Interview: Rena Motomura on Her Role as Coco in Witch Hat Atelier
After Frieren: Beyond Journey’s End and Delicious in Dungeon, it’s finally Witch Hat Atelier’s turn to be brought to the screen—completing the anime adaptations of what many fans have dubbed the modern Big Three of the fantasy manga.
At the heart of Witch Hat Atelier is Coco, an ordinary girl whose encounter with magic turns her world upside down and sets her on a journey filled with wonder, friendship, and loss. Bringing the aspiring witch to life is rising seiyuu Rena Motomura, whose heartfelt performance captures both Coco’s childlike curiosity and the emotional weight she carries throughout the series.
Recently, Anime Atelier had the opportunity to conduct Motomura-san's first-ever international interview. We spoke with her about landing the role, working alongside Natsuki Hanae, the experiences that shaped her journey as a voice actress, and much more!
Q: First of all, congrats on your role as Coco in Witch Hat Atelier! Now that the anime has been receiving so much love from audiences around the world, how do you feel about the response so far?
Motomura: It has truly been an honor and a joy to be a part of such a beloved series, Witch Hat Atelier. As I waited for the anime’s release, I was both excited and nervous as to whether the audience would accept me as the voice of Coco, but the response from them completely swept away those worries. The feedback I received has been so warm and full of love that all my anxiety disappeared. Now, as a fan of the work myself, I’m enjoying the magical ride along with everyone else.
回答
世界中で愛される『とんがり帽子のアトリエ』という作品でココ役を任せていただき、本当に光栄で嬉しい気持ちです。放送するまでは楽しみな気持ちと同時に、自分が演じるココを受け入れていただけるだろうかと、ドキドキしていました。しかし、皆さんからの反響が全ての不安を消し去ってくれました。皆さんからの感想はあたたかく作品愛に満ち溢れていて、今では不安が無く、いち作品ファンとして魔法を楽しんでいます。
Q: How and when did you first learn that you got the part, and what was your reaction at the time?
Motomura: I went to my agency one day and was told by my manager that I had gotten the part. I was incredibly happy! I remember going into the audition with a strong conviction that I was going to be Coco, so when I got the role, it felt like a dream come true. My team and agency congratulated me, and little by little, it started to sink in that I had really been cast. I was absolutely overjoyed—I couldn’t stop smiling wherever I went.
回答
事務所に行った時に、マネージャーさんから直接、「ココ役で決まりました」と知らされました。とても嬉しかったですし、「絶対自分がココだ！」という強い気持ちで受けていたので、夢が叶ったみたいに嬉しかったです。他のスタッフさんからも「おめでとう」とお祝いの言葉をいただき、本当に受かったんだと少しずつ実感できました。三歩歩くたび顔が喜びでにやけてしまうほど嬉しかったです。
Q: Were you already familiar with the original manga before getting the role, and what was your first impression of the series?
Motomura: I first read the original manga during the audition process. I was in awe of the beauty of Kamome Shirahama’s artwork. The backgrounds and character depictions were so detailed and delicate that it felt as though I was hearing sounds and voices that weren’t actually on the page. The dynamic paneling, the constantly shifting “camera work,” the lives of the many characters, and the depth of a story built around the concept of drawing spells—all pulled me in further with every page I turned. Before I knew it, I had read every volume that had been published at the time. Along with the joy of discovering such a wonderful work, the words of Coco, Qifrey-sensei, and the other characters resonated deeply with me. I also found myself wishing I had discovered this work sooner.
It’s a magical work that captivates you from the very moment you encounter it—much like the pop-up picture books I loved as a child.
