Considering the Context of Advertising Expression Why Did "Dog's Father" Become a Hit?―②

Sawamoto: It depends not only on the expression method but also on how much clients believe in the power of words during presentations. In that sense, things might have been a bit lax back then. Back then, saying "We'll shoot this commercial in Hawaii and add some great copy" might have sufficed. Now, the advertising buyers might check in, saying something like, "For issue A this time, we've addressed it with this line in the storyboard, right?" Unless the copy accurately pinpoints the product's appeal, it's becoming harder to get approved.

To be more precise, copy-centric campaigns are probably rare these days. The commercials we create now aren't graphic-heavy; they're essentially mini-dramas in motion. While powerful copy matters for moving posters, it's unnecessary for these mini-dramas. Instead, the focus is on whether the spoken words function as audio – creating commercials where the dialogue itself leaves an impression as spoken language seems to be the current trend.

Commercials are living creatures that reflect the times

Arai: As some people watch almost all videos on YouTube, media has become increasingly complex with the times. Commercials are placed in a significantly complex environment too, so producers must adapt effectively.

Sawamoto: Among the tools we have for advertising, video still seems the most effective. Where people encounter it matters too—CMs and other web content differ, so I feel the approach to spreading them should vary accordingly.

Arai: College students hardly watch TV anymore. That leaves either older age groups or young children. I think the Shiroto Family stories resonate deeply regardless of age. Was that the goal from the start, or did it just happen that way?

Sawamoto: I think it's more accurate to say it evolved that way over time. The very first video just had a talking dog, but it had such expressive power that it broke through. That's why having a talking dog became the norm.

I analyze that situation as becoming "Sazae-san"-like. "Sazae-san" consistently gets decent ratings each episode, but it's not particularly funny (laughs). However, it's comforting to watch, and it's a repetition of things that make you chuckle a bit, so it might be somewhat similar to that.

Arai: Earlier, you mentioned there were times you thought about quitting midway. So, stories really do emerge from the accumulated flow within various constraints, don't they?

Sawamoto: Yes. I have absolutely no idea where it's going.

Arai: As for me, I'm still waiting to find out when we'll finally get the answer, believing in Kanako Higuchi's line, "There's a reason for this (this story has a continuation)" (laughs).
We've heard many stories, but finally, what does a commercial mean to you, Sawamoto-san?

Sawamoto: Commercials are living things. Earlier I said commercials are an art form with constraints, but the big difference from other art is that being appreciated ten years after its death is completely meaningless. What matters is whether it incorporates the words and expressions demanded by each era, don't you think?

Arai: I see. I practice ikebana, and it's the same with flower arrangement. Even when I see old ikebana pieces published in art books, I don't feel particularly moved. It seems the context has already shifted. The moment it's arranged is what matters most. In that sense, the very short lifespan of the art form feels similar to commercials. Thank you for your valuable insights today.

〔 End 〕

*The full text is available on the Yoshida Hideo Memorial Foundation website.