Yuma Terada and Ryosuke Saegusa, co-founders of Tokyo-based management company CTB, discuss how they plan to bring more contemporary Japanese storytelling to the world.
— have been based on Japanese properties already known in the U.S. though media other than movies, like games, toys or animation. When it comes to Japanese content that American audiences are unaware of — which of course is the overwhelming majority — Hollywood has negligible access.
Second, even when there is demand from Hollywood, would-be buyers often fail to find the right seller in Japan due to the lack of representation. Hollywood buyers’ point of contact may be Japanese studios or TV stations, but because the idea of chain of title is understood differently in the two countries, these companies are rarely in a position to unilaterally dispose of these rights.
Looking back at semi-recent Hollywood adaptations of Japanese IP, which projects would you describe as the rare successes?was a rare example in which the underlying property was not widely known in the U.S. prior to the Hollywood movie. As we discussed, there is an endless supply of Japanese content that is unknown outside of Japan, but that has commercial potential not only in Hollywood but also in other countries with a robust filmmaking business — like China.
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