回答
オーディションで原作を初めて読ませていただきました。白浜鴎先生の絵があまりにも美しくて、衝撃を受けました。漫画には無いはずの音や声が聞こえてくるような緻密で繊細な背景や人物描写、次々に切り替わるカメラワーク、さまざまな登場人物たちの人生と”魔法を描く”という設定が織りなす物語の奥行き、ページをめくるごとに引き込まれていって、気がついた時には出ている単行本を全て読み終えてしまっていました。素晴らしい作品に出会えた喜びと同時に、ココや、キーフリー先生、登場人物たちの言葉が胸に強く響いて、「もっと早くに作品に出会いたかったな」とも思いました。
子供の頃に大好きだった飛び出す仕掛け絵本みたいに、出会った瞬間から夢中になる、魔法のような作品です。
Q: I heard that Natsuki Hanae-san’s performance in Tokyo Ghoul inspired you to pursue a career in voice acting. What was it about voice acting that captivated you compared to on-camera acting or other forms of performance?
Motomura: Unlike film or stage acting, where an actor’s physical presence is part of the performance, voice acting relies on animation—or, when there are no visuals, the audience’s imagination—to help bring a character to life. I was fascinated by that collaborative effect and the unique possibilities it creates. At the same time, the performances of Hanae-san, whom I greatly admire, always felt sincere, natural, and genuine. I was also drawn to the craftsmanship of voice acting itself – the ability to express intense physical movements and dramatic emotional shifts using only one’s voice.
回答
自身の肉体も役を担う映像や舞台とは違い、声優は、アニメにおいてはアニメーション、絵がない場合は観客の想像力が一緒に役を担っています。その相乗効果が面白いと思い惹かれました。同時に、私が憧れた花江さんのお芝居は、まっすぐで、自然体で、ナチュラルなお芝居でした。声のみで、激しい体の動きや大きな感情の変化を表現する声優の職人的な技術にも惹かれました。
Q: Going back to Witch Hat Atelier, what was the initial process like for you in finding Coco’s voice, and were there any inputs from the director Ayumu Watanabe-san or the staff?
Motomura: From the audition stage, I envisioned Coco’s voice as something gentle and soft around the edges. I wanted to preserve the natural qualities of my own voice as much as possible. Though Coco is a young girl, I deliberately avoided trying to make my voice sound artificially childlike—instead, I drew on memories of my own emotions from childhood and immersed myself in the role from that perspective. Coco experiences a wide range of emotions throughout the story, and there were times when I would project too strongly in scenes that required her to raise her voice. In those moments, sound director Kisuke Koizumi would direct me to be gentler with my voice. Director Ayumu Watanabe also advised me to “strip away as much anime-style exaggeration as possible and portray Coco naturally.” In anime, depending on the production, actors are often encouraged to perform in a more exaggerated manner or add distinctive nuances to their delivery. However, on Witch Hat Atelier, we pursued a style of acting that was the opposite of that kind of exaggeration—something grounded and natural. Personally, that is the type of performance I love most, so I worked hard to keep up with everyone around me and absorb as much as I could, much like Coco herself does in the atelier.
回答
オーディションの時から、ココの声は、優しく輪郭の丸い声を意識していました。自然な、地声の要素を大切にしています。ココは少女なので幼いですが、あえて幼く声を作ろうとせず、幼い頃の感情を思い出して、なりきって演じていました。ココは感情の幅が広く、大きな声を出す場面で、声を張りすぎてしまったりする時もありました。音響監督の小泉紀介さんから、「ココの声はもっともっと優しくしてほしい」とディレクションをいただいたり、渡辺歩監督からも「アニメ的なデフォルメをなるべく削ぎ落としてココを演じてほしい」とアドバイスをいただきました。アニメでは、現場によっては大げさに演じることや、ニュアンスをつけることを求められることがあります。とんがり帽子の現場では、デフォルメとは対照的な、ナチュラルなお芝居を追求していました。私自身、そういうお芝居が特に好きだったので、現場の皆さんに食らいついて、アトリエのココみたい、吸収できるよう頑張りました。
Q: Speaking of Hanae-san, although you previously met and worked with him on several occasions, including Fortune Favors Lady Nikuko, this project was actually the first time you were able to properly exchange dialogue and act alongside each other as scene partners. So how did you react when you first learned that Hanae-san would be playing Qifrey, and what is it like finally acting alongside him?
