ReportWire

Tag: Toei

  • ‘Kamen Rider ZEZTZ’ Producer on Merging Nostalgia and Reinvention for Fans Worldwide

    [ad_1]

    For over five decades, Kamen Rider has revved its engine through pop culture, delivering masked motorcycle-riding justice against rubber-suited monstrosities with style, grit, and a cyclical penchant for reinvention. Now, Kamen Rider ZEZTZ—the latest dream-fueled entry from Toei and Ishimori Productions—shifts gears into the subconscious.

    It follows hero Baku Yorozu, a hapless dreamer turned nightmare-busting hero. Armed with the power to enter and purify corrupted dreams, ZEZTZ is tasked with identifying afflicted dreamers, decoding their inner torment, and defeating their monsters in three tries—or risk letting their terror take root in the waking world.

    And boy howdy, when he succeeds, he lands a stylish rider kick for the ages, sending his foes into a big sleep before combusting.

    io9 caught up with producer Hideaki Yanaka to discuss the origins of Kamen Rider ZEZTZ‘s fantastical dream-hopping premise. We also talked about whether the series’ new weekly episodic premieres on YouTube via TokuSHOUTsu mark a new era of global streaming accessibility that longtime tokusatsu fans can expect to continue in future franchise installments.

    Isaiah Colbert, io9: What sparked the idea to set ZEZTZ in the realm of dreams? Was it a direct homage to Freddy Krueger-style nightmares, or something more symbolic about escapism and subconscious desires?

    Hideaki Yanaka: The screenwriter [Yuya Takahashi] came up with the dream concept. After receiving that idea, I first gathered and read research books about dreams. After that, me and our planning team discussed what dream setting would best suit this story. Ultimately, that setting ended up not relying solely on any specific theory. We began considering the visual expression together at a later stage.

    Ryutaro Imai as Baku Yorozu in Kamen Rider ZEZTZ. © Ishimori Productions Inc./Toei

    io9: Coming into Kamen Rider as a newcomer, ZEZTZ immediately stuck with me with its stylized camp, reminding me of Kuuga’s gritty charm, which was my first series after watching Shin Kamen Rider. Was that tone a conscious homage to the early Heisei era, or do you feel ZEZTZ channels the spirit of a different Rider series in terms of its themes and overall vibe?

    Yanaka: We did not specifically pay homage to any particular Rider series. However, since Kamen Rider ZEZTZ was planned with viewers encountering the Kamen Rider series for the first time overseas in mind, we did want to actively incorporate the positive legacy of previous series, especially the Heisei Riders.

    io9: ZEZTZ’s sound effects lean into gachapon mechanics with a pachinko-style flair, with the “ZZZ” burst from the Rider Kick feeling like a jackpot hit as well as a wind-up sound effect that feels reminiscent of Gavv’s gacha video gamey style sound effects. Was that motif a deliberate throughline between the two projects to draw a connection to those kinds of games?

    Yanaka: There was no such intention in particular.

    Kamen Rider Toei Zeztz
    © Ishimori Productions Inc./Toei

    io9: ZEZTZ’s role as a hero of humanity’s dreams opens up surreal narrative and visual possibilities that feel almost Persona-esque, especially in its battles and villain designs. How did that dream logic influence the show’s monster aesthetics and approach to action choreography?

    Yanaka: If you’re referring to the “dream logic of Persona,” we haven’t consciously been influenced by it. What’s possible in terms of action and form in games and anime fundamentally differs from what’s possible with physical action and three-dimensional form.

    io9: The suit for Kamen Rider ZEZTZ feels like a futuristic homage that reinterprets the original Rider silhouette with a touch of contemporary Batman Beyond flair, especially in the sling-style side belt. What was the design philosophy behind crafting a look that bridges nostalgic iconography with a bold, forward-facing aesthetic?

    Yanaka: The goal of Kamen Rider ZEZTZ is to make people all over the world recognize what kind of hero Kamen Rider is, so we aimed for a design that is simple and allows the essence to be grasped at a glance. In that regard, I believe the designer has created a highly accomplished design.

    Kamen Rider Zeztz Toei Tokushoutsu 3
    © Ishimori Productions Inc./Toei

    io9: ZEZTZ introduces Zero—a transforming robot—as a sidekick of sorts for Rider as well as an evolution for his traditional bike. Zero, unsurprisingly, has become a fan favorite character on account of his dual language skills in Japanese and English and with how witty and charming he is. Was his creation in ZEZTZ a kind of creative workaround for Japan’s motorcycle laws, or did it emerge from a desire to push the franchise into even bolder sci-fi territory than before?

