As an actor, interviewer, show host, and producer, Shuichi Yamauchi has carved a unique path in the entertainment industry. With years of experience both in front of the camera and behind the scenes, he has earned a reputation for supporting artists in the music industry — from long-established bands to young visual kei artists who are pushing the boundaries of the genre.
In this interview, we explore his journey from his early beginnings to becoming a key figure in the visual kei scene, while discussing his views on inspiration, achieving dreams, and the current state of the scene.
ー To start off, and to get to know you a bit better, how would you describe yourself without mentioning your current profession?
An ordinary boy of 37 years, born in 1987 (laughs). I grew up as an only child and graduated from university when I was 22…really quite ordinary I would say! In my childhood, I was good at studying, but being bad at sports, music, and anything creative was quite a complex of mine. I wasn’t popular either, I only went to matchmaking parties twice and didn’t enjoy busy places in general. But I would say I had many friends, both boys and girls. I used to work part-time at convenience stores and as a security guard…although I technically still work as a security guard to this day. I worked twice already this year. They were there for me during difficult times, so I decided to pay them back by “not quitting”. Having said that, this year I had basically zero private life due to work, so I wasn’t able to contribute much. I also like traveling solo, so once I have a bit of free time, I would like to go on a trip somewhere in Japan. I would also love to watch a martial arts tournament.
ー You began your career as an actor at a young age, and in recent years, in addition to acting, you’ve become a producer, interviewer, and host of events and shows in the music industry. Was it always your dream to pursue something creative from a young age, or did it come naturally?
I debuted as a child actor when I was 10. I was scouted by an acting agency and as I was young, I just lightheartedly agreed to try it. I had no real ambition; it was more like running for class representative on a whim. I remember my parents also being quite against it when I first started acting. As I gradually advanced in my acting career, by the time I was in middle school I was fortunate enough to gain a certain level of recognition and my creativity and philosophy toward acting developed somewhat naturally. In musical terms, whilst not being what you may call an irregular beat, I would often deliberately deliver lines in a tone that was not comfortable for me as if desperately trying to create something original. But at that point, it wasn't a dream anymore—it was the reality in front of me, so I was just doing my best to keep up. At the same time, I also had to study for school exams, so I was on an incredibly tough schedule (laughs). I remember during that time I started coming across visual kei music and magazines, and it all began for me when I watched the live DVD of Gackt called “Gackt LIVE TOUR 2001 Requiem et Reminiscence ～鎮魂と再生～”. The worldview of the albums and lyrics as well as the stage performances seemed like a drama. When I experienced that level of total artistry, I realized that there was something even more incredible than the TV dramas and films I had been working on daily. From that moment I realized that to be able to reach the top in the industry I would have to surpass Gackt’s level of expression. I think that encountering magazines that conveyed such allure back then is what led me to my current work as an interviewer.
I realized that no matter how confident you are in something, if it doesn't attract attention, it won’t succeed
ー Transitioning from acting to working in the music industry must have been a big change for you. Could you tell us a bit more about the process of that career shift? Were there any challenges or unexpected experiences along the way?
I have mentioned it publicly before but it was all thanks to DEZERT’s SORA, who pushed me to become the host of the radio show called "#V系って知ってる？" (transl.: #Do you know V-Kei?). I didn’t know it during that time, but that show was a standing project from VISUNAVI Japan, and being entrusted to host that show led to me eventually becoming the producer of VISUNAVI Japan. It’s quite uncool but my career came about by letting things play out by going with the flow and not by strong determination (laughs). But I think that’s how life is. I was working night shifts at a convenience store with SORA over 10 years ago and while his career started to take off, at the same time I was starting to fall short as an actor. He might be younger than me, but there is so much I admire him for. In 2020 I left my acting agency and as the pandemic hit I started working part-time as a security guard 5 times a week. I was starting to become worried about my future when one day after working in scorching hot Shinokubo in the middle of summer I saw that I had a bunch of unanswered calls from SORA. When I called him back, he said “I have something important I need to talk to you about. You don’t have to work part-time anymore. Let’s meet next week!”. From that it led to where I am now. I didn’t know much about that world, and everything was difficult in the beginning. It surprised me that there were so many cool young bands. It made me realize that there is a chance of success if I fought in this industry. In my mind, I haven't given up on acting; rather, I feel like I'm just adding more tools for expression.
ー Being an actor for the most part of your career, do you think your experience as an actor has been helpful in your other pursuits?
I would say that being an actor and tv personality is my identity. Even if I perform in a way I'm not satisfied with, being in a drama with a 25% viewership rating still brings a lot of praise, after all. On the other hand, when I started organizing stage performances and talk shows on my own, it was incredibly painful to have not a single person from the industry show up, despite me being confident in both the content and the turnout. This experience has become a valuable lesson for me, and I realized that no matter how confident you are in something, if it doesn't attract attention, it won’t succeed.
Recently I get to work with younger bands a lot and there are really many cool bands! But unfortunately not many people from this industry come to see their shows. At this rate good music will fade away. While the scene isn't everything, the truth can only be found in the scene. That’s why I try to go see and take in shows every chance I get. Sometimes I feel this sense of urgency, wondering would I really be okay if visual kei came to an end whilst I’m here hesitating over low-resolution armchair theories, still having not even seen the biggest performance of all. But it’s also thanks to my own past misfortunes that I have this sense of urgency to begin with. The frustration from those days has helped shape who I am now, and I absolutely don't want the bands I work with to experience that unnecessary frustration.