Motomura: Fortune Favors Lady Nikuko was my voice acting debut. I was thrilled to have the opportunity to work alongside Hanae-san, but unfortunately, we didn’t have any scenes together, so we never really had the chance to perform opposite one another.
A few days after I was told I had been cast as Coco, my manager informed me that Hanae-san had been chosen to play Qifrey. A flood of emotions rushed over me, and tears came before I could even find my voice. It’s a moment I’ll never forget. For me, Hanae-san was the reason I decided to become a voice actor in the first place. He was also the mentor who discovered me and brought me into the agency. Being cast opposite him as master and apprentice felt almost miraculous. I was incredibly nervous during our first recording session together, but I decided to put aside any hesitation and throw myself into the role wholeheartedly, trusting in Hanae-san’s support. Hanae-san’s performance as Qifrey was remarkably natural and very close to his own speaking voice. During our scenes together, I made a conscious effort to absorb his rhythm and emotional tone and to learn as much as I could by acting alongside him.
回答
『漁港の肉子ちゃん』は私にとって声優デビュー作でした。共演できたことは嬉しかったのですが、残念ながら掛け合いは無く、しっかり掛け合いしたことはありませんでした。
ココ役が決まった知らせを受けた数日後、キーフリー役が花江さんに決まったとマネージャーから知らされました。色んな感情が込み上げて、声より先に涙が溢れてしまいました。忘れられない瞬間でした。花江さんは私にとって、声優を目指したきっかけであり、事務所にスカウトしてくださった師匠です。師弟役での共演は奇跡的でした。初回の収録では、とても緊張していましたが、遠慮なく、花江さんの胸をお借りする気持ちで、全力で飛び込ませていただきました。キーフリー役を演じる花江さんのお芝居がとても自然で花江さんの普段の地声に近く、掛け合いの中で自分も花江さんの温度感をしっかり受け取って演じよう、側で沢山吸収しようと心がけていました。
Q: Do you approach emotional scenes, especially the incident scene, differently from other normal scenes, and if so, how?
Motomura: There wasn’t a major difference from my usual approach to acting, but like Coco, I love my mother very much. When I was rehearsing at home, I would think about my own mother and imagine how I would feel in Coco’s situation. My mother was also worried about me at first and opposed my decision to become a voice actor. Even so, I couldn’t give up on my dream, so I deeply understood how Coco felt.
As for the forbidden magic scene, part of it had already appeared in the teaser trailer that was released before recording, and the animation was incredible. When performing it, I was simply giving it everything I could. I usually move my body while acting because it helps me express emotions more naturally, but for this scene in particular, I was moving around a great deal. I put my whole body into the performance, and by the end of the session, I was actually sore. Mayumi Sako, who plays Coco’s mother, was watching the recording session. After we finished, she said to me, “Coco, do your best.” Hearing that immediately put me at ease, and I almost started crying. In the completed scene, the main theme plays over the sequence, and I believe it became one of the defining moments of the series—a scene where the visuals, music, and performances all came together with the utmost care and dedication.
回答
普段の演じ方と大きな違いはないのですが、私もココと同じでお母さんが大好きなので、家でリハーサルをする時、お母さんのことを思い出して想像しました。お母さんも最初は私を心配して、声優になることに反対でした。それでも諦めきれなかったので、ココの気持ちが凄く分かりました。
また、禁止魔法のシーンは収録時に既に公開されていたティザー映像にもあり、作画も凄くて演じる時はとにかく必死でした。感情を解放しやすくするために私は普段から身体を動かしながら演じているのですが、この場面では特に沢山動いていて、全身に力がこもり、終わった時には身体が筋肉痛になりました。ココのお母さん役の佐古真弓さんが収録を見ていてくださったのですが、収録終わりに、「ココ、頑張ってね」と声をかけてくださって、安心して、涙が出てしまいそうでした。完成映像ではメインテーマが流れ、映像、劇伴、お芝居、全て究極にこだわった、作品を象徴するシーンになったと思います。
Q: On another note, since Coco is often shown thinking out loud and expressing her inner thoughts, do you approach these monologues differently from regular dialogue scenes?
