After division, what will our solidarity bring? Takuma Takasaki, 2023 Creator of the Year

Takuma Takasaki (dentsu Japan / DENTSU CORPORATE ONE INC.) was selected as the 2023 Creator of the Year (*), and an award ceremony was held in Tokyo on May 31. He was highly praised for transcending the realm of advertising, demonstrating the power of creativity to the world through film, and inspiring courage in everyone in the advertising industry, especially the younger generation. We spoke with Mr. Takasaki, now a three-time Creator of the Year winner, about his production approach for the film " PERFECT DAYS," his valuable experiences on set, and the current state of advertising creativity.

*An award hosted by the Japan Advertising Agents Association (JAAA), recognizing the individual creator from among JAAA member companies who produced the most outstanding creative work in 2023. Since its establishment in 1989, this marks the 35th award ceremony.

 

Takuma Takasaki: Growth Officer / Executive Creative Director, dentsu Japan / DENTSU CORPORATE ONE INC. Born in Fukuoka in 1969. Winner of numerous domestic and international awards, including his third Creator of the Year award, following wins in 2010 and 2013. His publications include "The Art of Expression" (Chuo Koron Bunko), the novel "Auto Reverse" (Chuo Koron Shinsha), and the picture book "Black" (Kodansha). He hosts the J-WAVE program "BITS&BOBS TOKYO." The film "PERFECT DAYS," in which he participated as co-screenwriter and producer, won the Best Actor Award for Koji Yakusho at the 2023 Cannes Film Festival.

"365 Days of Super Mario-ization"

──Congratulations on winning Creator of the Year for the third time. How do you feel about this award?

Takasaki: Looking at the winners over the past few years, I get the impression that "advertising is seeking possibilities." I sense a passion that believes there's still so much more that can be done, while also feeling that the state of confusion and exploration might not be over yet. The lack of a single right answer is what makes advertising wonderful, so in a way, this is a healthy state. Personally, with age and experience, I'm finally beginning to see certain landscapes. I often think about how I will walk through them from here on out, with my own two feet. Anyway, I intend to live carefully and with conviction. It's been ten years since I was last selected, but I see this award as granting me "365 days of Super Mario-like invincibility." Or perhaps it simply means I now have the responsibility to "do even better work." What I do in the coming year will be scrutinized, so I'll just do my best. Sorry for the old man butting in, I guess.

An idea born from gratitude and respect for sanitation workers

──The film "PERFECT DAYS," which you co-wrote and produced, has been highly acclaimed both domestically and internationally.Could you tell us aboutthe process of adapting it into a film andyour approach to production?
　
Takasaki: The film "PERFECT DAYS" originated from "THE TOKYO TOILET," a personal initiative started by Mr. Yasuji Yanai (Director of Fast Retailing). I strongly resonated with Mr. Yanai's vision for this project: creating public toilets that anyone can use comfortably. From there, the two of us discussed a wide range of topics – issues of public consciousness, the difference between art and design, the limitations of advertising, and much more. There was no advertising-style starting point with a specific problem to solve, a deadline, or a budget plan. As our shared vision developed, we decided, "Let's make a film with a janitor as the protagonist." This idea stemmed from our gratitude and respect for janitors. At that point, we consciously distanced ourselves from any PR or advertising mindset. In fact, we felt it shouldn't be that way. Around that time, we started frequently using the word "altruism" in our conversations. We wondered why we were so drawn to people living for others. In the film, the protagonist Hirayama cleans toilets every day for someone else. In the real world, too, there are many people living for others.

Then, Yanai-san had a strong desire to collaborate with an overseas team to create the biggest, most exciting lineup possible – one that would make everyone gasp with anticipation. My mind immediately jumped to a team I knew could deliver a smooth landing based on experience, but I was told that wouldn't work. I was practically forced onto new, uncharted ground. At every turning point, Yanai-san places me in new, unimaginable situations. This is intensely educational. Working with him these past few years has dramatically changed my mindset. It feels like he's taught me how to find places that inevitably raise my energy level.

The film "PERFECT DAYS," co-written and produced by Takasaki. It won the Best Actor Award for Koji Yakusho at the 2023 Cannes Film Festival and was nominated for the Academy Award for Best International Feature Film.
THE TOKYO TOILET ART PROJECT / Film "PERFECT DAYS"

Feeling like I've been holed up in a cave... but that's a necessary process.

──From a creative perspective, how does your approach differ between filmmaking and commercial production?

