Hollywood
Kitano Takeshi hits out at Japanese cinema at Tokyo filmfest
NEW DELHI: Eminent Japanese filmmaker Kitano Takeshi used the occasion of receiving the ‘Lifetime Achievement Samurai Award’ at the Tokyo International Film Festival to speak about the current state of Japanese film industry.
He was one of the two filmmakers who received the award, the other being American filmmaker Tim Burton known for his dark, gothic, macabre and quirky horror and fantasy films such as Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas, Ed Wood, Sleepy Hollow, Corpse Bride, Sweeney Todd: The Demon Barber of Fleet Street, Dark Shadows and Frankenweenie, and for blockbusters such as Pee-wee’s Big Adventure,Batman, its first sequel Batman Returns, Planet of the Apes, Charlie and the Chocolate Factory and Alice in Wonderland.
Speaking on the occasion, Kitano said: “The bad thing about the Japanese film industry is that production companies have relationships with cinemas. Look at the Academy Awards. The Japanese representative needs to be recommended by the film industry, and that is the only one that can be nominated… it irritates me, but if you look at all the Japanese representatives at the Academy Awards, I do not think there is hardly any case in which the film selected is not from the same three or four companies. This year, it would be Shochiku, then it would be Toho, and then it would be Toei. It’s ridiculous!”
Kitano went on to criticise Japanese media for turning a blind eye to industry problems and exaggerating the reception of Japanese films at international film festivals in order to sell ads.
In a mentoring session of sorts between Kitano and eight award-winning young filmmakers, he said: “I know you are up-and-coming, so make sure that you do not get entangled with the major studios.”
The second half of the event mostly consisted of curator and critic Tony Rayns and Cannes Film Festival selector Christian Jeune discussing Kitano’s films and their cultural impact. But Kitano offered little but polite responses to the two foreign guests’ praise, and had to be reminded of the moderator’s questions multiple times after Rayns and Jeune made their respective comments.
Although Kitano himself also insisted that his works are left to the audience to interpret it in their own way, he did explain the way he creates his films.
“I do not have any themes in my mind. I start with a final scene. With that final image in mind, I decide how much story I can put in,” Kitano said, “I create a shot list, and I shoot a film in order to realise that. As for the theme, it is up to the critics to decide what that might be.”
Hollywood
Disney unifies streaming, film, TV and games under Dana Walden
Debra O’Connell to chair Disney Entertainment Television in new setup
LOS ANGELES: The Walt Disney Company is pressing play on a more tightly woven future. As audiences hop between cinema screens, streaming apps and game worlds, the media giant is stitching its storytelling arms into one coordinated machine under Dana Walden.
Set to take charge as president and chief creative officer on March 18, Walden will oversee a newly unified Disney Entertainment structure that brings together streaming, film, television and the company’s fast-expanding games and digital business. She will report directly to incoming chief executive officer Josh D’Amaro.
The thinking is simple. Whether viewers are watching on Disney+, heading to the cinema or diving into a game, Disney wants the experience to feel like chapters of the same story. Walden summed it up as strengthening the emotional thread between Disney’s characters and its audiences, wherever they choose to engage.
The leadership reshuffle reads like a carefully cast ensemble. Alan Bergman continues as chairman of Disney Entertainment, studios, steering film production, marketing and distribution while sharing oversight of direct to consumer.
Streaming gets a dual command. Joe Earley and Adam Smith step in as co-presidents of direct to consumer, jointly handling strategy and financial performance across Disney+ and Hulu. Earley will also guide content strategy, while Smith retains his role as chief product and technology officer across Disney Entertainment and ESPN.
A new chair enters the frame with Debra O’Connell taking on the role of chairman, Disney Entertainment Television. She will oversee an expansive slate that includes ABC Entertainment, National Geographic and Hulu Originals, while continuing to supervise ABC News and owned stations.
Gaming, once a side quest, is now a central storyline. Sean Shoptaw, executive vice president, games and digital entertainment, moves into the Disney Entertainment fold. His remit includes partnerships such as the collaboration with Epic Games, aimed at building a Disney universe linked to Fortnite.
Elsewhere, John Landgraf remains chairman of FX, reporting to Walden, while Asad Ayaz continues as chief marketing and brand officer, reporting to both D’Amaro and Walden.
The message behind the reshuffle is clear. Disney is no longer thinking in silos of screens but in stories that travel. And with Walden at the creative helm, the company is betting that a single, seamless narrative can keep audiences hooked, whether they are watching, scrolling or playing.