Motomura: At first, I struggled quite a bit with the monologue scenes. For narration and internal monologues, I pay even closer attention to the sense of distance than I do in regular dialogue. I would record my own voice using my phone, listen back to several different versions, and compare them to see what felt right. I'm still learning and continuing to refine that skill.
回答
最初はモノローグシーンにかなり苦労しました。ナレーションやモノローグは距離感を通常会話よりもより細かく意識しています。自分の声をスマホの録音機能で録ってみて何パターンか自分で聴いてみたりもしていました。修行中です。
Q: I personally feel that although Coco continues moving forward with her usual whimsical and optimistic personality, she still quietly carries the burden and painful memory of her mom. So how do you balance Coco’s lingering sadness with her sense of wonder and cheerfulness after Episode 1?
Motomura: I feel that many aspects of Coco’s character resemble not only me, but also many other people. I think everyone carries anxieties, worries, and moments of loneliness that can resurface when certain memories come back to them. People can become surprisingly strong when trying to prove who they are. Even when we're feeling down, we still get hungry, and meals somehow taste better when shared with someone else—they give us strength. I think it's okay for people to have those emotional ups and downs. Coco is also someone who lives each moment sincerely and wholeheartedly, so when I read the script, I try to approach her in the same honest way. Of course, I think about things from Coco’s perspective, but I also try not to overthink it. Her mother is always present in her heart, and I perform with the feeling that she is moving forward to remain true to herself.
I would also like to mention Nakamura Hak, who performs the ending theme played throughout the series. Her work is incredible. In particular, "Tada Utsukushii Noroi" captures Coco’s despair and her determination to reach for hope in a way that feels both beautiful and unique. I had never heard of a song being recorded in a single take with no corrections before. Every part of the performance expresses Coco, and I think it’s truly amazing. After one of our recording sessions, I had the opportunity to attend her live performance. Her unique voice and overwhelming presence completely took my breath away. It was deeply inspiring for me as well.
回答
ココのキャラクターは、自分にも似ていると思うし、自分以外の誰かにも似ているなと思うのところが多いです。誰しもが不安なことや心配なこと、思い出すと心細くなるような孤独があるんじゃないかと思います。人は自分が何者かを証明するためなら強くなれるし、元気がない時でも生きるためにお腹は空く、ご飯は誰かと一緒に食べると美味しくて、力が湧いてくる、そういう心の波があっていいと思うんです。ココも今この瞬間を一生懸命に、まっすぐに生きていると思うので、私自身も台本を読んで素直に演じています。ココとして考えることはありますが、私自身が考えすぎず、ココの心にお母さんはずっといるから、自分が自分であるために前を向こうという気持ちで演じています。
本作のEDで各話数で３曲手がけるNakamuraHak さんが素晴らしくて、「ただ美しい呪い」はココの絶望とそれでも希望に手を伸ばす姿を美しく唯一無二に表現されていて、1発録り無修正なんて聞いたことが無いです。歌の全てでココを表現していて、本当にかっこいいです。アニメの収録後にライブを見させていただいたのですが、唯一無二の歌声と迫力に息を飲みました。私も刺激を受けました。
Nakamura Hak - Tada Utsukushii Noroi (Anime Ver. Music Video)
Q: You also reunited with Watanabe-san after Fortune Favors Lady Nikuko. Since you already knew each other beforehand, was it easier working together on this project?
