The biggest challenge wasn’t the workload; it was the lack of ownership over my image. In the Japanese entertainment sector, an actor is often treated as a blank canvas for the director or production committee. While that teaches you discipline and versatility, it can leave you feeling hollow if you have your own creative vision.
Was the transition away from physical buildings difficult for you?
As of 2025 and 2026, Tachikawa has expanded her creative reach into professional photography and modeling. rie tachikawa interview full
Rie, thank you for agreeing to a full interview. For those searching for your name, the first thing they see is the term "silent sculptor." Do you accept that title?
Searching for a transcript is notoriously difficult. The artist rarely gives long-form interviews. She prefers her work to speak for itself. However, during her 2023 residency at the House of World Cultures in Berlin, Tachikawa sat for a rare, uninterrupted 90-minute conversation. Below is the complete, unedited transcript of that interview, providing unprecedented access to her creative process, her philosophy of "Ma" (間), and why she considers an empty room the most powerful canvas of all. The biggest challenge wasn’t the workload; it was
In a full translation of a 2019 interview , Tachikawa discussed the difficulty of adapting ONE's unique art style for TV and his personal attachment to the character Reigen.
Well, I think one of the biggest challenges I've faced is finding my own unique voice and style as a performer. In Japan, there are many talented actors and voice actors, and it can be difficult to stand out. However, I've learned that the most important thing is to be true to myself and my craft. By staying focused and committed to my work, I've been able to build a successful career and connect with my audience. Was the transition away from physical buildings difficult
“Don’t believe the 30-second trailer of me. Believe the three-hour conversation we have at 2 AM when the tape recorder is off and I admit I have no idea what I’m doing. That is the full interview. That is the only interview.”
If a pillar is made of concrete, let it look like concrete. Do not paint it to look like marble. If we use oak, let the grain, knots, and imperfections show. There is a profound dignity in raw, honest materials that human hands cannot replicate synthetically. The Choreography of Light
How do you handle creative blocks or moments where the project feels like it is falling apart?
“To live a completely stable, happy life and then play a woman falling apart on screen? That feels like lying. I’m not saying artists must suffer. But I am saying that I don’t know how to paint a storm while standing in a field of daisies in the sun. I need the rain. I schedule my loneliness. Thursdays, 7 PM to 9 PM, I allow myself to fall apart. Then I cook dinner.”