【制作秘話】羽生結弦が米津玄師「BOW AND ARROW」を“SPとして滑る”と決めた瞬間、すべてが変わった！

【制作秘話】羽生結弦が米津玄師「BOW AND ARROW」を“SPとして滑る”と決めた瞬間、すべてが変わった！

Hello, this is Hanyu. This is Figuemon. Get ready today, everyone. Behind the arrow that Yuzuru Hanyu risked everything to shoot, BOW AND ARROW, lies a shocking truth no one knows. Even the moment of sound and the breath hold meaning. Let’s unravel this secret together. At first, it was just a small project. Hanyu was supposed to skate briefly to a new song by Kenshi Yonezu. But the moment the music started playing, something inside Hanyu snapped. He thought, ” This is the sound of skating.” Not just dancing. This is the sound of competitive skating. This is the sound of skating. ” That one sentence completely changed the atmosphere on set. Kenshi Yonezu’s original plan was for it to be a video piece that simply added skating to the world of music. But Hanyu sensed something in the heartbeat of the music that linked with his own breathing. That day, he said, ” I want to skate to this song as my short program.” I was surprised at first. I never thought he’d skate as part of a competitive routine. But the moment I looked into his eyes, I knew something was about to begin. Kenshi Yonezu chose the title “BOW AND ARROW.” Yuzuru says he felt a strong resonance with the moment of tension and release as the bowstring is tightened and the arrow is released. Connecting reality also symbolizes the breath of musician and skater. For Hanyu , this string may have been the very tension he carries within himself. This channel will regularly feature topics about professional athlete Yuzuru Hanyu. What are you doing? If you support Yuzuru Hanyu and want to enjoy a happier life, please subscribe. It’s like you’re hooked. By subscribing, you’ll receive notifications about upcoming live streams, premiere video announcements, and community streams. Really? Yes. This community regularly posts real-time information. Please subscribe now to avoid missing live stream information . Yes. Furthermore, with the membership program launched in September 2021, we are sharing even more in-depth information exclusively with members. On September 23rd, our fourth anniversary, we held a fun, members-only live stream with a hugely popular giveaway. I hope you all enjoyed it. If you’re interested in the membership benefits, please click the Become a Member button or the membership link in the description to view the explanatory video and benefits. Now, here’s the real story. Tying the string. It’s the connection between the musician and the skater. For Hanyu, that string represents the tension of life itself. And from that moment, his arrow was quietly released. Skating as a short program. The moment we heard those words, everyone on the staff stopped moving. (BOW AND ARROW music video director) His eyes had changed. They were the eyes of an athlete. At that moment, we, the filmmakers, felt like we were being tested. The director of the BOW AND ARROW music video said: The lighting positions and camera angles were all reconfigured to film Yuzuru Hanyu. Previously, the studio had been set up to accompany the music with visuals, but now it was set up to synchronize the sound with his performance. A fixed light would have disrupted Hanyu’s breathing. So we had the light follow the rhythm of his breathing, as if the light itself were guiding his body. The filming was done almost entirely in one take, with almost no rehearsal, and the atmosphere on set was so refined. Everyone on the crew watched with bated breath. Some even commented that the world was moving with Yuzuru Hanyu’s breathing. Kenshi Yonezu’s melody synchronized with Hanyu’s movements. With each sustained note, his arms cut through the air, and with each bounce, ice shards flew off. It was the first time he’d ever listened to my music with his body. You could see the breath in the sound as he skated. Skating to the sound. It was a new form of expression he’d arrived at. Listening to the sound, embracing the sound, being guided by the sound. Hanyu called this whole process “breathing.” Breathing is the same in music and skating. If you stop, it’s over. At that moment, BOW AND ARROW wasn’t just a collaboration, it became a prayer for Yuzuru Hanyu. Skating it as a short program. It was not art, but a testament to his soul. One word changed the work. One breath changed the world. The moment that night was released, BOW AND ARROW became Yuzuru Hanyu himself. This sound is the sound of skating. “Skating as an SP” – Yuzuru Hanyu. The day after Yuzuru Hanyu announced that he would skate it as a short program , the director’s expression on set was completely different from the day before. That morning, he abandoned all desire to capture him beautifully. All he wanted was the light and shadow within Yuzuru Hanyu. Director Hayashi says he studied dozens of videos of Yuzuru Hanyu’s past performances before filming. His light is present alongside his shadow. To gain that confidence. The truth of Hanyu’s performance lies not in the jump itself, but in the moments before and after it. I wanted to capture that