Takasaki: Films and commercials are completely different. Many methods acceptable in commercials are forbidden in film. I thought deeply about those differences. It felt like "switching the OS in my head." Then, I considered what my ideal film should be. I'm completely unmoved by techniques like tying up loose ends. So, how do you find what isn't just technique? Naturally, there's no brief. You just have to grope around, pulling things out from within yourself. While making it, I felt like I was stuck in a cave the whole time. But that's a necessary process. That time and those feelings become the seed of the film.

──Takasaki-san, you've worked with masters like director Yoji Yamada and director Wim Wenders. What did you learn from them?

Takasaki: Truly great people all have a tremendous sense of humor. Maybe they've transcended it? They have rock-solid principles they won't compromise on, but normally they're incredibly intelligent and just plain fun. I feel like that's really common among people at that level. I could never be like that myself, so I admire them. And they all think endlessly. Thinking has become a habit for them. Ideas just flow out like breathing. I can barely keep up.

Vim Wenders thoroughly drilled into me over these past two years what film truly is. His methodology is incredibly original; I don't think there's much else like it. On top of that, he always said, "Start by creating the method." That was incredibly stimulating. If you do that, what you create naturally becomes original. How he observes people, how he finds locations, how he talks with the cast, how he schedules, how he writes the script, how he builds the shooting setup, how he edits, how he approaches film festivals, how he handles interviews. I learned so much in every single process. I can only feel gratitude.

Director Wim Wenders (right) and Mr. Takasaki during script hunting

I believe images are also a language. I've lived quite consciously with this understanding for 30 years while making commercials. I can still be moved by old films, and stories from unknown countries can stir my heart. The things we can understand through images are immense. They can transcend time and place. I think we should approach this richness with a seriousness that matches its depth.

This might be a tangent, but I believe divisions will only deepen from here. Not just between generations or values, but physical connections will surely become more ambiguous than they are now. At that time, won't culture become one of the major pillars of solidarity? I believe film, music, books, and art possess that power. People moved by the same things become the foundation for new solidarity. That's how I feel. Shared experiences are treasures.

Thanks to this film, I've met many filmmakers from overseas. Some I truly loved, others whose values didn't quite align with mine. Yet, I still feel the overwhelming power of solidarity through film, its underlying strength. When I encountered that solidarity abroad, Japan seemed to be drifting away from it. If that happens, won't it become a tremendous loss in the future?

Always overthinking things. That's why miracles happen.

──How do you view the current situation of advertising creatives?

Takasaki: When I entered the advertising world, there was television—a shared stage everyone watched. There was a natural sense that we were all collectively creating the culture of commercials. Many trends emerged from that. And thanks to the overwhelming work of our seniors, we could even create the counter to that. But now, we have to start from building the arena itself. We need to invent the fundamental idea and invent the mechanism to get it seen. It feels like we have to plan twice. If we burn all our energy on just one of those, it won't reach anyone. It's tough for everyone now.

──Recently, there's a movement to "expand the power of creativity beyond advertising." Do you strongly feel this way, Takasaki-san?

Takasaki: I've never created anything with expansion as the goal. I've always just wanted to deliver results and thought about what I could do to achieve that. I've worked purely from the desire to do everything I can, everything I can think of. I always try to think beyond just responding to the brief. It's easier to get approval by creating output based on past examples, but I don't think miracles happen that way. Where do people and companies connect? How do people behave in those moments? What interests them? What do they want? Imagining these things is incredibly enjoyable. That's where new ideas lie. Once I conceive of something that needs to be done, I simply have to make it happen, no matter what.
 
【Takasaki's Major Creative Work】

Suntory / All Free

P&G／BOLD "Laundry Lord"

JR Group / 150th Anniversary of Railway Opening Campaign

──Based on your experience, what would you like to convey to young creators and aspiring creators today?

Takasaki: If you pursue this work solely for your own career advancement, that lack of substance will show. And the charm disappears from your expression. Becoming obsessed with self-promotion leads you down a dark path. Awards and recognition are certainly pleasing and reassuring, but they are opportunities to do better work next time. It feels like I'm telling myself this. Anyway, living for others feels good, so I want to remember that feeling.

──Finally, what does "creator" mean to you, Takasaki?

Takasaki: I think it's someone who can raise someone else's spirits through their planning. An idea that makes your team think, "I'm glad we did this work." An idea that makes the client think, "I'm glad we did this work." An idea that makes the world think, "I'm glad that ad exists." I think it's someone who can find those kinds of things.

Creating something is incredibly hard work. Since it's hard anyway, it's better to create something like that. Whether that ad can reach that level depends entirely on the "planning." That's why I think creators have that responsibility. Whether they can actually do it is another matter. It's about having the mindset to try. If you have that mindset, even if you can't do it, you'll learn from it and try to make it work next time. That's how I want to be.