The global entertainment industry increasingly embraces international co-productions, seeking fresh narratives and broader market reach. However, these ventures, while promising, often reveal a complex tapestry of operational and cultural challenges. A recent seminar at TIFFCOM, the market arm of the Tokyo International Film Festival, offered a candid look into these realities through the lens of ‘Blood & Sweat’, an upcoming eight-episode crime series co-produced by Japan’s AX-ON and Finland’s ICS Nordic.

‘Blood & Sweat’ Examines Japan–Finland Co-Production Realities at Tokyo Market

Navigating Cross-Cultural Production: The ‘Blood & Sweat’ Experience

‘Blood & Sweat’ is a compelling crime series starring Anne Watanabe and Jasper Pääkkönen, which centers on two detectives from contrasting cultural backgrounds who unite to investigate a series of murders. This narrative premise mirrors the very production process, highlighting the intricacies of blending Japanese and Finnish creative and logistical approaches. Producers from AX-ON and ICS Nordic shared their experiences, shedding light on the unexpected hurdles encountered during the development and filming phases.

Script Development and Linguistic Nuances

One of the initial and most significant challenges for ‘Blood & Sweat’ emerged during the nine-month script development process. The intricate dance between writers and producers required intensive back-and-forth, particularly concerning linguistic and cultural authenticity. Daniel Toivonen, a producer from AX-ON, explained that episode screenplays were initially drafted in English. These were then translated into Japanese, a step that proved to be more complex than a simple word-for-word conversion.

The translated scripts underwent further rigorous review to ensure dialogue was culturally specific and resonated naturally with Japanese actors. As Toivonen noted, direct translations often led to discomfort, necessitating extensive rewrites to achieve the desired authenticity. This iterative process, crucial for cultural fidelity, inevitably added considerable time to the production schedule.

Divergent Working Cultures and Labor Practices

Beyond linguistic challenges, the actual filming presented a stark contrast in working cultures between Japan and Finland. Finnish crews operate under stringent union rules, placing a significant emphasis on work-life balance and adherence to precise schedules. This stands in sharp contrast to some Japanese filming practices, which may allow for more flexible, often longer, working hours.

Toivonen detailed how, in Finland, cameras would shut off precisely on schedule, even if a scene was moments from completion. Finnish laws capped the filming schedule at a maximum of four 12-hour days per week, typically running Monday through Thursday, with Friday dedicated to preparation. This structure differed significantly from typical Japanese productions, where working six days a week or extended workdays are common. Adapting to this difference for ‘Blood & Sweat’ meant re-evaluating scheduling and resource allocation. Furthermore, the higher cost of labor in Finland, coupled with the necessity of hiring more English-speaking staff for a Finnish director and crew working in Japan, added to the overall production budget.

Creative Autonomy and Decision-Making

Another area of divergence surfaced in creative decision-making processes. Finnish production culture tends to devolve greater autonomy to department heads compared to their Japanese counterparts. Toivonen offered an example regarding costume ideas, where a Finnish director reportedly deferred to the wardrobe department, stating, “This is Wardrobe’s job, and so I want to respect her thoughts.” This approach underscores a difference in hierarchical structures and the distribution of creative ownership, which international co-productions must learn to navigate for seamless collaboration.

Beyond Co-Production: Streamlining Japanese Content Globally

The TIFFCOM seminar also introduced the Local Content Bank (LCB), an initiative designed to centralize and streamline Japanese content for the global market. Led by the regional broadcaster Miyazaki Telecasting Company, this online platform offers a solution for Japan’s numerous small and regional television stations to upload their extensive libraries of programming.

Through the application of AI, the LCB breaks down and re-categorizes uploaded content into individual, manageable pieces. This innovative approach allows other platform users to reformat and aggregate this content, facilitating the creation of new programming and long-form playlists for international distribution. The LCB represents a strategic move to unlock the vast, often untapped, potential of regional Japanese content and make it more accessible to a global audience.

Conclusion

The candid discussion surrounding ‘Blood & Sweat’ at the Tokyo Market offers valuable insights into the complexities and rich potential of international co-productions. From navigating linguistic nuances and divergent working cultures to adapting to different creative decision-making styles, these projects demand adaptability and a deep understanding of partners’ operational frameworks. As the global demand for diverse content continues to grow, initiatives like the Local Content Bank further demonstrate a forward-thinking approach to bringing unique cultural narratives to worldwide audiences, paving the way for more seamless and successful collaborations in the future.