Motomura: Director Watanabe is an incredibly warm person. He is kind and has a wonderful sense of humor, and those qualities are evident in his work as well. I grew up watching his films, so he has always been one of the directors I admire and love most.
That’s why I felt incredibly fortunate to meet him through Fortune Favors Lady Nikuko, and I was genuinely happy and grateful to have the opportunity to work together again. During the recording sessions for Fortune Favors Lady Nikuko, I still had very little experience in the industry and was often nervous. There was a time when I struggled to respond properly to the direction I was given. At that moment, director Watanabe gently told me, “I can see that you’re thinking carefully about the character. But I’d like you to approach it this way.” Because he is someone I deeply trust, I have always wanted to give my very best performance in return. Of course, he gives very clear and detailed directions. There were times when I couldn’t quite achieve what he was looking for right away and had to do multiple takes, but, like Coco in Episode 3, I tried not to give up and kept working hard until I got there.
回答
渡辺監督はとてもあたたかいかたです。優しくて、ユーモアもあって、監督の作品にもそれが感じられて、幼い頃から監督の作品を見て育ったので、尊敬する大好きな監督なんです。
そのため、『漁港の肉子ちゃん』で出会えたことが幸運だったし、今回また一緒に作品作りが出来ることは本当に幸せで、とても嬉しい気持ちが根底にありました。『漁港の肉子ちゃん』の収録の時にまだ現場の経験が少なく私が緊張してしまい、いただいたディレクションに上手く答えられなかった時、「役のことを考えてくれているのはわかる。でも、こういう言い方をしてほしい。」と優しく声をかけてくださいました。信頼しているかたなので、私も全力でお芝居でこたえたいという気持ちでいました。もちろん、ディレクションはしっかりくださいます。上手くこたえられなくてテイクを重ねてしまうこともありますが、そこは3話のココみたいに諦めずに頑張りました。
Q: Coco’s interactions with Agott, Tetia, and Richeh are some of the heartwarming parts of the story. What is it like working alongside Hibiku Yamamura-san, Kurumi Haruki-san, and Hika Tsukishiro-san, and how did you build your chemistry together?
Motomura: We’re always chatting about all sorts of things. Sometimes we talk about the series itself, or get excited over how cute Brushbuddy is. Other times, we bond over the sweets that Shirahama-sensei kindly brings to the studio.
When the opening theme song, "Kaze no Anthem," by Eve featuring suis from Yorushika, was first added to the rehearsal video, we spent a lot of time talking about it. The song fit the lively atmosphere of Witch Hat Atelier perfectly and has such a refreshing feel. Since many of the Atelier scenes involve the girls, Hanae-san seemed a little out of place at first. But as recording continued, more cast members joined the sessions, and Hanae-san looked especially happy when Yuichi Nakamura, who plays Olruggio, arrived. In the early stages of recording, there were many serious scenes, and the relationships among the Atelier members were still somewhat awkward, just like in the story. The dragon battle scene in Episode 5 was particularly challenging. To synchronize our performances, we did numerous test recordings. Because the scene depended heavily on timing, breathing, momentum, and teamwork, we recorded it in a single continuous take rather than piecing it together through editing. Recording the scene took two full days. Even when I felt overwhelmed, I made a conscious effort to listen carefully to my fellow actors and respond to them. Through that experience, I became much closer not only to the Atelier cast as a whole, but also to Yamamura-san, Haruki-san, and Tsukishiro-san. After that, the everyday scenes became much brighter and more fun to perform. I think you can really feel that atmosphere in the ad-libbed moments throughout the series.
