Ice Jewels vol 11 Special Interview - Yuzuru Hanyu

Feel free to use my translation with credits

The Absolute King’s determination

For Hanyu Yuzuru-senshu, the new season already started in May 2019. At ice shows, unparallelly passionate enthusiasm of the audience welcomed Hanyu-senshu, who were briefly absent from the ice since the World Championship in March 2019 when he appeared. Hanyu Yuzuru with the beauty and strength that people always searched for. Master of expression at ice shows and conqueror for supremacy at competition are the 2 sides of the same coin of the Absolute King, Hanyu Yuzuru. From here on, his determination will be conveyed.

At FaOI 2019 “I want to people to think [I want to see this Hanyu Yuzuru]”

_ How is your foot’s condition?
“Compared to WC19, my right foot has become much better. I followed instruction of taking complete time-off to let it rest and heal, but I also consulted with and received care from my team. (With their approval), I chose to continue performing with the current condition while training and reinforcing my right ankle’s muscles.

_Does it (the injured ankle) obstruct your training?
“Well, at the beginning it hurts a little, but when I have warmed up, I don’t feel anything.”

_Care becomes so important.
“My ankle is weakened due to injuries anyway, so I must strengthen it. I’m trying my best since even in case I’m negligent, the reinforced muscles will help prevent injury.”

_You’re presenting 2 collaborations to 2 songs at this year’s FaOI. What was your impression about the songs?
“When I first heard “Crystal Memory”, my impression was that it was my style. I strongly feel like it was the kind of beautiful song that I usually skate as collaboration performances and it reflected my gentleness, so I really wanted to skate it beautifully. Additionally, the music with the image of “crystal” emitted a sense of “firmness” but also “transparency”, “core” (T/n: the inside is what matters kind of idea imo), and “nobleness” (dignifying image). Its tune was similar to songs I’ve skated to until now, but there is a strong core. For this part (strong core), I didn’t only want to use soft and beautiful movement, but also wanted to display strength. While performing this program, there’s always some kind of “core” that I base my movements on, and I want to show that aspect (“core”) in this program.”

_There’s another program, “Masquerade”. Could this be the sequel to your 2014-2015 season’s FP “Phantom of the Opera”?
“At the end of “Masquerade”, there’s a cut of “Phantom of the Opera”. I’ve used “Phantom of the Opera” in competition, but since this (variation) isn’t used then, it was refreshing. Also, I feel this cut is easy to combine with the song from the start.”

_You were “kakkoi” (cool)
“I did this program wanting people to think that [I want to see this Hanyu Yuzuru]. Until now I’ve skated to many kinds of music, performed to (create) many kinds of atmosphere, but this time I wanted to stretch out to make a different impression and create some excitement. This program was choreographed by Shae-Lynn Bourne, and this is the first time she does a show program for me. Also, in that sense, I hope to manage an expression-focused program (t/n: rather than competitive program).”

_Oh, it was Shae-Lynn! The hand movements were very interesting.
“When it comes to competitive programs, Shae (and I) make the programs while considering a range of parts for breathing room, jumps’ set-ups and entries, etc. However, this time, we exchanged emails and I sent her my visualization of the song’s image, my translation of the song lyrics, and explanation of every word’s meaning and how they flow. Thanks to that, this program was so meaningful. I used her expression too, but in the end, I also portrayed my own image, with the thought that I want to make the program mine.”

_Will these 2 show numbers of different type connect to your (competitive) performances this season?
“I changed my performing pattern so I wanted everyone to enjoy that. At the same time, as I went on skating, I learned a lot of things along the way. I hope to reflect what I’ve learned in my performances this season and show (their) further evolution.”

Acquiring quadruple jumps

_You’ve been practicing 4Lz throughout this ice show. Isn’t it scary for you, the feeling that you were injured once because of it?
“When practicing 4Lz, I was scared to some extent, but now, I think my way of jumping it improved. One step at a time, I’d try to jump it without using excessive force and with confidence. Generally, it (4Lz) is shaping up nicely.”

_How is your 4A?
“The 4A requires a lot of ground-breaking moves, even its image (t/n: how he visualizes 4A). I have to acquire myriad new things technique-wise. I myself know 3A shouldn’t be kept at its current condition. I need to conduct a lot of research to be done while utilizing my body in various ways. I’m at a place where there’s something like a big wall, and if I climb over that wall, maybe I can see a small part of the 4A.
I’ve been told that the 4A’s score was changed to only 1 point higher the 4Lz, so there is no need to go for it. Even if it’s the case, I’m still actively skating now. (4A) is what I want to do and challenge most. Such strong desire has been there since long ago and I want to jump it. I want to be the first person to go beyond that wall.”

