Joined CyberZ/BABEL LABEL from Netflix. Special conversation between Nahomi Sato and Hisato Yamada [Director's Interview Vol.300]

BABEL LABEL is proceeding with innovative projects one after another, including ``participation in the CyberAgent Group'', ``concluded a strategic partnership with Netflix'', ``launch of a writer's room with screenwriters'', ``Mr. MEGUMI joins as a producer'', etc. Another powerful member has joined us.

As a member of Netflix, Nahomi Sato has worked on films directed by Michito Fujii and Hirokazu Kore-eda. From a client's perspective, as a member of CyberZ/BABEL LABEL, we aim to create works that are "for the world."

Even when we say "the world" in one word, many people have a vague image of it. In a conversation between Mr. Sato and BABEL LABEL President Hisato Yamada, we heard about their specific vision.

Index

• Gaga→Netflix→CyberZ/The road to BABEL LABEL
• Words spoken to Netflix Kazutaka Sakamoto
• If you rely on the Japanese video industry system, you won't be able to aim for the world.
• Characteristics of global hits and conditions for producers
• The important thing is user attributes < strong works
• Changes in the sense of speed within the industry over the past 10 years

Gaga→Netflix→CyberZ/The road to BABEL LABEL

Q: First of all, Mr. Sato, please tell us why you decided to pursue a career in the film industry and the path you took to get to where you are today.

Sato: Since I was able to watch WOWOW at home, I had many opportunities to experience movies from a young age. I started watching a comedy called `` Signs '' and renting movies, which led me to become a fan of Western movies. Following that trend, I joined Gaga as a new graduate in 2011, aiming to enter the film industry. During the interview, I said, ``I like Zoolander and Spike Jonze,'' and he said, ``You have your own personality.'' (laughs) At Gaga, I was in charge of theater promotion and platform sales for about six years, and finally, purchasing.

After that, I joined Netflix by chance, and I was involved in acquiring licenses for the animation division that had just been launched at the time, and also handled licensing work for the company, and for the last few years, I also worked as a producer. In this process, I was involved in licensing some of BABEL LABEL's works. While working with everyone at BABEL LABEL, I wanted to work more closely with them, so I recently joined CyberZ as the person in charge of BABEL LABEL.

Q: What was your anime-related work at Netflix like?

Sato: Netflix used to have a strong binge-watching culture, but when it landed in Japan, it became clear that ``in Japan, there is a strong culture of missed streaming'', so I started working on licensing programs for each season of anime. I was there.

Q: I see. For example, it would be distributed on Netflix after the TV broadcast. So, Mr. Sato, please tell us how you found out about BABEL LABEL.

Sato: It all started when I heard that director Michito Fujii's `` Blue Return '' was in theaters near my house, so I went to see it. That's when I realized that there were people who were taking pictures like this. After that, I had many opportunities to work with Director Fujii and Star Sands, such as `` Yakuza and the Family '' and the Netflix series `` The Journalist '' contract.

Q: Was it through Mr. Yamada that you joined BABEL LABEL?

Sato: It all started when CyberZ contacted me through their agent. At that time, I also wondered what I was going to do with Netflix for the next year. At the time when I was thinking about this, I was talking to my boss, and at that time, I received a very polite email. So when I asked him about it, he said, ``Do you know about BABEL LABEL?'' I didn't know anything about it! and. I was told, ``BABEL LABEL wants to expand its activities to include overseas countries in the future, and we are looking for people who can collaborate with Netflix, etc.'', so I thought I'd give it a try.

Words spoken to Netflix Kazutaka Sakamoto