Advertising holds power that surpasses drama and film. Takumi Saito × Kotaro Abe

Planning, casting, filming, editing... advertisements are created by connecting the efforts of many people to reach completion.

What emotions drive them from start to finish? What stories unfold along the way? Driven by a desire to understand the deeper meaning behind advertisements, copywriter Kotaro Abe interviews performers and creators in this new series from Dentsu Inc. Casting & Entertainment: "Advertising's Tasuki."

For the first installment, we welcome actor and film director Takumi Saitō, presented in two parts.

My father worked in film and advertising.

Abe: While actors often discuss their work in films or dramas, I feel there aren't many opportunities to talk about advertising itself. That's why I'd like to ask you about advertising, Mr. Saito.

Saito: Actually, my father worked in advertising. As far back as I can remember, he produced commercials for Hollywood films released in Japan. Seeing him work, even just from behind his back, made advertising feel like something special to me from a young age.

Abe: I imagine you've seen countless ads since childhood. Are there any that particularly stand out?

Saito: There are many, but one that really stuck with me was the beer commercial with Tsutomu Yamazaki and Etsushi Toyokawa playing ping-pong. That high-speed action was truly shocking. Another was the tomato juice commercial with Tadanobu Asano. It was almost entirely silent, yet it had such a powerful impact that I remember it well.

Abe: So the impact you felt when you saw them has stayed with you.

Saito: That might be it. Since I create videos myself, I'm conscious of how things are perceived, and I really value "Mehrabian's Law."

Abe: Mehrabian's Law is about the influence of communication, right? I believe it states visual information has 55% influence, auditory 38%, and verbal only 7%.

Saito: That's right. I've watched countless films over the years, and looking back, very few left a lasting impression through text alone. Of course, catchphrases are important. But what truly sticks in your memory is visual imagery. Ads are created within strict time constraints, so I think they represent the pinnacle of visual expression.

Abe: Now, I'd like to ask you, Saito-san, who's now on the performing side of ads. When you get an offer to appear in an ad, how does an actor feel?

Saito: Of course, I'm happy. For us actors, commercials feel like a reward. I think forming impressions is like connecting dots, and commercials let you leave a big dot. For me, I can't think of any emotion other than positivity.

Advertising holds power that surpasses drama and film.

Abe: You topped the 2021 commercial appearance rankings. Looking back to when you debuted, did you ever imagine this situation?

Saito: No, not at all. It's all thanks to everyone, and I'm truly grateful. I believe it's absolutely crucial never to get used to this situation. Every day, I'm thankful for each and every encounter.

Abe: So it's the accumulation of these encounters. I sense your sincere approach to people and work. Among all the projects you're involved in, how do you perceive the power and influence of advertising?

Saito: Advertising has a tremendous impact. As an actor, I think we're often evaluated based on the characters we play and the films or dramas we appear in. But advertising sometimes has the power to surpass even movies and dramas.

Abe: Wow, what kind of experience led you to that conclusion?

Saito: As part of my life's work, I run a traveling movie theater. Once, I was facing a large, diverse crowd of all ages. Wondering what to do, I decided to sing the opening song from the 'Indeed' commercial I'm in. Even the little kids, who probably didn't know my work, seemed to get it, and the whole venue really came alive.

Abe: Kids' reactions are honest, aren't they? Getting that kind of response is amazing.

Saito: It was a moment where I felt the power of advertising to resonate. While actors' representative works are usually named by their titles, I thought then that a commercial could work just as well. That was a truly proud experience.

Abe: So, did your advertising work really start picking up around the time of the TV drama 'Hirugao'?

Saito: Yes, that's right. Through that work, I feel the media gave me this image of "allure" that I myself hadn't been conscious of at all. At first, I was getting work as an extension of that image. But then, when I appeared on Downtown's show, I took a completely different route – you could call it going against the grain – screaming and all, something totally unlike that "allure." That created a completely new impression. Thanks to that, the impression spread that "this person can do all sorts of things," and I think that's why I became a good fit for commercials too.

Abe: This is just my impression, but when Saito-san self-produces, I get the sense he consciously avoids over-defining himself. He seems to enjoy change, taking on new work like putting on a new outfit.

Saito: That's true. I separate my subjective view from an objective, bird's-eye perspective. I believe that sometimes, the image someone else holds of you—seen from that objective viewpoint—can express your true essence more accurately than your own subjective view of "this is my image." For example, when I'm developing a character based on a real person, I find that capturing their essence comes more from understanding the impressions held by the people around them than from spending 24 hours a day with that person.

Abe: It's like the person's character emerges from the stories told by those around them, right? Your film 'blank13' also really uses subjectivity and perspective as key themes. That work is about a father who was missing for 13 years, and through the stories told by the attendees at his funeral, the lost 13 years and an image of the father unknown even to the protagonist come into focus.

Saito: Exactly. It's based on a real story from a broadcast writer, so it carries real weight. If you try to control everything solely through your own perspective, you might sometimes limit your own potential. Even when I get advertising offers, I occasionally wonder, "Is this ad really right for me?" But it's precisely within those unexpected proposals that your true silhouette might be hidden. Of course, it's unsettling because you can't predict the outcome (laughs).

Abe: So it's important not to try to grasp everything yourself, but to capture the "collective self" that emerges through interactions with others.

Is Takumi Saito a genius at embracing uncertainty!?

Abe: I imagine you also cast actors as a director. What do you keep in mind?

Saito: When I cast, I also value that element of surprise we just talked about. When casting producers suggest candidates, I know using that actor would be a safe bet. But it's too predictable—I can see the finished product in my head, and as a creator, I can't surpass that. That line is hard to draw, but that's also part of the fun...

Abe: I'd love to hear your secret to casting – that moment when you think, "This person is perfect for this role!" Is it more about intuition, like sensing that dormant, magma-like potential deep within someone?

Saito: It is intuitive, but in my case, there's a foundational experience. That's Studio Ghibli's My Neighbor Totoro. The voice actor for the father role was Shigesato Itoi, and when I watched it as a child, it felt off. But as I kept watching, the parts that felt different from a typical voice actor actually added depth. Mr. Itoi, whose livelihood is creating words, carries a bias of being bound by language. I came to believe that something emerges precisely because this anxiety serves as the foundation. Director Miyazaki's intent must surely lie there.

Abe: I see, that's fascinating. So instability itself becomes appealing. There was an old advertising slogan: "I love the mysterious." I get the feeling you, Saito-san, must love anxiety. You seem to thrive on the anxiety born from placing yourself in unexpected situations, using it as fuel and enjoying the process.

Saito: That might be true. Even if an offer comes that doesn't match my image, there must be a valid reason they chose me, and it could be a chance to find new opportunities. Thinking that way, anxiety becomes something positive.

Abe: Normally, when you encounter uncertainty, you either back away or look the other way. But if you can imagine that beneath that uncertainty or surprise, there might be a gold nugget buried, your perspective changes. You're a genius at facing uncertainty head-on.

(Continued in Part 2 of the Dentsu Inc. Casting & Entertainment series "Advertising Tasuki")

Dentsu Casting & Entertainment is a Dentsu Group company specializing in talent casting for advertising, film, and events, including influencers, cultural figures, and celebrities.
 

Photographer: Naoya Fujikawa Writer: Sho Sasaki

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