At Skate Canada

_After ice shows ended, how were you practicing in July and August?
“Until the middle of August, I was practicing the 4A, but I didn’t practice it every day, but only on days that my condition was good or when my body can afford (training 4A). I practiced the FP and SP layout with 4Lz as well.”

_You intend to include 4Lz in your layout for this Grand Prix season?
“I think I’d incorporate it when the suitable moment comes. (When I’d add it) depends on training, but I want to spend much thoughts about that moment from time to time.”

_In your opinion, if you incorporate 4Lz, which could be the possible order of the axel (4A)?
“I don’t feel like it’s a matter of order. It’s tough if I have to do both 4A and 4Lz, so if I can do 4A, I must focus on the 4A. It’s not about which one (I choose to do), but I think I want to do 4A when its (success) rate is good.” (t/n: Imo he meant 4Lz is a place holder for 4A)

The assurance of being able to surpass 320 points
At Skate Canada, Hanyu-senshu won the SP and FP with overwhelming margin. He received full GOE on 3A and high evaluation on 4T+eu+3S combo that he did for the first time at this competition. Hanyu-senshu’s signature programs with seamless flow of jumps and other elements were highly evaluated. 

_You were fixated on winning Skate Canada, so how are you feeling, now that you’ve actually won the event?
“Well, there’s maybe one thing: I’m happy. Within this happiness, there’s relief as well. That relief includes assurance. Anyway, since I think this one victory here is worthwhile, so (relief) covers scores as well, and I think (the scores) were good.”

_There were forecasts that your score will surpass 300 before the competition, but what’s your response to getting the actual score?
“It’s been a while since I went over 320 points, so somehow I’m assured. Then, (knowing that) what I’ve been doing isn’t wrong becomes a foundation for me to believe in what I do.”

_ We were deeply moved by your great performances. 
“For me, my performances weren’t “no-miss”. The final axel was a bit shaky. I couldn’t do the first loop properly. There was an unexpected mishap in the SP’s step sequence. Then the toe loop’s precision. There’s fairly much room for improvement, so this competition is where (I realize) that [I’m getting a hang of these things, but I want to do them even better.]”  

_If the 4T in SP had been at your usual quality, could you have broken the world record in your opinion?
“Unless the scores belong to the same competition, we can’t simply compare them. However, this time, I entered the competition with good confidence (answer) for both the SP and FP, and I could match my peak condition better than in Autumn Classics. From my view, to able to tie together every (piece of) actual result and confidence then connect them (to the next competition) is most significant thing.” 

_You received full score on your 3A in SP, and the score of your 4T-eu-3F in the FS surpass 20 points (incld. GOE). What do you think about the quality of your jumps?
“I think the rules have been changed so that receiving GOE (add-on points) for jumps becomes fundamental. However, there’s a very difficult thing. *For the part of doing jumps with high level of difficulty, the range of GOE were expanded. On the other hand, it’s quite tough that the (range of evaluation for jumps) could interfere with the extensiveness of my skating (t/n: the imbalance between evaluation of jumps and skating). That’s why I do have the feeling that I must do difficult jumps. However, in my opinion my weapon is being able to execute difficult jump perfectly, and I think the important matter is how well I can jump high-quality elements in the flow of the programs. Therefore, I’m happy to have been evaluated and given these scores in the end (of this competition).”

*/[…]ただすごく難しいのは、高難度の高いジャンプをやった分、加点の幅が広がるというのが、自分自身のスケートの幅を挟めていたり、苦しい部分でもあって/
Research on quads and beyond: Want to make them his own 

_It was such a rare sight seeing you jump a 4T with Trusova-senshu after she asked. What is your impression of Trusova-senshu?
“I had been watching Trusova-senshu’s practice. For the Lutz, there’s similarity with skaters good at Lutz in the way she uses her toe pick and such. This time, having special chance to jump together with the leading lady, I learned a lot.
On the Toeloop, we jumped together and I could match the timing somehow, but I though I’d research on that intensely. Research on how slender Russian ladies could jump smoothly without using much force, compared to normal male skaters. That can be used for everyone. I always think that’s something I can also research and make further improvement on.” 

_Did Hanyu-senshu do various research on your own jumps?
“When watching jumps of many skaters, I always think [ohh it’s more like this, ohh it’s like that].”