brief moment of breath. True to these words, on the set of BOW AND ARROW, the lighting, camera, and sound were all designed to match Hanyu’s breathing. The director didn’t fixate on the lighting, but instead deliberately followed it. This was an unprecedented filming technique in which the light didn’t follow Hanyu, but rather followed his breathing. With each change in breathing, the light changed. The moment his breath stopped, the world stopped. That was the kind of set I wanted to create. The film crew felt the atmosphere change on the spot. Behind the cameraman’s lens , Hanyu Yuzuru’s every move seemed to move time itself. Partway through, I lost the sense that I was being captured. It was as if I was skating with the light . Hanyu wasn’t moving with the camera in mind. He was the subject, Mitsuhara, and the arrow. The director continued to release his shutter, aiming for the gaps between light and shadow. With every step he took, a shadow stretched across the ice. That shadow seemed to represent Hanyu’s way of life. There was another drama in this shoot: time. Hanyu’s performance was about 2 minutes and 50 seconds, the same as the short program. The director chose to shoot it in one take. He felt that a rehearsal would dilute the emotion. So he took one take, wanting to capture the atmosphere of the actual performance. On the day of the shoot, tension was thick in the studio. Everyone on the staff held their breath, and time stopped when the camera announced they were rolling. Hanyu Yuzuru stood there with a calm expression, taking a deep breath. The moment Yonezu’s music began, his body was absorbed into the sound. His movements were like the sound itself, and when the sound bounced, he seemed to fly . I had never seen anything like it. Kenshi Yonezu later said, ” Hanyu’s skating is like a physical translation of music.” In that moment, music and movement became completely one. The director described the scene as mythical. In that moment, light, shadow, pain, and hope all appeared simultaneously in the image. I felt as if I had been shown the very core of Yuzuru Hanyu’s existence in just three minutes. And thus BOW AND ARROW was born. It was a fusion of music, video, and skating, but also a video of prayer. Kenshi Yonezu’s BOW, the light of Director Genrin , and Yuzuru Hanyu’s arrow. Each of these expressions stretched their own limits to create a single artistic arrow. What they created was not just a work of art, but a moment of prayer. Light illuminates shadow, and shadow accentuates light. BOW AND ARROW was born, embodying the beauty of both. Because there is light, there is shadow. Because there is shadow, Yuzuru Hanyu shines. Yuzuru Hanyu declared that he would skate this short program. The next step was to design his own program structure. This was not a production, but a competitor’s structure. It was truly a task of creating a musical score of his soul. The structure Hanyu chose was as follows: A quadruple Lutz at the beginning, followed by a triple Axel. Then, in the second half, a quadruple Salchow and a triple toe loop. This combination would normally be considered extreme even in a competition. He managed to include it in a single shot for filming. That fact alone is beyond common sense. In particular, the first quadruple Lutz. He had a special attachment to this jump. The quadruple Lutz is the most dangerous and most painful jump for Yuzuru Hanyu. He has suffered serious injuries from this move in the past. Normally, this is a structure he would avoid. But he chose to start with it. The setting is that a nighthawk jumps a quadruple Lutz. So he thought it would be a lie if he didn’t jump it himself. The nighthawk (Yodaka) is a symbol of the medalist character depicted by Kenshi Yonezu. Soaring high, aiming for a light no one can reach, yet still burning its wings as it falls, is such an existence. Hanyu identified with this nighthawk. He placed the quadruple Lutz, a jump that knows pain, at the beginning of his story. It was to express with his body the prayer that begins with pain. Normally, a jump is placed at the end of a performance. But he said he would place the pain at the beginning. At that moment, I got goosebumps. This jump had a clear meaning. It was a determination to accept the pain of expression. He overcame that injury and attempted the quadruple Lutz again. In that moment, the light shattered. White shards scattered on the ice, fluttering like wings. I believe feeling pain means you’re alive. I think the nighthawk was probably the same. For Hanyu, this quadruple Lutz was both a test and a dialogue with the nighthawk. He leaped as if climbing into the sky, and landed as if falling. The very act of human life was imprinted in that movement. And then he unleashed the triple axel. A great name for Yuzuru Hanyu. After depicting pain with a quadruple Lutz, he followed up with this jump, which represents hope. His Axel can only be performed after pain. That is what makes it so beautiful. The final move, a quadruple speed triple twist , symbolizes challenge and rebirth. He encapsulated three