Producers gathering at the new BABEL LABEL, aiming for world standard planning and development [Director's Interview Vol.215]

The current situation is that no funds are provided for planning and development, including government subsidies.

Q: Will "IP ownership" also become one of your pillars?

Goka: IP ownership itself is not something new, as it is done by various companies, but until now, various companies, including publishers, have been involved in the production of dramas and movies. I think it would be great if we could unify that. Looking at the current trend, I feel that everyone is very conscious of trying to get the "upstream" first. So I think that BABEL LABEL's aim for diversified development, based on an approach of doing rights business with creativity as the foundation, is very much in line with the times.

After all, planning and development takes the most money and time. But up until now, there has been almost no money prepared for that. Even in my previous job, when I was developing a drama plan, I would negotiate with my boss and somehow manage to secure several hundred thousand yen. I think other companies are the same. But with so many platforms coming out and a scramble for (original works), I think many people feel a sense of crisis and think, "If that's the case, we have to make it ourselves." So finally, planning and development is seeing the light of day, and CyberAgent is also willing to spend money to do it! It's very healthy and I'm really happy. In this way, we will play the role of giving shape to the ideas born from the talents of BABEL LABEL.

Q: I'd like to know more about the part about how "planning and development costs money."

Goka: I've written proposals myself, but I've also had proposals brought to me, and it seems like it's a lot easier to get approved if it says at the top of the proposal, "Actor X has already agreed to appear." If there's a proposal that says, "We've already agreed to work with a famous actor," and another proposal that looks far more interesting but doesn't have an actor, it's hard to say, but the former is more likely to be chosen. The star system is very powerful.

So, to get through that, we have to go to the talent agency with a carefully crafted proposal and script or plot. The more valuable the actor, the more proposals the agency will bring, so they won't be able to just put their name on the show. To get through that, we have to hold multiple planning meetings to come up with better proposals and scripts. Well, it's a lot of work.

If the original work is popular, an option contract may be signed with the publisher (a contract to hold the original work for a limited period of time in exchange for a fee and allow planning and development), and the production company pays various expenses. Time and effort are accumulated in various places, and the current situation is that the amount of money paid in return is nowhere near a fair amount.

Maeda: At major companies, there are people whose job it is to secure the original rights. It can be quite tough to have to compete with their financial power and concentration.

The Agency for Cultural Affairs' subsidies also only get the go- Signs after the work is completed, so I think, "The subsidy can only be used for advertising...". It's very frustrating that the subsidy can't be used to reflect the work. I think it's best to submit a film with "this project, this person, and this script" and have it approved. Film festivals and the like hold project competitions, after all. I understand that "you can't give money to something you don't know what will happen," but that doesn't allow new ideas to sprout.

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