    Yanaka: We believe the appeal of the Kamen Rider series lies in the prominence of motorcycles, so we designed it this way to give the bike a strong presence. Robot-type helper characters have appeared in Toei Tokusatsu before, so we don’t consider this an outlandish idea.

    io9: Was the scene where Zero makes motorcycle noises in the premiere scripted, or was it improvised?

    Yanaka: It was improvised by the voice actor.

    io9: Speaking of fan-favorite moments, the recurring visual gag of the heroes dramatically rolling into their secret van has already become a fan-favorite moment. Was that bit something planned from the start as a long-term comedic staple, or did it emerge more organically from the actors’ improvisation?

    Yanaka: I believe it was born from a session between the actors and the director.

    io9: Is it safe to say it’s here to stay as a core part of the show as a long-standing bit?

    Yanaka: The van is gone, but Detective Fujimi is good at forward rolls, while Detective Nagumo is not. That much is certain going forward.

    Kamen Rider Zeztz Toei Tokushoutsu 2
    © Ishimori Productions Inc./Toei

    io9: The promo trailer for Kamen Rider ZEZTZ stirred controversy. Fans assumed the trailer used AI-generated elements in its background, leading some to feel disappointed that it might overshadow the series’ premiere and dilute its creative identity. Toei has mentioned recently that it is interested in using AI with the production of anime.

    Did the promo trailer use AI and how does Toei feel about the technology’s potential role in tokusatsu shows like Kamen Rider? Could you speak to what happened behind the scenes and whether that decision was part of a broader experiment or simply a misstep in the rollout of the show?

    Yanaka: Our company does not disclose specifically on what technology is used to produce which visuals. Of course, we recognize the pros and cons of generative AI, especially the ethical and legal challenges it still faces.

    io9: ZEZTZ is being positioned as a global event, with new episodes streaming simultaneously on platforms like YouTube and Shout TV for Western audiences. What inspired the push for a more international rollout alongside its Japanese broadcast, and should fans expect this kind of global accessibility to become the norm for future Kamen Rider series?

    Yanaka: We have long been hearing voices from fans around the world requesting simulcasts. For several years now, we have been considering and taking action to enable everyone to enjoy officially licensed content simultaneously. We hope to continue offering simulcasts going forward.

    Kamen Rider Zeztz Toei Tokushoutsu 4
    © Ishimori Productions Inc./Toei

    io9: With ZEZTZ diving into dreams, surreal horror, and postmodern identity through its unemployed protagonist, what do you hope it adds to the evolving legacy of Kamen Rider, both for longtime Heisei-era fans hungry for something stranger and newcomer Reiwa fans just beginning to explore the franchise’s depth and reinvention?

    Yanaka: We aim to let fans from the Heisei era enjoy the latest work once again, while also sparking interest in the series among new fans. We believe this will lead to a fruitful future for the series.

    Fans can check out new episodes of Kamen Rider ZEZTZ on TokuSHOUTsu’s YouTube channel every Saturday.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    [ad_2]

    Isaiah Colbert

    Source link

  • Japan’s TBS, Fuji TV & Major Studios Make Ambitious Play For U.S. And International Markets 

    Japan’s TBS, Fuji TV & Major Studios Make Ambitious Play For U.S. And International Markets 

    [ad_1]

    Move over South Korea, there’s a new player in the international arena. Japan’s famously risk-averse broadcasters and studios have woken up to the world outside Japan and are making a bold move on the the U.S. and other international markets. 

    In part inspired by the global success of Korean content, but also aware that their huge domestic market is shrinking as Japan’s population declines, major players such as Toho, Tokyo Broadcasting System (TBS) and Fuji Television realize they need to find a source of revenue elsewhere in order to grow. And with deep libraries of anime, manga, movies, formats and games, they’ve also realized that they’re sitting on huge reservoirs of valuable IP. 

    Toho was among the first Japanese studios to make international moves, under forward-thinking president and CEO Hiro Matsuoka, taking back some rights to its Godzilla franchise and getting involved in merchandising in the U.S., rather than licensing away all the IP. After self-distributing its Japanese-language Godzilla Minus One in the U.S., the ambitious studio has gained an even firmer footing in the North America market by acquiring leading anime distributor Gkids. 

    Now the other studios and broadcast networks in Japan are taking note. At the TIFFCOM contents market, which wrapped in Tokyo today, TBS Holdings and Fuji TV both gave presentations on their international expansion plans, which include establishing new U.S. offices and selling and packaging their extensive libraries of IP.  

