Toru Muranishi (Takayuki Yamada), who rose to the top of the adult video industry at the beginning of the Heisei era, produced a large number of planned series. However, these works fell far short of the legendary "I like SM-ish things" that he created with the rare actress Kuroki Kaoru (Morita Nozomu). Kuroki longed to work with Murakishi again, but he was never able to do so, and a gap gradually began to form between the two of them. At the same time, Kawada (Tetsuji Tamayama) begins to have doubts about Murakishi, who is amassing money to enter the satellite broadcasting business. However, Murakishi refuses to listen to Kawada, with whom he has shared many hardships, and the two finally part ways. Meanwhile, his former partner Toshi (Mitsushima Shinnosuke), who became a yakuza under Furuya (Kunimura Jun), has mixed feelings about Muranishi.
PROFILE
Born in 1983 in Kagoshima, Japan.' He made his acting debut in 1999. He has worked extensively in movies, dramas, and commercials. He is active in many fields, including executive producer of the live-action version of "Saint Oniisan" (2006), producer of the film "Day and Night" (2007), and director of the film "Zokki" (2009). The film in which he plays the lead role, "Haruwo Uruhito" is currently in theaters to rave reviews.
PROFILE
Born in Kanagawa Prefecture in 1996, she made her acting debut in 2011 in a commercial for Eiko Seminar. She has appeared in a number of video productions, and gained prominence for her role as Emi Sawara (Kuroki Kaoru) in the Netflix original drama "The Naked Director" Season 1. She won the "New Comer Award (Best Newcomer)" at the 24th "Pusan International Film Festival 2019" Asian Content Awards. She played the role of Ake Nosaka in "Okaeri Monet" ('21), her first appearance in a serial TV novel.
PROFILE
Born in 1980, is a director and producer for TBS Television. His major programs include "Quiz: The Correct Answer is One Year Later" and "All-Star Night After School". He has created many projects that defy regulations and taboos, especially for "Wednesday's Downtown," and his genius is such that even his peers are astonished. He is also well versed in music, and his activities that go beyond video production are attracting attention. He is the author of "The Art of Directing with Malice and Attention.
The names of organizations and characters in this story are fictional.
I would like to approach the fascination of "The Naked Director" with the theme of "Outside and Inside Compliance". First of all, this film is often referred to as a "taboo" film.
Yamada:But it's not taboo on Netflix. On TV, companies make programs with the money they buy from commercials, and viewers can watch them for free by pressing the remote control. Therefore, we have to make discoveries in various areas. I think they are making what they need to make on that basis. Netflix, on the other hand, is a place where you pay money every month and choose what you want to watch.
I watch both, and there are parts of "Wednesday's Downtown" that make me nervous. But that's because I enjoy the sense of fear when I am on the edge of the rules (of TV). But then, sometimes I get caught out (laughs). (Laughs.) The reason why the show continues, including that, is because the viewers find it interesting. I think that is a good balance.
Fujii:In this sense, "The Naked Director" is an appealing film. It is often said that depictions of eroticism and drugs are acceptable, but discrimination and harming others are not.
Yamada:Just because it's Netflix doesn't mean you can do whatever you want. If there were no regulations in the first place, it would be a mess. Well, I don't think we should take everything too negatively.
Fujii:I have the impression that you are always working on new and interesting projects for actors. Is that intentional?
Yamada:I've been acting for 22 years, so I have to think about the themes of my work, but also what kind of play, in what kind of place, with what kind of approach, and for what kind of audience. If I don't change things constantly, I get bored.
Fujii:When I see his works such as "Yamada Takayuki's Akabane, Kita-ku, Tokyo," I know that other actors would envy him a lot.
Yamada:What do you think? I think everyone can enjoy themselves if they think they will die tomorrow. I am not being negative. Anyway, I will continue to do what I can do now, what I want to do, and what I have to do. Actually, the reason I started "Akabane" ("Takayuki Yamada's Akabane, Kita-ku, Tokyo") and "Cannes" ("Takayuki Yamada's Cannes Film Festival") was because of a TV variety show.
In TV dramas, the names of organizations and characters in the story are fictional," but I felt indignant, thinking, "No, we know that. In the case of variety shows as well, complaints about the poor treatment of food have led to the use of notices such as, "The staff enjoyed the food. I thought that was going a little too far. Then I thought, "Well, let's make something that I don't know if it's a lie or not," and that's what "Yamada Takayuki's Akabane, Kita-ku, Tokyo" is.
Q: How do you handle the actual production of variety shows, Mr. Fujii?
Fujii:I may be rather conscious of how I play within the predetermined rules. There are times when I dare to make it look like I overstepped the line, or sometimes I play it off like a quip and say, "I didn't overstep that line. But basically, what should be done on TV should be done on TV, and if I feel that something is out of the realm of TV, there are many other media available today that allow me to express myself in that way.
Yamada:Even if we talk about "TV" in one word, there are differences in what can be done on prime-time and late-night programs. There are also differences in what can be done on prime-time and late-night TV, and even between civilian TV and NHK.
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