ー What would you say is the most important thing for you when you are interviewing artists? And if you could could choose without any limits, who would you like to interview the most?
Trade secret! (laughs). No but it goes without saying: not to lead the conversation in the direction you want to. I also think that as an interviewer or radio host, the less you say, the better. If I could just start by saying hello and not say anything else for the rest of the interview, it would be the ultimate achievement. But as I am still quite bad at it, I end up talking quite a bit. As for who I’d love to interview….it would be the artist’s family. I want to delve deep, from parents, siblings to their DNA. There is a young band called MAMA., and I would love to interview their mothers (laughs). But who I would love to interview the most, are people who actually would love to be interviewed by me. We can't do this without the right process and mutual respect, after all.
ー Being an actor, producer, interviewer, and host of events, your life must be very busy. What are your thoughts on work-life balance? Do you have any advice on how to maintain success while juggling multiple careers?
You tell me (laughs). If I am being honest, there is no way for me to stay healthy if I continue like this, so I want to make time to take breaks every now and again. Collapsing from working a crazy schedule like a horse at the age of not even 40 would be pathetic, so that's the assignment. In that aspect I do think I am quite lame. If you can’t manage that, can you really even call yourself a professional? I am not in the position to give advice, but I would recommend younger people to try to get on the same level and share responsibilities with those around them as early as possible.
ー I can imagine that during your career you've met many actors, musicians and artists, but could you tell us about the most memorable encounter?
It would be film director Shunji Iwai. When I was about 14 years old I had the pleasure to work with him in the movie "All About Lily Chou-Chou" and I had some scenes without any lines, where I just had to pretend to be dozing off. He told me “add the gesture of scratching your leg” and that changed everything I knew about acting up to that point for me. The setting of the movie is summer so even if the shot will not show your legs, there would be mosquitos! Also they might also be burning incense in that scene, so let’s add a gesture of scrunching the nose. With just one piece of advice, the depth of the performance changed instantly, spanning 10 to 20 ranges ahead. When it comes to doing work that involves expression, this experience taught me that growth can sometimes be gradual, but there are also moments when everything transforms in an instant.
And someone else I definitely need to mention is YUKKE from the band MUCC. Starting with the monthly interview projects at VISUNAVI, we worked a together a lot. I think that he perceives the younger bands and the current scene from both the perspective of current MUCC’s YUKKE as well as former indie MUCC’s YUKKE. Yet, he's kind, still has tricky ideas, and remains a great presence that continuously provides both inspiration and reassurance. Before you know it, young bands and me included end up gathering around him (laughs). When it comes to the influence they had on my life, MUCC has god-like status for me, but YUKKE is more of a big-brother-god to me (laughs). Tatsurou and Miya as well. There is no limit to the respect I have for them, but they also engage in conversations beyond that, teaching me through their actions what truly matters.
ー What was the most challenging period in your career so far, and how did you overcome it?
It was quite some time ago, but I worked at a non-stop 38 hours shoot for a drama when I was 11 (laughs). It was really tough. That experience left a direct impact on me to this day. But the toughest time was several years after TBS’s "Daisuki! Itsutsugo" series ended. Work opportunities and my popularity dropped and it made me second-guess myself. Before you know it, I went from wanting to leave a lasting impact on people’s lifes to being someone who hoped to be noticed by casting staff. I would go to auditions, causing a scene by kicking holes into walls, or throwing the judges' laptops... It was a nightmare (laughs). While I don't endorse it now, I think I was just desperately trying to survive and leave a mark, no matter what. Yeah, in that sense it was tough the whole time. It still is.
ー Is there anything you wish you would have known before starting your career?
No, you have to work with the cards that life deals you.
In every industry, rather than expert knowledge, in the end it all comes down to passion
ー Being an actor or producer are jobs many people dream of. What is your process of achieving your dreams or goals and is there anything that you find most important when going for your dreams?
These days I don’t think there are many people left who would want to become actors, pouring their soul into a script written by someone else. If lead actors would also take on the role of overall producers for the movies and dramas they’re starring in, it would make people more inclined to go watch them. As for the process…It’s not as if I achieved anything, so it’s very difficult to answer. My theory is that in every industry, rather than expert knowledge, in the end it all comes down to passion. At least this is the case right now. Also, not thinking of yourself as the main character. Excessive ambition can lead to overlooking important things, and complacency or misplaced humility can cloud your judgment. It’s also important to keep distance from people who love to gossip and slander and are careless with their money. But more than anything, I think everything becomes clear once you understand that you are just a supporting role in someone else's life.
ー Speaking of dreams, do you currently have a dream?
I do! I want to find the right words to describe the experience of "KHIMAIRA-SCUM PALACE-", which will be held at Spotify O-WEST on December 1st. So first of all, as the event organizer and supporter of young bands, I want to make sure that day is a success, by filling the venue.
ー And last but not least, what is your "why"? Why do you do, what you do?
Probably because I lack talent. Because of that, I've always been thinking about how to survive through sheer determination. Visual kei scene seems quite faded compared to its past glory and I feel a similarity to my own journey. To put it bluntly, the bands who chose to pursue visual kei, despite it being a genre that had once declined, possess a strong will, pride, and grit. I feel the same way; as someone who has lost both confidence and popularity, I will continue to move forward in a way that conveys the messages and way of life that only I can express. I believe in myself the most and doubt myself the most and I think that is the reason why I'm managing to be where I am.
Interview & Translation: Olga Mazlina
Photographs: by Shuichi Yamauchi
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