回答
いつも、女子トークをしています。作品の話やフデムシが可愛い話で盛り上がっている時もありますし、差し入れで白浜先生がくださったお菓子を食べて盛り上がっています。
EVEさんのOP「 風のアンセム 」 suis from ヨルシカ がアニメのリハVに差し込まれた時は、その話で盛り上がりました。アトリエの明るい雰囲気にぴったりで爽やかな楽曲が凄く素敵です。アトリエのシーンの収録は女子が多いので、花江さんがちょっと気まずそうでした。でも収録を重ねるごとに仲間が増え、花江さんもオルーギオ役の中村悠一さんが来てくれて嬉しそうでした。収録は最初の頃は特に真剣なシーンが多くて、アトリエのみんなとの関係性もギクシャクしていて、第5話のドラゴンとの戦闘シーンが大変でした。息を合わせるために何度もテスト収録を重ね、呼吸感や勢い、チームワークが大切な場面だったので、編集でつぎはぎをせずに、一本で録りました。収録も２日間かけ、自分がいっぱいいっぱいの状況でも相手を見て言葉を聞くことに正面からぶつかりました。その経験があってから、アトリエのみんなも、山村さん、陽木さん、月城さんとももっと話せるよりになり、日常シーンが明るく楽しくなりました。アドリブシーンなどでその雰囲気が出ているなと思います。
Eve - Kaze no Anthem ft. suis from Yorushika (Special MV)
Q: Aside from Coco, of course, is there a character in the show that you’re especially fond of?
Motomura: Brushbuddy is my favorite. I’ve loved them ever since their first appearance in Episode 3. They’re just so cute! Their little front teeth and tiny hands are adorable, and whenever they appear on screen, I can’t help but watch them closely. I especially love the scene in Episode 6 where everyone is searching for Brushbuddy after the bath, and the scene in Episode 7 where they imitate Qifrey-sensei. When I was younger, my family had a pet ferret, and Brushbuddy’s long body, the way they curl up when they sleep, and the way they wash their faces all remind me of it. That resemblance makes them especially endearing to me. On top of that, Brushbuddy is voiced by Kuno-san (Misaki Kuno), and her performance makes them even more adorable. Every time they appear during recording sessions, I find myself completely overwhelmed by their cuteness.
回答
フデムシです。初登場の第3話から大好きです。凄く可愛いです。前歯や小さい手が可愛くて、いつも画面に映ると目で追ってしまいます。特に第６話のお風呂上がりのフデムシ探しのシーンと第7話のキーフリー先生の真似をするシーンが可愛くて大好きです。昔実家でフェレットを飼っていたのですが、細長い体や、丸まって寝たり顔を洗ったりする仕草がよく似ていて、とても愛おしいです。フデムシ役の久野さんのお声もついて、可愛さが益々爆発しており、収録現場でいつも悶絶しています。
Q: Your parents initially opposed your dream of becoming a voice actress, similar to how Coco’s mother was against magic. Do you see any other similarities between yourself and Coco? On the other hand, what do you think makes you different from her?
Motomura: I think the biggest thing Coco and I have in common is our curiosity and our tendency to dive headfirst into something once we've decided it's what we want to do. Because my mother knows that side of me very well, watching the anime made me realize just how much worry I must have caused my family over the years. I could really understand how Coco’s mother feels. There was a time when I wanted to become a voice actor so badly that I simply couldn’t give up, and I ended up arguing with my mother because she opposed it. We didn’t speak to each other for two or three days afterwards. Coco, on the other hand, is younger than I was, yet she accepts and understands her mother’s feelings. In that sense, she’s much more mature than I am. Honestly, it’s a little embarrassing to admit! There’s another way we’re alike—I absolutely love to eat. Every time I see Coco looking so happy eating, I seriously think, “She’s just like me!” I also love stew.
But there’s one difference between her and I—I’m definitely on Team Rice.