_For instance, in the case of Russian ladies. They enter the Lz from a curved trajectory. Don’t they have to use much force to jump with a curved trajectory?
“There must be centrifugal force when entering a jump using a curve. If one can make use of the centrifugal force for their rotation axis, they can jump without using much rotational force. By that way, skaters can jump even with a small amount of force, but it’s something difficult to control. In the case of Trusova-senshu, her torso is extremely strong, and her jumps spring straight-up, which are characteristics of a power jumper. Aside from using a curve for entry, her axis is supported by the power gained from the set-up in the direction of rotation. I think that is amazing.”

_Hanyu-senshu often talks about “timing” in jumps. In this sense, can “timing” be understood as jumping using less force?
“In my case, the direction of centrifugal force is vertical.
My 4T used a lot of vertical force in the past. As (my body) gradually strengthens and I learn how to use it, that excessive force turns out to be unnecessary and I suppress that force as much as possible. If I do that, no force is needed when landing. Not needing any force for landing doesn’t mean that jumping becomes fun (and easy), but that means after the landing, my skating is even smoother, which I earnestly aims for when I jump.
The flow on ice after landing jumps is the I’ve always been fixated on until now, so I won’t let it go at any cost, and I want to maintain (that flow) with all the jumps I do.”

_Talking about not using excessive force, in your exhibition program “Parisienne Walkways”, it looked like you jumped 4T from 3-turn entry to us.
“I rotated the 4T quite well from before but recently, I can jump it without much pushing against the ice. In other words, that allows me to jump without external influence and gets rid of a large part of force compared to (the 4T) in the past so I think I want to bring the jump to meet a flow that fits it most.”

The trump card up on one’s sleeve must always be polished

_You practiced a new combo 4S+eu+3F in the exhibition. Will you use it in the future?
“As a recovery combo, as an option (for layout), it can be used either ways. That widens the range of my options. Also, I’d like to increase my own point-earning means as much as possible.”

_The BV of 4S and 4T is different…
“That’s very important, but in this competition, I think the jumps’ quality was evaluated. In that sense, compared to doing a 4S with lowered GOE, jumping 4S+eu+3F with good quality works better.”

_It’s often said that practice with over 100% of your strength and fight in competition with 80%. This time it seemed like you can afford that (using 80% of his ability but still win). What do you think?
“In my case, I raise my gear one level higher in competition. I think until now I’ve never experienced competing in the way you just told me. Every year, every year, there’s a natural pressure that I must upgrade my layout while constantly trying to figure out how to incorporate new things and fight using them. That pressure was without doubt enormous, but now I’m more settled, so I think it I can still fight while allowing some leeway. However, it’s vital that I can flexibly improvise layouts according to different situations. How well I can pull this off will be a matter to (work on/contemplate) from now on.”

_We’re excited to know which jump you’ll include in the next competition.
“However, I must make plans about (the layout). I’ve not decided on everything at the moment. Here at Skate Canada, this layout essentially achieved what I aimed for, which becomes the foundation for my confidence. Taking this into account, I want to improve the quality of this layout even more. At the same time, I also want to improve my ace elements’ quality and have them ready.” (t/n: an easy way to understand: sharpening sword and getting ready for battle)

_You’re looking forward to the Grand Prix Final after a long time.
“I will try to avoid injury at any cost. I must think about many things while balancing my high risk of injury and whatever I want to do. Besides, I think I must spend serious thoughts on what I should do in competitions.”

The end.

Bonus: Special interview with music editor Keiichi Yano (Yuzu-related part only)

_We heard that until the final form of SEIMEI was completed, you and Hanyu-senshu exchanged a lot of ideas.
“At the beginning I only work with 2 songs that he wanted to use, then he requested me to make a piece based on the soundtracks of both “Onmyouji” and “Onmyouji II”. 3 days later, just after I finished the 1st version, he replied me that he’d get choreography with this piece. From there on, a lot of alternations were carried out and we ended up with around 33 versions, not even counting numerous versions with tiny edits.”

_Particularly, how do you edit the music?
“For example, there’s a slow part in the middle, but at the beginning there’s a piano melody. In that case, although Yuzuru-kun sent an email saying that “Shae-Lynn said there’s a something similar to flute’s sound. What do you think about layering one on another?”, I realized the tempo and pitch of those 2 sounds (piano and flute) were different when giving a try at layering them. To make the flute’s sound match that of piano, I needed to stretch and adjust flute’s pitch and tempo. After around 10 times of editing, I somehow managed to fit them together well.”

_(Hanyu-senshu) broke the world record several times, and won his 2nd Olympics title with this program.
“I’m honestly so happy about that. I think that it was good that I did (the music).”

Feel free to use my translation with credits