stories—pain, hope, and rebirth— in just under three minutes. The director, upon seeing the composition, commented: ” His composition was like a human life. Born, hurt, rising. He depicted it all simultaneously with the music. I had never seen such a performance. Kenshi Yonezu’s melody and Hanyu’s movements perfectly resonated. When the music leaped, he leaped; when the music subsided, he fell to his knees. A prayer resided between the breath and the sound. The Nighthawk is a being who, more than anyone, wanted to fly into the sky, but was burned by light and fell. Hanyu even beautifully portrayed that fall. He began with a quadruple Lutz and finished with a quadruple Salchow. The composition, falling and then jumping again, is a harmony. In other words, it embodies the cycle of death and rebirth. Starting from pain, returning to light. That was the structure of Yuzuru Hanyu’s short program. He pulled the bowstring , released the arrow, and prayed in pain. His appearance was the very definition of a nighthawk. This performance is not just a program. It is a record of his acceptance of pain and his prayer to jump again. The quadruple Lutz that Yuzuru Hanyu chose was not a challenge to the past, but an arrow to the future. Without fear of injury, he took to the sky once again. Yuzuru Hanyu “BOW AND ARROW” After filming for BOW AND ARROW was completed, Yuzuru Hanyu disappeared from the ice for a while. This was called a maintenance period. Fans say this film was a performance that pushed him beyond his limits. It’s said that his ankle was not in perfect condition when he jumped the quadruple Lutz . But he still jumped. To transform pain into beauty. He jumped despite the pain. Everything he had was put into that moment. His jumps pierce the hearts of those who watch. It’s not the beauty of technique. The weight of the pain directly determines the height of the jump. After filming, Hanyu quietly left the rink. While the staff was tidying up, he stood unnoticed by the wall, staring at the ice for a while. There are accounts of this. That day, Yuzuru Hanyu exceeded his limits— both physically and mentally. Perhaps he paid the price by entering a maintenance period. He gave it his all. He felt like he’d shot every arrow inside him with this production. He’d shot every arrow. How should we interpret the weight of those words? He only said that after this production he would be undergoing maintenance. He never went into detail about why. But all his fans sensed it. That performance was one that cost him his life. During filming, there was a moment when his movements stopped mid-way, but then he caught his breath and began skating again. It was as if the flame of life was ignited again. His body was beyond its limits. But he knew there was something beyond those limits that could only be seen. The bow and arrow is an arrow for regeneration. But to regenerate, you have to break once. That was a little scary. To regenerate, you have to break once. I don’t think there are any words more symbolic of his life than these. Yuzuru Hanyu is a man who knows pain, yet still stands up. And he is a man who chooses to stand beautifully, even while carrying the pain. What he showed in BOW AND ARROW was not a challenge or a victory, but proof of life. When I saw that video, I thought he had transformed his life into a work of art. There is no winning or losing. There is only a balance of light and shadow. Transforming life into a work of art: Those words were all contained in this video. The final arrow he shot continues to fly quietly into the future, piercing pain and hope. After this piece, he entered a maintenance period. But that’s not the end. It’s a quiet time to heal his burned-out body and shoot a new arrow. Now is the time to return the arrow. Quietly waiting for the sun to shine again. The moment I heard those words, tears wouldn’t stop. Even in the silence of his preparation to shoot another arrow, Yuzuru Hanyu’s unique strength resided. Pushing beyond his limits, accepting pain, and still trying to get back up— BOW AND ARROW—was his life itself. The final arrow he shot continues to fly toward the future, shining brightly. Even if it breaks, you can just tie it again. The string never breaks. Some time has passed since the filming of BOW AND ARROW. Yuzuru Hanyu quietly distanced himself from the ice, and spent time in conversation with Kenshi Yonezu. In this conversation, the two spoke about the pain and light of imagination. They said it was a quiet, profound moment, as if they were illuminating the depths of each other’s hearts. There is a light amidst the sadness in your movements. I think that is what captures the hearts of those who watch. Yonezu’s music is like breathing while you skate. It’s like breathing in and out, overlapping in rhythm with the music. This exchange of words truly connected our two strings. While walking different paths of expression, Yonezu with his music and Hanyu with his body, they were looking to the same place. Light amidst the sadness. At that one point, their souls were divided. Sadness cannot be eliminated. But