    “All these companies are now expending considerable resources on selling their formats and programming so they can increase revenue from outside Japan,” says former Disney Japan executive Harry Tanaka, who has co-founded Studio Muso to help U.S. studios navigate the complex world of Japanese IP. “For the longest time, they neglected that business but now they’re all turning in that direction.”

    Tanaka explains that format sales is the first step, but many of these companies are also talking about co-producing and co-investing with international partners to produce English-language content based on their properties, rather than passively licensing to third parties. 

    During TIFFCOM, TBS Holdings president Masamine Ryuho unveiled an ambitious expansion strategy, involving investment of $1BN (JPY160BN), new offices in Los Angeles and Seoul and the acquisition of New York-based formats licensing group Bellon Entertainment. 

    “TBS International plans to build a strong sales network in Europe and the U.S. mainly focusing on format sales, while in Korea we will develop new content, mainly dramas and remakes, building a strong foundation in Asia,” Ryuho said. 

    “In addition, with Tokyo being the hub of global operations, we are building a strategy to enter new markets in Southeast Asia, India, Europe and the Middle East. In order to realize all this growth, we will select business partners and engage in activities such as M&A, cooperative content investment and business alliances.” 

    TBS International vice president Goshu Segawa, who heads the new LA office, and Bellon Entertainment founder Gregory Bellon also took to the stage to announce expansion plans for Ninja Warrior and other TBS properties in North America. Bellon is TBS’ long-term partner in the exploitation of its Ninja Warrior IP across multiple platforms and markets, which already includes a FAST channel and adventure parks in the UK. 

    “The key to realizing the potential of these properties it to adapt them for Western audiences,” said Segawa. “And to do so, my ambition is to team up with producers in Hollywood to unlock this potential.”

    TBS International has also struck a deal with LeBron James’ Springhill Company to adapt an unscripted format based on the broadcaster’s IP. The company’s Japanese-language content is also going global through shows produced by in-house division The Seven for Netflix, including the third season of sci-fi thriller Alice In Borderland and action fantasy YuYu Hakusho.

    Fuji TV also gave updates on its global strategy during TIFFCOM, including collaborations with Thailand’s GMM Studios International, POPS Worldwide in Southeast Asia, and Korea’s Kakao Entertainment and short drama producer Playlist. 

    Among other projects, Fuji TV is co-producing a Japanese remake of GMM Studios’ drama Girl From Nowhere; co-producing short dramas with Playlist and Kakao, leveraging the latter’s experience in webtoons; and co-producing and handling international distribution of kids’ short music content with POPS Worldwide. 

    “By co-creating with overseas studios and platforms, we will develop IP that will be accepted around the world,” said Koji Ishii, Fuji TV senior executive director and Head of Content Business Strategy. “We will also develop IP that can be used globally, such as video adaptations from webtoons and licensing business from short animations. By exploring new areas and co-creating with new partners, we will expand the IP business market from Japan to the entire world.”

    While it didn’t make a presentation at TIFFCOM, Toei also recently announced a global expansion strategy, which includes production of content aimed at international audiences, with a focus on Southeast Asia, Chinese-speaking territories and the U.S. 

    Nippon Television has been expanding its international business for several years, mostly through format sales of both scripted and unscripted properties, including its female-focused drama series Mother, which has so far been acquired for local-language remakes in 11 countries, with recent deals including Greece and the Philippines. 

    Other factors driving these expansion plans – the emergence of the streamers, providing a global distribution platform for both English and Japanese-language content, which has been behind the phenomenal growth in anime consumption over the past few years. 

    There’s also been a changing of the guard at the Japanese studios with more internationally focused executives such as Toho’s Matsuoka and Toei’s Noriyuki Tada taking over and shaking up previously conservative and insular companies. 

    And with ever-increasing demand for new stories and ideas to fill the pipelines of global streamers and studios, the interest appears to be reciprocated, at least from the U.S.

    “One of the reasons I’m doing this business is because I saw increasing demand for Japanese ideas,” says Tanaka, who is working with TBS, Japanese publisher Shueisha and other players to identify and secure Japanese IP for the U.S.

    “Marketwise, maybe it’s still China or India, but when it comes to ideas and projects we find that many U.S. executives already have an affinity with Japanese culture. The issues have been that, due to geographical distance, language barriers and the closed, conservative nature of Japanese studios, they haven’t been able to access or communicate with that culture in the way that they wanted.” 

    [ad_2]

    Liz Shackleton

    Source link