回答
好奇心旺盛で自分がこうだと思ったら飛び込んでいくところはココと私の1番の共通点だと思います。そんな姿をお母さんはよく知っているるので、アニメを見ながら、家族にはいつも心配をかけているなとお母さんの気持ちが凄く分かりました。私はどうしても諦めきれなくて、反対するお母さんと喧嘩をしてしまったことがありました。2.3日口をきけなくて。ココは自分より小さい年齢で、お母さんの気持ちを受け止めていて、自分と違って大人だなと思います。恥ずかしいです。
似ているところがまだありました。私もご飯が大好きなので、食べてる時の幸せそうなココを見るたび、凄く似ているなと真剣に思います。私もシチューが大好きです。違う所がもう一つありました。私はお米派なんです。
Q: Are there any memorable or funny stories from the recording sessions that you can share with us?
Motomura: There was actually one memorable incident during the recording. On a day when I was recording mostly quiet scenes, the clothes I was wearing ended up creating unwanted noise during the session. While I was struggling with the situation, Misaki Kuno—who voices Brushbuddy—kindly offered to swap clothes with me. I was moved by her gesture. Nothing like that had ever happened to me before. Having a senior colleague offer to exchange clothes with me was completely unprecedented. I felt bad for causing trouble and reflected on it afterward, but Yamamura-san, who voices Agott, took photos, and everyone, including Nakamura-san, helped turn it into a fun memory with lots of smiles and laughter. Kuno-san has always been incredibly supportive on set. She would stay close by, and she was kind enough to listen to my concerns and offer advice about acting as well.
回答
実は、私がアフレコで静かなシーンが多い日の収録で着ていたお洋服でノイズを出してしまった時がありました。困っていたら、フデムシ役の久野美咲さんが、「お洋服を交換する？」と言ってくださって、助けてくださりました。そんなこと生まれて初めてで感動しました。私も先輩にお洋服を交換していただくなんて前代未聞で、ご迷惑をおかけしてしまい反省したのですが、アガット役の山村さんがお写真を撮ってくださったり、オルーギオ役の中村さんをはじめ皆さんが笑顔で楽しい思い出になりました。久野さんは現場でも寄り添ってくださり、お芝居のことなども相談に乗ってくださいま
Q: Interestingly, your hobbies include drawing and screenwriting, and you even won an award for your screenplay in high school. Do you see these two passions influencing and perhaps even amplifying your work as a voice actor in some ways?
Motomura: Through my experiences in theater during high school and university, I learned the importance of collaboration. To me, collaboration means working toward a shared goal, making use of each person’s unique strengths and qualities, dividing responsibilities as equals, and supporting one another throughout the process. I believe the same principle applies to acting. I always try to listen carefully to my scene partners and respond honestly to what they are giving me. Acting and creative work are deeply connected. In fact, one of the characters featured in my agency’s voice sample recordings was originally a character I wrote for a script I created during my high school theater days. Looking back, I think that taking every opportunity I could find to create stories and characters from a young age helped me discover my own unique way of expressing myself.
回答
高校と大学での演劇を通して、”協働”することが大切だと教わりました。”協働”は、同じ目標や目的に向け、自分の特性や強みを活かし、対等な立場で役割分担をし、協力して取り組むことです。その考え方はお芝居においても同じで、相手のお芝居をよく聞いて、応えることを大切にしています。お芝居と創作は繋がっており、実は私の事務所のボイスサンプルの中に高校演劇の創作脚本の中で書いたキャラクターがあります。小さい頃から創作のチャンスを見つけては取り組んだ経験は自分らしい表現を見つけるヒントになっていたと思います。
Q: You’ve mentioned that Suki Desu Suzuki-kun!! first sparked your interest in acting. Aside from that series, are there any anime or manga that are your favorites?
Motomura: There are many series that I love. In particular, Studio Ghibli’s Spirited Away and Howl’s Moving Castle have always held a special place in my heart. We had the books and DVDs at home when I was growing up, so I watched them over and over again. Of course, I was captivated by their unique settings and stories, but what drew me in most was the incredible attention to detail in the props and everyday objects that fill those worlds. I’ve loved miniature objects since I was little, and I also watched Coraline, produced by Laika Studios, so many times that I practically wore it out. It’s a grand stop-motion animated film, created by moving meticulously crafted sets and puppets frame by frame. I’ve always been deeply drawn to works with intricate beauty and expansive worldbuilding, which is one reason I feel a connection between those films and Witch Hat Atelier. The designs and colors of the objects and tools that appear in the world are also incredibly beautiful and captivating. I love works that reveal new details and become richer every time you revisit them.
