The Secret Behind Ultra-Analog Production by a Film Director and an Advertiser: "The Two Are Best Friends" (Part 1)

Film director Daihachi Yoshida, creator of hits like "Kirishima, Quit the Club" and "Paper Moon," and Keiji Tajima of Dentsu Inc. have been friends for 20 years. They first met as opponents in a soccer match, later teaming up as director and commercial planner to create numerous commercials. How has their relationship evolved amid profound societal shifts? Or why has it remained unchanged? How do the creative processes of film and advertising differ? How did they generate ideas in this digital age? They candidly discuss the challenges overcome across diverse projects, the work methodologies refined through their long partnership, and their production techniques.

 

Director Daihachi Yoshida on Commercials

Tajima: Today's guest, Daihachi Yoshida, started as a commercial director before making his feature film debut. He won the Japan Academy Prize for Best Picture and Best Director for the film "Kirishima, Quit the Club," and received the Outstanding Director Award for his next film, "Paper Moon." He is now considered a master of Japanese cinema. I first met Daihachi through our shared love of soccer.

Yoshida: That's right. I only became interested in soccer after the J.League started, when I was already over 30. I suddenly felt an overwhelming urge to play soccer myself, so I joined the soccer team at my workplace. But since I lacked the basics, I eventually became a liability. When it got uncomfortable, I'd move on to the next team. That's how I ended up meeting you, while bouncing around from team to team.

Tajima: At the time, I was a CM planner handling Matsumoto Kiyoshi. When planning their third commercial, I wanted to shift direction slightly from their previous approach, and that's when I remembered Mr. Daihachi. I absolutely loved an insurance commercial he had created.

Yoshida: I had planned that commercial myself and felt I'd created a solid piece of work. But it was rather understated, so it never became a talking point. I just thought that's how things go, until I heard someone from Dentsu Inc., Mr. Tajima, had praised it. I thought, "What an unusual person" (laughs).

Tajima: That's how we first teamed up for the Matsukiyo project. I was 27 and Mr. Ohachi was 32 at the time, so we've had a long relationship spanning over 20 years since then. Today, I'd like to ask Mr. Ohachi a few questions.

Yoshida: Yes, please.

Tajima: First question. When I get the storyboards from the director, I get nervous about how the concept will turn out. Is there anything you pay special attention to when creating your storyboards, Mr. Ohachi?

Yoshida: When I create a storyboard, I want to surprise the other person, confuse them, and make them happy. I think there are storyboards you can predict from the planning storyboard. But when I write something predictable and they say, "Ah, I knew it. It's fine, it's approved," and the meeting proceeds with that insincere atmosphere, it's tough. So, I want to betray expectations as much as possible.

Tajima: I see, you want to surprise them in a good way.

Yoshida: Exactly. Of course, that betrayal needs to be backed by quality, so I always consider how far an idea can jump without breaking. If I find a single point to dig into and present it, and the reaction is good, then betraying expectations won't cause too much trouble. I have this belief that if I can surprise the people right in front of me with the betrayal in the storyboard, it will also deliver a strong impact to the viewers watching the broadcast. So, I make that the first hurdle when thinking about the storyboard.

Tajima: When we submit the storyboards, Ohachi-san just silently watches everyone's reactions, right?

Yoshida: You might not get their true feelings by asking, but you can often tell by watching their faces. I think every director does that. The moment you present the storyboard is the biggest gamble.

Tajima: CM planners always hope the director's vision will elevate the concept. So when the finished product is unexpectedly great, we're overjoyed. That's why we want directors to go wild—in a good way. On the flip side, we believe we must build rock-solid trust with clients to allow them to go wild.

 

CM directors are like forwards in soccer

Tajima: Have you ever turned down work, Daihachi-san?

Yoshida: It's not really "declining." Before meetings, I ask to see the storyboards and say, "I'll probably draw storyboards like this—see if they can be changed." That's when I think the proposed direction probably won't work.

Tajima: That's Oohachi-san's kindness. It would be tough if they suddenly brought in something like "Eh?!" during the storyboard meeting. What do you expect from producers on a commercial shoot?

Yoshida: If I think of it like soccer, I see the commercial director as the forward. The creative director or planner is the coach, and whether I get called into play, including when I get to play, is decided by the coach. It's like I just play the game when I'm called in.

In that sense, I might have thought after a match, "I respect the coach, but we just didn't click." That's unavoidable, right? There are all kinds of forwards, and coaches have their preferences too. Even with a coach who keeps winning and seems amazing, I might think, "That tactic probably wouldn't suit me."

Tajima: How about team management? Are there any set rules when deciding the team, like for cameramen or art staff?

Yoshida: There aren't any set rules, but when deciding on the staff involved in a shoot, I imagine the actual filming location and think about what kind of people would be best to ask. There are many factors: the client's environment, who the talent is, whether the creative staff are strict or hands-off, whether the set might be tense... It's completely different whether you're shooting on location for a week or creating something in a studio in two hours. For a two-hour shoot, you can't call someone who's a slow starter. I think about these things to ensure everyone feels comfortable on set and during post-production.

Tajima: I thought you'd start staffing based on "This storyboard calls for this specific artist!" But that's not how it works, huh?

Yoshida: Of course, that happens too. If I have a clear image of how I want to shoot something, I'll ask someone who seems good at that kind of work. Or even if I don't, as long as I have time to carefully explain what I want to achieve.

Tajima: Thank you. Next, I'd like to hear about your film work...

 

※Continued in Part 2

You can also read the interview here on AdTae!
Planning & Production: Aki Kanahara, Dentsu Inc. Event & Space Design Bureau