As a seasoned movie lover with a penchant for global cinema, I must say that Alex Boden’s endeavor to produce “Tokyo Vice” has been nothing short of inspiring. Having spent nearly two years in Japan, grappling with the unique challenges of filming in this extraordinary country, Boden has not only successfully brought a gripping story to life but has also paved the way for future productions in Japan.
Alex Boden, the producer behind Max/Wowow’s “Tokyo Vice” series, discussed the challenges and successes of filming the first U.S. streaming show entirely in Japan during his talk at the Tokyo International Film Festival. This talk was given as part of an event organized by the Motion Picture Association within the festival.
The series was produced by J.T. Rogers and featured Ken Watanabe, Ansel Elgort, Rachel Keller, and Kikuchi Rinko. It tells the story of a Western journalist based in Tokyo who challenges one of the city’s dominant criminal figures.
As a passionate cinephile, I personally spent almost two years meticulously crafting both seasons of “Tokyo Vice” in the heart of Japan. Prior to our 2020 production start, seasoned international producers cautioned against filming entirely within Japan’s borders. Their concerns included insufficient incentives, limited studio availability, and intricate permission processes. But I, undeterred by these challenges, pressed on, eager to bring the vibrant spirit of Tokyo to life on screen.
In his explanation, Boden stated that they chose other countries such as New Zealand for “The Last Samurai,” Germany for “Speed Racer,” and Taiwan for “Silence” instead of Japan. He noted that filming on location in Japan was a unique experience that required extreme caution, and it should only be considered if absolutely necessary.
In Japan, every location requires a dedicated manager due to respect for the property owners, making substitutes ineffective according to Boden. We encountered numerous challenges since we filmed in densely populated areas like Shibuya, Akasaka, Shinjuku, and Kabukicho, often inside or near real host and hostess clubs. Navigating these complex situations is far from simple, and the difficulties are amplified by Tokyo’s limited available space. Traditional trailers and facilities trucks are unsuitable due to the lack of space in the city, so smaller trucks specially designed for narrow streets must be used instead, and a considerable number of them are necessary.
In our operations, we’ve managed to blend local traditions with modern global production methods. As Boden explained, “We’ve always made it a point to respect the established practices here in Japan, as they’ve been around for quite some time. We chose to mirror these practices from the outset, and this decision has proven to be spot on.
The initiation of the JLOX Japan Incentive Program marked a significant turning point, according to Boden. He stated, “There’s no question that the JLOX Japan Incentive Program is a game-changer. Until now, Japan was the only G7 nation without an incentive program.” Since its introduction, Boden has been receiving frequent inquiries almost every week.
As we move forward, Boden highlighted essential infrastructural requirements: “For instance, shooting scenes on the Tokyo subway hasn’t been accomplished yet. Financial accounting in Japan is more manual and slower, which means we need to scale back and report costs less frequently, usually every two weeks.
Regarding how the team accomplished this feat, Boden explained, “My colleagues have mentioned that it seemed effortless, but the truth is, through daily problem-solving and remaining adaptable while swiftly responding, we relied on and supported our local producers and crew equally. The entire team was open to learning from one another.
He’s now developing a partnership with Film Solutions to connect Japanese industry professionals with international experience, focusing on areas including “consulting on improvements of infrastructure and studios using international industry software for digital workflow.”
During the opening night of the festival, recently re-elected Prime Minister Shigeru Ishiba of Japan underscored the significant scale of the content industry’s exports, likening it to industries such as steel and semiconductors. In his speech, he emphasized the need for swift action: “Opportunities like these thrive with focus, determination, and strategic investment. This not only generates jobs but also allows local ingenuity to be showcased globally and ensures that our unique narratives are shared.
In the current lineup of shows supported by JLOX, you’ll find ventures starring actors like Dwayne Johnson, Emily Blunt, and Brendan Fraser, as well as an upcoming Bollywood production. Meanwhile, James Cameron is working on a project titled “The Last Train from Hiroshima.
After gaining a wealth of knowledge during our time here, I believe everyone involved with ‘Tokyo Vice’, including cast and crew, have learned immensely. Let’s keep exchanging ideas and growing as we strive for a brilliant era of Japanese film and television production,” Boden finished.
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2024-10-31 12:47