Book: Dentsu Inc. Design Talk Vol.1 Hiroshi Otomo × Takuma Takasaki "Wrestle with the Story!"

The book 'Dentsu Inc. Design Talk Vol.1' is now on sale from July 8th.
This time, we'll share a glimpse from Session 2, featuring a conversation between Keishi Otomo, who directed NHK dramas like "Hagetaka," "Shirasu Jiro," and "Ryoma-den," and later directed films like "Rurouni Kenshin" after becoming independent, and Takuma Takasaki of Dentsu Inc. (Creative Director/CM Planner) discuss their approaches to directing and their attitudes toward creation.

(Planning & Production: Dentsu Inc. Human Resources Department, Aki Kanahara     Article Editing: Sugatsuke Office     Composition Support: Eiji Kobayashi)
　

Dentsu Inc. Design Talk Vol.1
(B6 Variant Hardcover, 192 pages, ¥1,600 + tax, ISBN 978-4-02-100914-3)

　

Keishi Otomo

Takuma Takasaki

 

"Being faithful to the original work is different from being sincere to the original work."

Mr. Otomo, who produced socially conscious dramas based on real stories during his time at NHK. First, Mr. Takasaki commented on the film Rurouni Kenshin: "Its overwhelming weight. No matter the angle, it possesses a high density, and the reality that density brings makes the fiction come alive." He then asked Mr. Otomo why he chose a manga original for his first project after going freelance. Otomo stated, "The key point in adapting a manga into live-action is how to ground the characters when they become flesh-and-blood humans. I think it particularly tests the director's skill, ability, and sense. I felt it was a good subject to challenge myself with at a time when I wanted to take the next step." He also cited his experience studying directing and screenwriting in Hollywood during a two-year stint in Los Angeles starting in 1997, which led him to feel that "the roots of movies are movement, motion, and emotion." He added, "I wanted to do solid action within the world of 'Rurouni Kenshin'."

The two-dimensional world of manga, where the original creator controls everything, differs vastly from three-dimensional film production, which involves vastly more people with differing opinions. "Manga characters have sharp edges," says Otomo. "The more you try to faithfully reproduce them, the more you risk being tripped up." He believes "being faithful to the original work is different from being sincere to the original work." "We firmly established a clear line somewhere: manga artists are professionals in manga, not in adaptation. We drew that line, meaning they wouldn't interfere beyond it, but in return, we would absolutely express the spirit and core elements within the original work," he explained, noting this was confirmed with the original author from the outset.

 

"Both cast and staff are more interesting when they're self-willed and proactive."

When Takasaki then asked about his unique casting philosophy, he replied, "Whether they look alike or not isn't the issue. What's important is taking the right approach, built from within. Then, they end up looking alike as a result." He explained this using Masaharu Fukuyama in 'Ryōma-den' as an example. To surpass the traditional image of Ryoma created by Ryotaro Shiba, Otomo envisioned a new leader: "I wanted to portray Ryoma as someone who truly listens to others." When deciding on Fukuyama for the lead, Otomo felt, "He didn't just present his own ideas first; he thought about how to respond to what others needed and showed a capacity to truly receive what they said." Indeed, "the more we placed skilled actors like Teruyuki Kagawa and Nao Omori around him as supporting elements, the more Fukuyama could absorb it all. This increasingly aligned with the essence of the Ryoma character we sought, and he became the Ryoma of the drama." "Both cast and crew need to be self-driven and assertive; it's essential they inspire each other and grow on set. People who think calculated approaches are the only way forward aren't my style."

In response to those words, Mr. Takasaki spoke about "how to generate and capture living drama," something he himself keenly felt when producing films. Commercials, being something people watch repeatedly, require calculations down to the second, and he agonized over how to embed drama within that. Films, however, require directing the very act of shooting itself, pouring energy into raising everyone's tension.

 

"I questioned the conventions of TV drama."

Having experienced the difference between commercials and films, Takasaki asked Otomo, who had moved from television to film, about the differences between TV dramas and movies. Otomo responded, "In terms of the job of directing, what you're fundamentally doing is surprisingly similar," but added, "However, in film, the intensity of the visuals – including the acting, the awareness reaching every corner of the frame, the sense of time, the tension – is put to a much greater test." Conversely, television, due to its viewing environment—often watched in the living room while doing chores or other activities—had a long-held belief that "TV dramas are (in a sense) radio dramas." There was a persistent myth that they had to be clearly explained aurally so that even someone washing dishes could understand. However, Otomo, who questioned this myth, believed "TV dramas shouldn't be radio dramas; they should get closer to film." For the first episode of 'Hagetaka', he deliberately kept non-dialogue sounds at the same volume level, stating it was "an experiment in how to convey a live feel and the raw sounds of the actual set on TV." When working on morning serial dramas, he also created scenes expressed solely through visuals and sound, without dialogue.

When asked, "How do you direct the actors?", Otomo replied, "Above all, I get them to focus on performing. To do that, I create an environment where they don't see unnecessary things, where they can act without worrying about their position. My direction is about maximizing the environment to help them get into character." He added, "Individual expressions or subtle gestures are things I only start paying attention to when deciding the shots and filming. I don't prioritize that. As long as the overall sequence of acting feels convincing, that's what matters." To achieve this, he often shoots scenes in long takes.

 

"Creating Entertainment That Resonates Globally"

Takasaki remarked about Otomo, "It's not just about making one film after another; I get the sense he fundamentally wants to change Japanese entertainment." Having spent two years in Los Angeles, Otomo doesn't want to lose to Hollywood. Regarding the generation below him, he feels, "In a good way, they lack complexes. They might have a flat confidence that they can create works that can stand up to past Japanese films and international productions. At the same time, I sense people are starting to consciously seek universal recognition." Regarding his own production style, he expressed a desire to create works that stand out more prominently as Japanese-originated entertainment, rather than pieces appreciated only by a niche audience for their artistic merit. He deliberately assembled a staff for this project with many young talents younger than himself.

On top of that, what he feels is essential for Japanese entertainment to succeed globally is building a business scheme for worldwide distribution. "Simply put, there's currently no route for Japanese films to reach overseas markets. To put it bluntly, I think many people in Europe and America feel, 'If it's the same kind of drama, we'd rather make it ourselves.' The reality is that anything not in English inevitably becomes a minority. If we can solidify the business schemes and systems a bit more, I believe more works will be able to compete overseas. This is an area where I'd like to ask for cooperation from those in the entertainment industry and Dentsu Inc.
The struggle over how Japanese cinema can create large-scale stories as a business has only just begun.

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You can also read the second installment of the "DENTSU DESIGN TALK" series, 'Struggle with the Story!', from BookWalker's e-book label [Kadokawa Minute Book].

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