there are only a handful of people who can create light while holding it. When Hanyu heard those words, his expression seemed somehow calm. Like a warrior finally finding rest after a long battle. He believes that pain and sadness are all a part of himself. So he should carry it with him and move forward. He is someone who doesn’t erase his sadness in order to grasp the light. I think it’s his strength of acceptance that has captivated us so much. “Yonezu said, Hanyu’s skating transcends music and is a prayer itself. Prayer. These words seemed to conclude everything. BOW AND ARROW is a story of tying the bowstring, releasing the arrow, and entrusting prayer to the future. That prayer continues to shine as light in the hearts of many. Kenshi Yonezu’s music became the bowstring, and Yuzuru Hanyu’s skating became the arrow. At the end of that arrow, we saw light amidst sorrow. I believe that light will reach someone. Once it reaches them, it will become someone else’s bowstring. That’s why I want to tie it again. I want to tie it again. Those words are not an end, but a beginning. For him, and for us, BOW AND ARROW may have been an arrow to tie hope once again amid sorrow, and Hanyu Yuzuru will rise again and again to grasp that light . Kenshi Yonezu is the sound, he is on the ice, and now, that bowstring is ringing in our hearts. The bowstring is tied. And the light continues. So, from here on, Figuemon, Fun New Life. Today , I’d like to show you a video of my visit to “The Fiest Skate” in Sendai . This was the night before. Omiya Station in Saitama Prefecture. I thought I’d try taking an overnight bus from here to Figuemon for the first time. Just for the first time , I took the bus. I wondered where it was leaving from, but it turns out that this is the west exit of Omiya Station. On the left is the road with the Sogo department store. There’s this bus stop, and there’s a bus stop for Haneda Airport, so I started walking a little further. On the right, there’s the Sonic City Building. It’s right in front of Sonic City, so I just walked a little further, but the airport bus is over here. This place is close to the station, right? I walked a little further. Yes. It felt strange walking here at night. I usually go near the first train, but this time, I took the overnight bus, so I headed here by train. But then I had to worry about catching the last train, and I just didn’t know what to do. I don’t usually do this. I was worried about that, but that’s Sonic City on the right. Yes. Well, as expected, Omiya is a big city, so there are a lot of cars. Even though it’s night. I think this was just before midnight. Yes. Before getting on the bus, there were quite a few people shopping at the Family Mart (convenience store) on the left . It’s a city, so it’s convenient to have a variety of things for sale. I’ll walk a little further. Yes. I thought the bus stop was a little hard to find, unlike the Shinkansen , so I wondered where it was and went a little early, but there’s this bus on the right. The bus is parked here. It seems to be in this place. There are a lot of people here . Amazing. Wow , there are quite a lot of people here. Wow. There are a lot of people carrying suitcases. Yes. The bus stop was easier to find than I thought , so I waited a bit and my bus arrived. It was full. The bus to Sendai was full . Yes. It had three rows of seats, with only one seat at the back. There were four rows of seats, so I sat at the back. Yes. It was a pass that made it seem like everyone was sound asleep. But the passage was really narrow, and it was even more difficult if you were at the very back. Yes. Also, the Figuemon seats had been mistaken and there were people there so I was surprised, but anyway, I arrived around 5 o’clock. This is the view from Sendai Station just after 5 o’clock. It was a little cloudy and I had heard that there were lots of posters of Hanyu hanging up, so I thought now was my chance, and it was so empty, isn’t it amazing? There were no people there at all. Here at Sendai Station. Yes, we’re going up. Oh, I can see it . I can see it. Wow , that’s nice. There aren’t many people up here so I can take pictures, but if there are people, It’s hard to take a photo. Oh, it’s nice. Sendai Station has become a sacred place. There’s this one too . Yes. Nice. Surpass yourself. It looks like a Haier washing machine. Yes. Seeing Sendai Station so deserted is something you can only do on an overnight bus , since it’s after 5 o’clock. But there are people there, aren’t there? There are a few, you know? Are they people from the bus? What is it? I get the feeling the trains aren’t running yet . Hanyu has come all the way to the edge. Oh, it’s nice. And, this is starting abruptly, but I wanted to have breakfast at the hotel, so I came to the Daiwa Roynet Hotel breakfast venue. I’m not staying there, but I can eat if I pay. We all wanted a breakfast buffet, so we came here. Looks delicious, doesn’t it? There are quite a few noodles like this, and the salad noodles look really good. It says salad chilled Chinese noodles. I haven’t tried