InterBEE REVIEW2011 (EN)

19/46

but in our broadcasting industry there is a greater distance between broadcasters and the external staff, and those who are told to do something do as they are told. I get the feeling you encounter more situations where there is a less deter-mined mentality. Even if someone makes decisions about whether something is adopted or rejected, if you aren’t making proposals on site with regard to your own style of approach, you will be unable to expand your opportunities, at home or abroad.Hishikawa: Europe’s awareness of film culture is strong. Generally speaking a “director” is an occupation that is held in high esteem. For starters we should probably be more conscious that “we are doing something incredible.” In Japan, society overall seems to look down on films, particularly entertainment films. To begin with, I think it is okay to start from a standpoint of doing something “because I like it.” Like what happened with animation, at some point that may become a “weapon” in the international marketplace as well, and as a result will give rise to something that is powerful globally. Even so, there are also limits to what you can develop individually; there has to be structures for supporting these outstanding creators and for producing their work. To start with, in educational environments where students aim to be film producers in the future, I am teaching about what hap-pens on-site in design and film produc-tion, and conveying the spirit of the work.Kato: NHK currently engages a large number of freelance artists, by provid-ing them with a place to work. NHK has always had strong technical skills, and bringing forth freelance creators’ indi-viduality within the filmmaking technol-ogy environment at NHK leads to high-level filmmaking. It should be possible to steadily make use of this sort of dyna-mism in program planning.Hishikawa: I think the key will be the group in their 30’s to 50’s who are currently active. The film will be put to the test of whether or not the film can be commu-nicated to the next generation, and whether or not it can be developed, when this generation is replaced by the next generation. A warning bell has to ring for the young people who are “accustomed to getting work.” A struc-ture has to be put in place so business comes about because a creator thinks for himself and endows what he has created with a utility value that clients want. I believe design coordinators and design managers like Mr. Yuuki are genuinely needed now. Their presence brings about changes in creators’ con-sciousness.Kato: Along with changes in creators’ consciousness it is necessary for the people around them to prepare path-ways and the environment. At NHK, freelance creators are provided with an environment where they can work – could those circumstances not be recre-ated within Japan as a nation, for example? This is something we want to consider for ourselves, but hopefully it will be possible to get the government and policymakers in charge of nurturing the vital content industry to think about it as well. Creating the environment andcultural values of content productionMr. Taku KatoMr. Takafumi Yuuki21■Is there a prospect or course of 　action for correcting these differences 　between Japan and foreign countries, 　or for utilizing them?

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