So, what should we play next? (Part 2)

Continuing from last time, Kenichi Okumura, editor of the magazine Casa BRUTUS and producer of the picture book series Tiny the Balloon Dog, and a Dentsu Inc. CM planner, Yuta Higashihata, held a discussion on editorial skills.

 

Why "liking" something is crucial when bringing ideas to life

Higashihata: In terms of "editing skills," I think the ability to produce and direct ideas into tangible form is also crucial. Mr. Okumura, your energy in that regard is incredible, isn't it? For example, with "Tiny the Balloon Dog," what kind of discussions do you have with Mr. Kawamura and Mr. Ken Sano? Do you convey the concept? How do you offer hints?

Okumura: I just convey the broad direction. Like, "Let's become Japan's Dick Bruna" or "Let's create something that works globally." I show the big picture and the goal, then leave the rest to them. I just smile and nod (laughs). After all, I'm asking people I really admire to do it.

Higashihata: "Become Japan's Dick Bruna" is some serious direction, huh? (laughs). I heard from Hiroshi Sasaki at Singata that for one project, the CD told him, "Make it a job where you can attend an awards ceremony in a tuxedo," and that changed the very essence of what they were creating. That kind of direction is surprisingly important, I think. All of Okumura-san's work starts from "liking" something. He remembers so many things he liked or was moved by. He's like a collector of "likes," isn't he? That's the weapon of his editorial power.

Okumura: I just don't like looking for negative things. Finding the good parts is overwhelmingly more fun. That's why a magazine like Casa BRUTUS, which says "We only collected things we love," suits me so well.

 

"Editing skills" can also be applied to creating places and experiences

Higashihata: Lately, your work has crossed over into various genres beyond magazines and books, hasn't it? Animating Tiny the Balloon Dog is one example.

Okumura: That was largely thanks to Mr. Higashihata telling me, "Magazine House has strong editorial skills for making magazines. Couldn't we apply that to other genres?" While anime adaptations aren't exactly novel, I'm thinking we could use our editorial skills in areas like spatial planning going forward.

Higashihata: It wasn't so much that I suggested it, but rather that I heard what you were already thinking and helped articulate it. I also found the story you shared earlier about the international magazine 'Monocle' very interesting.

Okumura: Exactly. Monocle, that London-based magazine, also has a physical shop. I think their product selection and store design are pure editing. That kind of editing skill should be applicable to creating "places" that launch trends or introducing "experiences." Going forward, I believe that if you create interesting places or experiences, those places themselves become the media.

Higashihata: I think the EDITing ability that editors possess can be utilized in many more places. Not just information, but editing experiences, editing spaces, editing lives. I see Magazine House as being synonymous with editors. There are so many areas needing EDITing power: regional development, education, parent-child relationships, work styles, international relations.

Okumura: Recently, lifestyle shops and stores blending food and fashion have proliferated. That's precisely "editing a place." Thinking about who designs the space, who handles the food... it's similar to what we do on magazine pages. So I often wonder, for example, what would happen if an editor curated an exhibition.

Higashihata: I see Magazine House as the people who have elevated Japan's sense of style. Today's Japan has so many areas that need more good taste. Like the work styles, education, parent-child time, and local governments I mentioned earlier. I believe if we actively utilize Magazine House's EDIT power, the world would become a much more enjoyable place.

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