of sarugaku (form of theatre popular in Japan during the 11th to 14th centuries) sophisticated and perfected the art of Noh.
Japanese: 猿楽を洗練し、能を大成した祖父・観阿弥、父・世阿弥に続く観世座の三代目として生を受ける。
English: Apparently Zeami adopted his nephew, Saburo Motoshige (later Onami) before Motomasa was born, and Motomasa practiced the art together with his older brother under the guidance of their father; as potential successors to the father.
Japanese: 世阿弥は前に、甥に当たる三郎元重（後の音阿弥）を養子にしていたらしく、幼少期の元雅はこの義兄とともに、父の指導の下、将来の後継者候補として芸を磨いていたと思われる。
English: In 1418, Zeami handed down to 'Mototsugu' 'Besshi Kuden' (A Separate Secret Teaching), Chapter 7 of "Fushikaden" (The Flowering Spirit) written by himself.
Japanese: 応永25年（1418年）、世阿弥は自著『風姿花伝』の一部である「花伝第七別紙口伝」を「元次」に相伝している。
English: Because this name, Mototsugu, is not found in other records, it is generally considered a previous name of Motomasa; however, there are other opinions including that Mototsugu was an older brother of Motomasa, Mototsugu was in fact Shiro (a father of Onami) who was a younger brother of Zeami, or that Mototsugu was the same person as 'Goro KANZE' recorded as a person who performed with Onami.
Japanese: この元次は他に記録に名が見えないため、元雅の前名とするのが一般的であるが、元雅の兄とする説、世阿弥の弟である四郎（音阿弥の父）とする説、音阿弥の共演者として記録に名の見える「観世五郎」と同一人物視する説もある。
English: In around 1422, Motomasa seemed to succeed to the position of Kanze-dayu from his father (however, the later Kanze school does not count Motomasa among the past leaders).
Japanese: 応永29年（1422年）頃、観世大夫の座を父から譲られたとされる（但し、後世の観世流は元雅を歴代に数えない）。
English: However, Zeami was still around at that time and assisted young Motomasa, and people still considered Zeami was a key person of the Kanze theater group.
Japanese: もっとも、世阿弥もまだまだ健在であり、若年の元雅はその補佐を受け、また世間でも観世座の中心人物は依然として世阿弥と見做していたらしい。
English: The reliable records of Noh performances show Zeami's famous activities of participation in Takigi-noh (Noh theater performed at night by a fire) held at Kofuku-ji Temple in 1427 and 1429, performance of Sarugaku at a festival held at Seiryo-gu Shrine of Daigo-ji Temple in 1428, performance of Sarugaku held at Kasagake Baba (a horse-riding ground for arrow shooting) of the Muromachi Imperial Palace in 1429, and performance of Noh held at the Shogun's palace in 1432.
Japanese: 確かな演能記録としては、応永34年（1427年）および永享元年（1429年）に興福寺の薪能に参勤、正長元年（1428年）醍醐寺清滝宮の祭礼猿楽、永享元年の室町御所笠懸馬場での猿楽、永享4年の将軍御所での能などへの出演が知られている。