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

Changes in the sense of speed within the industry over the past 10 years

Q: BABEL LABEL was launched in 2010, and Mr. Sato entered the film industry in 2011. Do you think the sense of speed in the film and video industry has changed over the past 10 years?

Yamada: We ourselves have changed. At company meetings, I often say something like, ``Fujii and I are impatient, so we want you to do it tomorrow or the day after tomorrow instead of next week'' (lol). If you look at the world, the market is moving rapidly, and it's moving at an incredible speed, so you can't help but get impatient. I think we ourselves still have to change.

However, recently there have been many times when I have felt that I should have done it at that time, so I feel like we are in a hurry.

Sato: That's right. I've also been switching from Gaga to Netflix to CyberZ/BABEL LABEL, so I might be impatient (lol). Daniels, who won this year's Academy Award for Best Picture for ` `Everything Everywhere All at Once, '' is of the same generation, and Mr. Sakamoto himself has a tremendous sense of speed, so I feel like I have to keep up. Mr. Sakamoto is fast and strict at the same time; if he is not strict, he cannot achieve speed, and without speed, there is no sustainability. In short, I don't think we can continue to grow, so I want to be conscious of that as well.

My dream has always been to win an Academy Award. For drama, it's the Emmy Awards. My goal has always been for the works I've been involved in to reach the hearts of audiences all over the world, to be appreciated, and to make everyone involved happy.

Q: Globally, I have the impression that more and more creators with a producer's perspective are emerging, what do you think?

Yamada: I think it's important. Just like the previous question of ``Which station do you think it's being played on?'', you also need to consider things like ``Wouldn't it be interesting if it were aired on online news right now?''

However, I believe that it is the directors and screenwriters who actually make the story development interesting. With the advent of Netflix and other companies, I feel that this is a necessary position when considering global expansion.

Sato: I'm not a highly specialized person, but from my perspective as someone who had experience in sales and later was in charge of purchasing, I think that kind of perspective comes naturally after you've been around a lot of different places. I feel that more and more people like this will appear in the future, as changing jobs has become relatively common and more and more people are starting out on their own.

Q: One of the characteristics of everyone in BABEL LABEL is that they are not bound by titles. In order to create something interesting, any method is fine.

Yamada: That's right. My footwork has always been light, and I place emphasis on motivation. I believe that as long as you do your job, you can do whatever you want.

Nahomi Sato

Born in 1988. Joined GAGA Co., Ltd. as a new graduate in 2011, and moved to Netflix in 2017. Based at Netflix's Tokyo office, he is in charge of contracts and purchases of original works for exclusive distribution, mainly live-action works, and as a producer on projects such as "Maiko-san Chi no Makanaisan" and "Let's Divorce." Belongs to CyberZ/BABEL LABEL since March 2023.

Hisato Yamada

Born in 1986. He started producing videos when he was a university student, and after working for a major production company, he became the representative director and president of BABEL LABEL.

As a producer, he has been in charge of projects such as ``August at the Batting Center at Night'' and ``Mass-Produced Rico - A Plastic Model Girl's Life Assembly Story.'' He is producing the movie ``Go to the End'' which will be released on May 19th.

Interview and text: SYO

Born in 1987. After The Graduate from Tokyo Gakugei University, he worked at a film magazine editorial production site and a film information site before becoming a film writer/editor. Works on a wide range of topics including interviews, reviews, columns, event appearances, and recommendation comments. Contributed to ``CINEMORE'', ``Cinema Cafe'', ``Soen'', ``FRIDAY Digital'', ``CREA'', ``BRUTUS'', etc. Twitter「 syocinema 」

Photography: Kazunari Aoki