Introducing the Judges! Who are the works and creators that TV Tokyo's Taku Matsumoto wants to meet now for the "#CreativeAwards2022"?

The "note Creative Awards" is a submission contest open to works of all genres. Since submissions opened on November 15, 2021, nearly 8,000 works have already been received.

Many of you reading this right now might be thinking, "I'll spend the year-end and New Year holidays working on a creative piece to submit!"

That is why, on December 26, 27, and 28, note will be introducing the judges from each company in turn, hoping to provide some inspiration for your creative activities.

The second person to appear is Taku Matsumoto, a drama producer at TV Tokyo (hereinafter referred to as TV Tokyo).

What is the true meaning behind Matsumoto-san's statement, “I don't mind if people write ‘What a crappy drama!’” on Twitter?

Works that cross the "offensive" line

Matsumoto-san The most recent drama I was in charge of was "Tada Rikon Shitenai Dake" (hereinafter "Tada Riko"), which aired during this summer's season.

It starred Hiromitsu Kitayama of Kis-My-Ft2 and dealt with themes like infidelity, abortion, and murder—to put it bluntly, it was "gruesome and gross." How much to show on screen was a constant tug-of-war with broadcasting standards.

But I always focus on whether the content will cross the "offensive" line I have within myself when choosing works.

It's difficult to tell whether going too far with expression will turn out for the better or the worse, but if you depict things half-heartedly, the whole drama ends up feeling half-hearted. That's why I had many deep discussions with the screenwriters and directors during the scriptwriting stage.

We made fine adjustments on set, but naturally, broadcasting such works causes controversy. However, I believe that for a drama, "disapproval" is actually more important than "approval." That's because I think "disapproval" elicits more human emotion than "approval." In other words, it's proof that viewers are pouring their emotions into the drama. People who feel that way often end up talking about their impressions of the drama to many others.

I don't mind at all if someone writes "What a crappy drama!" on Twitter. Of course, I have no intention of making a "crappy drama," and naturally, I don't think it is one... but I think it's truly interesting to create a drama where people's feelings differ so extremely. Ultimately, the series reached over 12 million views across all 12 episodes, including streaming.

Sharing values is an absolute requirement

Matsumoto-san When making a drama, the thing I value most is "working with people whose values align with mine." I believe that having the values and direction of the screenwriter, director, and producer in sync is essential for creating a good work.

The same goes for the original material. I absolutely don't want to work on a project that I don't personally find interesting from the bottom of my heart. Personally, I find myself naturally picking up works that depict the less-than-beautiful parts of humanity. "Tada Riko" is like that too; I am drawn to works that tell you, "Things don't always go well, and humans aren't that clean," while still showing a little bit of hope at the end.

The significance of making dramas at TV Tokyo

Matsumoto-san Right now, I'm thinking about wanting to make a drama with the theme of "romance." It's a theme I've never tackled head-on before.

But if I'm going to use romance as a theme, I think about the "significance of doing a romance show on late-night TV Tokyo" even more than usual. Because it's a theme that doesn't really suit TV Tokyo...

However, I think it might be worth it to take on the themes that have become mainstream in TV dramas head-on.

I don't even know myself, but what kind of romance drama should we be doing at TV Tokyo...? Regardless, I just want to encounter a great original work.

What makes an original work suitable for a TV drama?

Matsumoto If asked, 'What kind of original work is suitable for a drama?', I would answer, 'One where the story develops rapidly.' The more twists and turns a story has, the easier it is to write a script for it.

Especially for serial dramas, the 'hook' is important. The key is whether you can create a 'hook' after one episode ends that makes the audience want to watch the continuation the following week.

For example, if the original work is a 10-volume comic series, the drama needs to be finished in 12 episodes. We analyze the core highlights and the weaker parts to create a structure for the drama, and fill in the gaps with an original script. At that time, if there are few elements that can be expanded upon, the work becomes quite difficult.

Screenwriters I want to meet in the future

Matsumoto Actually, producers often work repeatedly with a fixed number of screenwriters. There are almost no opportunities to meet new people.

That's why I would be truly happy if I could meet new talent through these Creative Awards.

I would rather work with someone who says, 'This is all I can do,' than the type who says, 'I can write in any genre.' Because those people have delved deeply into one genre or theme, ideas often spring up one after another.

The sought-after 'Cultural Erotica,' 'Game-like elements,' and 'Solo-themed' works

Matsumoto 'The Diary of a 38-Year-Old Divorced Single Woman Who Tried Matching Apps,' which won a prize at the '#ComicEssayAwards ' submission contest held by Gentosha, TV Tokyo, and note in 2019 and was adapted into a drama on TV Tokyo last year, was innovative in how it treated erotica elegantly as culture. I think this genre will continue to be in demand. 38-year-old divorced single woman who tried matching apps

Personally, I would also like to try a low-budget sci-fi project. As a company, I feel there will be a need for game-like dramas aimed at streaming services in the future.

Also, solo-themed works like 'Solitary Gourmet' and 'Solo-katsu Joshi' will likely always be needed because production costs can be kept relatively low.

Don't pander to the times, do what you love

Matsumoto It might be presumptuous of me to give advice to creators, but if I had to say something, it would be, 'Devote yourself to writing what you find interesting.'

I don't think there is any need to think about whether it will be well-received or if it fits the trends of the world.

It's simply about whether you are doing what you honestly feel is interesting. I feel that is the starting point and the most important thing in creation.

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For the first installment of our Creative Awards judge introduction series, we spoke with Fumio Kamei of Diamond, Inc., and for the third installment, we spoke with Michiyo Fujita of Gentosha Comics. Please take a look at those as well.