Tokyo: MPA Panel Addresses Production in Japan and Emerging Technology Impacts on Creation
Transformational technologies and their impacts on filmmaking, along with both the growing attraction and remaining challenges of shooting in Japan, were the focus of this year’s edition of the Motion Picture Association (MPA) seminar at Tokyo International Film Festival.
Before a packed house, leading off the event on October 30 was Edward B. Neubronner of the MPA’s Asia Pacific division, who pointed to the popularity Japanese content is enjoying worldwide, the global anime market being valued at more than $31 billion and the number of “international creators eager to bring their visions to life on Japanese soil.”
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Evan Felsing, representing the U.S. embassy in Tokyo, grabbed the audience’s attention by delivering a speech on the importance of Japan and the U.S. collaborating on misuse of AI, preventing disinformation, and protecting IP, before confessing his remarks were the product of generative AI.
The production incentive scheme launched last year was cited as helping further boost interest in Japan with its rebate of up to 1 billion yen ($6.6 million at current rates), something that Max’s Tokyo Vice took advantage of when shooting both of its seasons in the country.
Alex Boden, a producer on Tokyo Vice, spoke about some of the problems facing a major shoot in Japan, from permits to a shortage of crews to language barriers. “It required more solutions than any other production I’ve worked on anywhere,” said Boden.
Issues on season one of the Max series were compounded by the pandemic, during which Japan imposed strict border controls. Nevertheless, Boden said he was getting inquiries every week from people asking for advice about shooting in Japan, “In fact, I got a call this morning.”
Next up was filmmaker Ryo Nakajima, who spoke about his experience embracing CG and generative AI, as well as the different reactions to the new technology he witnessed at film festivals in Europe and Asia. A music video created by generative AI was famously booed by the audience at Annecy, while his own film using the same tech Who Said Death is Beautiful, was received more warmly.
He also noted that while AI was being seen in many quarters as a threat to jobs in the film and creative industries, in Japan it was more widely perceived as a solution to the labor shortage and brutally long working hours.
Rounding out the presentations was Oscar-winning VFX artist George Murphy, who highlighted the advances in virtual production and the issues and opportunities that arise with it.
The three speakers then came together for a panel discussion moderated by Patrick Brzeski, The Hollywood Reporter’s Asia bureau chief. Kicking off the panel, Boden pointed out that training programs to upskill local talent are essential for Japan to position itself as a hub for high-budget global projects: “The wheels are turning in the right direction…to make Japan a top destination for all scales of projects.”
Virtual production and LED volume technology were key topics, as these tools enable filmmakers to create authentic settings without some of the logistical challenges of on-location shooting. Boden described a specific example from Tokyo Vice, where they filmed in Nagano’s mountainous terrain, known for harsh reflections from snow and ice.
“We created our own rig with multiple cameras to shoot visual plates… then brought those plates back to the volume stage at Toho Studios,” he explained. This setup allowed them to replicate a natural setting within a controlled studio environment, minimizing disruptions and maximizing creative possibilities.
Turning to the cultural and economic impact of generative AI, the panelists discussed differing global perceptions of the technology. Nakajima emphasized the importance of creating ethical standards, particularly in relation to copyright and intellectual property, which are sensitive issues in AI-assisted work.
George Murphy expanded on these ethical concerns, discussing the notion of “digital talent twins” and how actors could potentially maintain rights over their digital likenesses to prevent unauthorized use. He noted that such practices can be protective, giving actors and creators more control over their digital identities: “You have to be careful… and taking proactive action by allowing talent to own their rights offers them recourse.”
An audience question brought up the issue of how filmmakers ensure cultural authenticity when using virtual production to depict foreign locations. Murphy responded that physical engagement with real settings is essential, as it deepens the connection between actors and their environment, which is difficult to replicate in a virtual setting. “You want to introduce that firsthand experience… the texture and reality of things,” he said.
Boden echoed those sentiments, highlighting the flexibility and creative freedom that on-location filming affords, even though it can be logistically complex.
Ultimately, the panelists agreed that AI and virtual production are powerful tools that, if used thoughtfully, can elevate storytelling. However, they stressed that these technologies require careful ethical considerations, particularly regarding authenticity and IP rights.
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