回答
沢山あります。特に、スタジオジブリ制作の『千と千尋の神隠し』『ハウルの動く城』は小さい頃から本やDVDが家にあり何度も見ていたので大好きです。どちらも設定が面白く引き込まれたのもありますが、2作とも細かい雑貨の書き込みが多いところに強く惹かれました。幼い頃からミニチュアが大好きで、スタジオ「LAIKA」制作の『コララインとボタンの魔女』も擦り切れるほど見ていました。壮大なストップモーション・アニメーション映画で緻密なセットと人形を一コマずつ動かして撮影しています。緻密で美しい、壮大な世界観に強く惹かれるので、『とんがり帽子のアトリエ』にも通づる部分があるなと思います。登場する雑貨の造形や色彩もとても美しくて魅了されます。何度見ても味わい深い作品が好きです。
Q: Before we sign off, what’s next for you? Are there any exciting projects for you that we should be excited about?
Motomura: I’ll continue doing my best to show everyone the many different sides of myself through the work I love so much. For me, acting is what magic is to Coco in this story—a precious treasure that brings color and meaning to my life. I hope to continue delivering moments that move and inspire people, and I plan to keep growing as both an actor and a person while enjoying every step of the journey. Please look forward to what’s to come!
回答
大好きなお芝居で色んな姿をお見せ出来るように頑張ります！私にとってお芝居は、本作のココにとっての魔法で、人生を彩ってくれる宝物です。皆さんに感動を届けられるように、私自身も楽しみながら、全力で沢山成長していきます。是非、楽しみにしていてください！
Q: Lastly, do you have any messages for your overseas fans?
Motomura: To all of our fans around the world, I’m always deeply moved by your passionate support and the love you show for this series. Thank you for waiting so patiently for the anime and for discovering Witch Hat Atelier. As the voice of Coco, it means so much to me and brings me great happiness. I’m truly honored to be part of a project where Kamome Shirahama’s wonderful story has been brought to life by director Ayumu Watanabe and such an incredible team of staff, cast members, and artists, resulting in a beautiful and grand animated work that we can share with audiences in the best possible form. This is a magical story that paints dreams and hope in the hearts of both children and adults around the world. I hope you will continue to love the series and enjoy returning to it again and again.
回答
海外のファンの皆さん、いつも皆さんの熱い応援と作品愛に感動しています！アニメを待っていてくださり、こうして作品に出会ってくださったこと、ココ役として、幸せに思います。ありがとうございます。白浜かもめ先生が生んだ素晴らしい作品に渡辺監督を筆頭に素晴らしいスタッフ、キャスト、アーティストが集結して美しく壮大なアニメーションに仕立てられ、最高の形でお届けできていることがアトリエの一員として本当に嬉しいです。世界中の大人たち、子供たちの心に夢と希望を描く魔法の物語、一緒に作品を愛して、何度でも楽しんでいただけますように。
We would like to thank Motomura-san for her kindness in taking the time to speak with us. Our sincere thanks also goes to the Witch Hat Atelier Production Committee for making this interview possible. We’re excited to see what lies ahead for Motomura-san! You can follow her on X.
Witch Hat Atelier is the anime adaptation of the acclaimed manga series by Kamome Shirahama. The manga has received numerous accolades, including the Harvey Award for Best Manga in both 2020 and 2025, as well as the Eisner Award for Best U.S. Edition of International Material—Asia in 2020.
The Witch Hat Atelier anime is currently airing. You can watch it on Crunchyroll in select territories.
