Keishi Otomo × Takuma Takasaki "Wrestle with the Story"

Dentsu Design Talk #84 (held August 20, 2012) featured Keishi Otomo, who directed NHK dramas like "Hagetaka," "Shirasu Jiro," and "Ryomaden," and had just finished directing his first independent film, "Rurouni Kenshin" (two sequels scheduled for consecutive release in summer 2014). Takuma Takasaki (Creative Director/CM Planner) of Dentsu Inc. Communication Design Center, whose relationship with Otomo began when he assisted with the promotion of "Ryoma-den," served as the interviewer. Otomo discussed his directing methods and approach to creation.

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

Mr. Keishi Otomo (Film Director)

Takuma Takasaki (Dentsu Inc. Communication Design Center)

"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, was first asked by Mr. Takasaki about the film Rurouni Kenshin. Takasaki praised it, saying, "It has an overwhelming sense of weight. No matter the angle, it has a high density, and the reality that density brings makes the fiction come alive." He then asked Otomo why he chose a manga original for his first project after becoming 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 that he "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 a vastly larger number of people with differing opinions. "Manga characters have sharp edges," states 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 drew a clear line somewhere: manga artists are professionals in manga, not in adaptation. We established boundaries—no input beyond this point—but in return, we ensured the spirit and core essence within the original work were reliably expressed," 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, building from the inside out. Then, they end up looking alike as a result." He explained this using Masaharu Fukuyama in 'Ryoma Den' as an example. To transcend the traditional image of Ryoma created by Ryotaro Shiba, Otomo envisioned a new leader: "I wanted to make Ryoma someone who truly listens to others." When deciding on Fukuyama for the lead, Otomo felt, "He didn't need to push his own ideas forward; instead, he seemed to intuitively grasp how to respond to what others needed and offered a sense of openness 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 are more interesting when they're self-driven and assertive; we need them to grow on set, inspiring each other. People who think calculated execution is the only way? That's not my forte."

In response to these words, 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, demanding intense effort to embed drama within that timeframe.

But with film, you direct the very act of shooting itself, pouring energy into elevating everyone's intensity.

"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, "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, viewed in living rooms or while doing chores, has a different viewing environment. Otomo recalled, "There used to be a strong myth that 'TV dramas are (in a sense) radio dramas,' meaning they had to be clearly explained aurally so 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 a live set on TV." When working on morning serial dramas, he also created scenes expressed solely through visuals and sound, without dialogue.

When asked about his approach to directing actors, Otomo responded, "Above all, I focus on getting them to concentrate on their performance. To achieve this, I prioritize creating an environment free from distractions—where they can act without worrying about their position or what they see. My direction is about maximizing the conditions that allow them to fully inhabit their roles." He added, "I don't prioritize capturing every single facial expression or subtle gesture; those details only become important when we're shooting specific takes. As long as the overall sequence of acting feels convincing, that's what matters." To achieve this, he often shoots scenes in long takes.

"To create 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 transform Japanese entertainment." Having spent two years in Los Angeles, Otomo harbors a desire not to be outdone by Hollywood. Regarding the generation below him, he observes, "In a positive sense, they lack complexes. They seem to possess a level-headed confidence that they can create works that stand up to past Japanese productions and international work. At the same time, I sense people are starting to consciously aim for 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.

Furthermore, what Otomo feels is essential for Japanese entertainment to succeed globally is building a business scheme for worldwide distribution. "Simply put, there's currently no distribution route for Japanese films to reach overseas. 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.' There's a reality where non-English content 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.

(End)

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