<div dir="ltr"><div>A couple recent stories about the state of the industry by people who know.</div><div><br></div><div>Markus</div><div><br></div><div>++++++++++++++++++++++++++++++++ </div><div><br></div><div><h1 style="margin:0.125em 0px;padding:0px;box-sizing:border-box;font-family:utopia-std,Georgia,serif;line-height:33.599998474121094px"><font size="2">Working in the film industry as a non-Japanese has its own challenges</font></h1><h5 class="gmail-writer" style="margin:0px;padding:0px;box-sizing:border-box;text-transform:uppercase;line-height:1.3125rem;font-family:Pluto,"Helvetica Neue",Helvetica,Arial,sans-serif;font-weight:200;color:rgb(153,153,153)"><font size="2">BY <a href="https://www.japantimes.co.jp/author/int-james_hadfield/" title="Posts by James Hadfield" class="gmail-author gmail-url gmail-fn" rel="author" style="margin:0px;padding:0px;box-sizing:border-box;text-decoration:none;color:rgb(0,153,204)">JAMES HADFIELD</a></font></h5></div><div><a href="https://www.japantimes.co.jp/culture/2017/12/20/films/working-film-industry-non-japanese-challenges/#.WjxHKyOmO34">https://www.japantimes.co.jp/culture/2017/12/20/films/working-film-industry-non-japanese-challenges/#.WjxHKyOmO34</a><br></div><div><br></div><div><span style="margin:0px;padding:0px;box-sizing:border-box;font-weight:700;color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif">Torel:</span><span style="color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif;background-color:rgb(251,251,251)"> They’re not making their money back because of the film committee system, where each party who’s invested can make their money back doing this thing — doing their music promotion or something like that — and therefore the film’s not making enough money but everybody is inside. It’s just cash flow.</span><br></div><div><span style="color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif;background-color:rgb(251,251,251)"><br></span></div><div><h1 style="margin:0.125em 0px;padding:0px;box-sizing:border-box;font-family:utopia-std,Georgia,serif;line-height:33.599998474121094px"><font size="2">Surefire formulas failed Japanese cinema in 2017</font></h1><h5 class="gmail-writer" style="margin:0px;padding:0px;box-sizing:border-box;text-transform:uppercase;line-height:1.3125rem;font-family:Pluto,"Helvetica Neue",Helvetica,Arial,sans-serif;font-weight:200;color:rgb(153,153,153)"><font size="2">BY <a href="https://www.japantimes.co.jp/author/int-mark_schilling/" title="Posts by Mark Schilling" class="gmail-author gmail-url gmail-fn" rel="author" style="margin:0px;padding:0px;box-sizing:border-box;text-decoration:none;color:rgb(0,153,204)">MARK SCHILLING</a></font></h5></div><div><a href="https://www.japantimes.co.jp/culture/2017/12/20/films/surefire-formulas-japanese-film-relied-didnt-work-2017/#.WjxNuiOmO34">https://www.japantimes.co.jp/culture/2017/12/20/films/surefire-formulas-japanese-film-relied-didnt-work-2017/#.WjxNuiOmO34</a><span style="color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif;background-color:rgb(251,251,251)"><br></span></div><div><span style="color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif;background-color:rgb(251,251,251)"><br></span></div><div><span style="color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif;background-color:rgb(251,251,251)">A growing gap between the rich, led by production/distribution behemoth Toho, and the poor, such as young directors making indie films for the “mini theater” (art house) market. The former produce films almost exclusively from proven properties in other media, particularly manga, while the latter face a steady shrinkage in both budgets and screening slots. The end result: a creative hollowing-out.</span><span style="color:rgb(51,51,51);font-family:utopia-std,Georgia,"Hiragino Mincho Pro","\007e5d\005075\00039b\007e67\00ff6e\007e5d\0053d6\00fffd\0053d6\006083  Pro W3","Hiragino Mincho",繝偵Λ繧ｭ繧吶ヮ譏取悃,serif;font-size:18px;background-color:rgb(251,251,251)"><br></span></div><div><br clear="all"><div><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div dir="ltr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