Bring the independent spirit to major movies! This is how movies are made! ~Major movies and authorship~ Event Report Vol.1 (3 parts in total) [CINEMORE ACADEMY Vol.19]

" CINEMORE ACADEMY ," which has been featuring a feature on how to make movies, has been turned into an online event. We will welcome film directors who have remained true to their own authorial style even while shooting major films as guests, and we will delve into the secrets of their creation!

We have written an article about the online event held on Wednesday, June 30th. It will be delivered in three parts. Let's start from the first time!

When a major film is released all at once nationwide, the production budget becomes larger, the recovery of funds becomes more difficult, and producers, investors, etc. always have a variety of opinions. Under such circumstances, how can directors embody their vision and create interesting films that will become hits?

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[Guest] Eiji Uchida / Michito Fujii / Katsuyuki Motohiro / Isao Yukisada in alphabetical order / Titles omitted

[MC] Movie writer SYO / CINEMORE editor-in-chief Fumio Koda Title omitted

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Click here for event details

Index

• public scale wall
• Constraints in major movies
• Bring the independent spirit to the majors!
• do what no one else is doing
• Hybrid of major and independent

public scale wall

Koda: Today, I would like to talk about the theme of ``This is how movies are made - major movies and the artistry'', but first of all, in terms of the perception of ``major movies'' in this place, I would like to talk about how movies are made at multiplexes, etc. all over the country. Since this is a work of such a scale that it will be released all at once, I would like to define it for now.

I would like to hear some interesting stories from each of you, including Directors Uchida and Director Fujii, who have risen up from the independent ranks over the past few years, and Directors Motohiro and Yukisada, who have led the way at the forefront of the major leagues. First of all, please tell us your opinions on the first question, "What is the difference between major films and independent films?"

Uchida: Even though they are called major movies, from the perspective of the world, Japanese major movies are not major movies in terms of budget size, but are independent movies. For that reason, I don't think there's much difference between being an independent and being a major player.

However, Japanese movies cannot attract customers unless they are released all at once nationwide. In reality, the hurdles for independents to gradually increase the number of exhibits in a single library are high and there are barriers. Perhaps we all need to discuss and think about how to fill that gap. I think it would be better if there were no walls, but in reality the wall standing in the middle is too high.

Independent films don't suddenly get released in 350 theaters. The current situation in Japan is that movies don't make money unless they are released in 300 or 200 theaters, so the question is what to do about that.

Koda: Director Uchida's `` Midnight Swan '' was a big hit last year, but I think the environment surrounding him has changed as well. You must have experienced this first hand.

Uchida: That's right. The movies I've made so far have started out in 10 or 20 theaters, but I think ``Midnight Swan'' started out in 150 theaters, so when I first heard about it, I thought, ``Wow! That's a lot.'' !"I thought.

Under Japan's current system, future performances are determined by the first week or the first 2-3 days. In that case, the emphasis tends to be on movies that can be released in a big way. I think that the current situation is that more and more works that hit on one point, such as those that can be seen in a single theater, are being excluded.

Constraints in major movies