them. There was so much I wanted to eat that I couldn’t finish it all . They also have fried noodles like this, and then there’s white rice. Oh, delicious-looking white rice. As you’d expect from Sendai. And this is what I ate this time. Beef tongue curry. Beef tongue curry. It’s hard to eat. I’m so full. But I ate it today. And Sendai miso soup, I think. Yes. What’s this? Warm noodles. I haven’t tried this before. I couldn’t eat this much, but it looks really delicious. I’ll try it next time. It’s easy to eat with lots of condiments. Then there’s Sendai gyoza. Aoba gyoza. And then there’s cod roe salad. Looks delicious. Zunda mochi sesame milk pudding. Black sesame milk pudding. There are so many delicious things like yogurt and comfort food, it’s hard to choose, right? Yes. Tamagoyaki and sasakama sasakama are also selling well here . And, uh, the fish is delicious too, since it’s close to the sea. In Sendai , I always eat a whole mackerel. Yes. And bread. There isn’t much variety, but it looks delicious. Yes. Also, it’s nice that you can put juice and other drinks in paper cups. Other things I like are green juice, coffee, and Coca-Cola. Yes. A little Coca-Cola. Nice. So, it looks like this. It looks delicious. It looks delicious. Pooh looks like he’s having fun, doesn’t he? Yes. I ended up eating so much that I thought it was too much. It looks delicious. How much are you going to eat? Yes. And, this time, the sashimi was cut by the chef , and he told me that this service started this month . It looks like an incredibly delicious meal. So, my stomach is full, so I want to head to the site. It’s a little early though. I’m heading to the site. Oh, Sendai is the subway. Yes. Not towards Izumi Chuo, but towards Tomizawa. I’ll take this, this way. Yes. I’ve gotten used to the Sendai subway, and it feels like, “Oh, here we go!”, and somehow it feels more familiar than the Tokyo subway . Yes, Sendai . I got off the train. It’s a place where you can walk after getting off the train, so I’ll walk there. The escalators in Sendai are slow , so I’ll speed it up. The Sendai subway is actually a lot wider than I thought. Apparently, you go this way or the right. It says Super Sports Xebio, so that’s it. I’ll walk this way. Oh, the air is so fresh when you walk outside in Sendai . It feels so good. It ‘s like, “Ah, here we go!” And we’ve arrived. Winnie the Pooh is having fun taking photos. The Xebio Arena is sparkling clean. Yes. They verified my identity with my ticket and gave me a bracelet. This is my Figuemon’s arm. And there are flowers on it. The sky is clearing up a bit. And then, in front of Xebio Arena Sendai, we stopped off here for a quick break before heading inside, which is cute, isn’t it? It ‘s decorated like this. Yeah. So cute. And there are all sorts of magazines and autographs of Hanyu on display . They’re waiting happily. This is after they finally went in and entered. So, I took a picture of the flowers at the entrance. There were so many people on the left and right sides that the video only showed these sides, but there were also lots of flowers on display on the right side. And this is what it looked like inside. This is the inside of Xebio Arena Sendai. I was like, “Oh, so that’s how it’s built,” and then I climbed a flight of stairs and there was a wide street. Yeah yeah yeah. I see. Everyone was looking at it and saying, “Hmm.” That’s about it for today . Now, let’s take a look at what it’s actually like inside. There are a lot of people, but I wonder if I can take a quick photo? Oh, something like this. It seems spacious yet narrow, spacious yet compact, and it feels quite far away when you go higher up, but this photo was taken from the second floor on the short side. I think I took this photo from where the members were seated . I think I took it from the standing area . A notable feature is the screen above. This is the view from my seat on the third floor (standing). It must be quite far away . See, you can see it, right? See how the people below can’t see the front? The Xebio Arena’s construction cuts off the very edge of the short side . What did you think? Did you enjoy it? Today, I’ve shared my thoughts on BOW AND ARROW and my two-day, one-night trip to Sendai to watch “The Fiest Skate” in July 2025. It was quite a lengthy video, but as this channel celebrates its 5th anniversary , I’m planning to continue evolving it by planning new videos and more. Please look forward to it. If you enjoyed this video, please hit the like button and leave a comment with your thoughts like, “I’d like to go there when I visit Sendai,” or ” I watch BOW AND ARROW every day on YouTube .” Goodbye, Figuemon

羽生結弦が放った“新たな矢”──『BOW AND ARROW』。
その背後には、まだ誰も語っていない“制作の秘密”が隠されています。
米津玄師の音楽が生まれた瞬間、そして羽生結弦がその旋律に出会った瞬間――そこにどんな“導き”があったのか？
この動画では、映像やインタビューの断片から、二人を結んだ見えない糸をたどりながら、作品誕生の真実へと迫ります。
一つひとつの音、視線、そして息づかいに込められた“意味”を紐解くことで浮かび上がるのは、羽生結弦というアーティストの新しい姿。
なぜ今、『BOW AND ARROW』だったのか──その理由を知ったとき、あなたはきっと息をのむでしょう。

●米津玄師 Kenshi Yonezu – BOW AND ARROW / 羽生結弦 Yuzuru Hanyu Short Program ver.

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