GEEK: Igniting Creative Freedom

Could you start by giving us a brief introduction to your company? What would you say are your core strengths that set you apart from the competition?

And Japanese entertainment is expanding globally, but it now faces strong competition from regional players like China and South Korea. How do you see the Japanese entertainment industry adapting to this increasingly competitive global landscape?

Our company is relatively young, with just 18 years of history. While that may seem like a substantial amount of time, compared to many of our peers who have been around for over a century, we’re still considered a newcomer. This gives us a unique position within the entertainment industry in Japan.

As a result, our perspectives and approach may not always align with the traditional views of the industry. I should note that my perspective is unique to our company and reflects my personal views.

It’s true that since the 1990s, Korean content has seen a major global rise, followed more recently by Chinese content. Having observed this evolution, I personally believe that both of these entertainment powerhouses trace some of their creative roots back to Japanese entertainment. Japan has long fostered an environment that nurtures creators with rich, imaginative worlds in their minds—creators who are driven to bring original stories to life. Whether in live-action films, music, manga, or anime, Japanese creators have had a deep and lasting influence on the global entertainment scene. These types of uniquely original stories are, in my view, something only Japan has consistently been able to produce.

That said, it’s difficult to pinpoint exactly why Japan has been able to cultivate such creative talent. It may stem from a combination of historical, spiritual, and cultural factors that together create a fertile ground for artistic expression. Regardless of the exact reasons, the fact remains that these creators exist, and they have the freedom and ability to express themselves.

While Japan’s strength lies in the originality of its creators, Korean and Chinese content has garnered global attention for a different reason—its strategic approach to production and marketing. These countries often operate with a commercial model in mind, where selling and promotion are key components from the outset.

In contrast, Japanese creators have traditionally focused more on the creative process, with less emphasis on marketing and monetization. This is where Geek Pictures comes in. Our company was founded with the intention of completing this circle—connecting content creation with effective monetization and reinvestment. Our mission is to build a virtuous cycle of entertainment evolution: we create content, monetize it, then reinvest that capital into the next wave of content creation. Each cycle allows that momentum to grow, and we believe this model will contribute to a stronger and more sustainable Japanese entertainment industry.

In Japan, the entertainment landscape is dominated by many SMEs and only a few large corporations. Often, these companies specialize in one particular function—whether it's creation or distribution—but rarely both. I personally believe that focusing on just one area creates an imbalance. If you only distribute content, you can’t fully understand the creative process, and if you only create, you may not grasp the business realities of the market.

That’s why I believe the future of Japanese entertainment depends on building comprehensive capabilities. Companies need to be involved in the entire process—from creation to distribution to monetization. That’s the direction Geek Pictures is heading, and we’re working to strengthen our model and expand our network to support that goal.

At your core, we understand that Geek Pictures is a visual arts company—one that leverages the power of imagery across all of its business divisions, whether in film production, advertising, or other creative fields. What kinds of synergies or advantages are you able to develop by having multiple divisions all centered around visual arts?

Having multiple divisions centered around visual arts might appear diverse on the surface, but the common thread connecting them all is entertainment. Our goal is to move people emotionally—regardless of the medium—through powerful visual expression. Whether it's film, advertising, or another form, what matters is delivering an experience that resonates.

Creating strong visual art requires more than just compelling imagery. Vision, music, and other creative elements all need to come together. While some companies may find it difficult to understand our integrated approach, we believe that combining a wide range of creative capabilities allows us to produce content that is truly unique.

We also recognize that our content may not always appeal to a general, mainstream audience—but that’s okay. What we create often resonates deeply with super fans who genuinely appreciate the originality and depth of our work.

Because we operate across so many different genres, we’re able to bring new value and unique perspectives to our content. In the world of live-action production, for instance, there are long-established frameworks and stereotypes that have defined the industry for decades. We aim to break those down. We strive for ambiguity, unpredictability, and creativity that defies expectations.

In a time when content across the globe is becoming increasingly standardized and formulaic, we see our role as one of disruption and originality. Geek Pictures’ mission is—and will continue to be—to provide fresh, innovative creations that push boundaries and offer something truly new.

You mentioned that global production has become increasingly standardized and predictable. At the same time, your company is adopting new technologies, such as generative AI, to streamline processes. However, there's often concern that such tools can hinder rather than enhance creativity. How are you approaching the use of AI in your production processes, and how do you strike the right balance between technological efficiency and keeping creativity at the heart of your work?

Technology and AI are becoming essential tools for both creation and management within our company. While we do have a dedicated department experimenting with generative AI for creative applications, the more critical area of integration lies in production management. Roughly 30% of the total creative process is tied to managing costs, timelines, and human resources.

We’ve experienced firsthand the risks of overlooking this side of the business. At one point, our animation production department was on the verge of bankruptcy because we were too focused on the quality of the content, without paying enough attention to cost and human resource allocation. That experience taught us a hard but valuable lesson.

It led me to look outside the entertainment industry for new management models. That’s when I came across AeroEdge*. I initially expected to see a team of highly specialized engineers ensuring quality. Instead, what I found was a system of standardized processes, where any of their 50 employees could produce the same high-quality product. They had adopted the Toyota Production System (TPS), and it became clear to me that this same approach could be applied to anime production.

* AeroEdge: Based in Ashikaga City, Tochigi Prefecture, AeroEdge was selected in 2013 by a French company (Safran Aircraft Engines), a leading aircraft engine manufacturer, as a mass production supplier of turbine blades for the next-generation aircraft engine, LEAP. In addition, the company is engaged in the processing of new materials for aircraft, technology development, integrated production systems, and global standard quality control.

Anime production is roughly 30% management and 70% creativity. So we asked ourselves—why not use AI and other technologies to optimize that 30%, and let humans focus on the creative 70%?

In short, my vision is to take the efficiency and production management of Toyota and blend it with the creativity and artistry of Ferrari. It’s about creating the “best of both worlds” in entertainment.

Looking back, it seems that Japanese anime might actually owe some of its global success to the Japanese mindset—particularly in how we approach efficiency and human resource allocation.

Could you share some of your current priorities when it comes to international expansion? Which countries or regions are you focusing on, and what makes those markets attractive to you?

Our overseas strategy primarily focuses on the Asian market, as we consider ourselves an Asian company. We've had a presence in China since 2010, but it’s a challenging market with its own complexities. In recent years, those challenges have only intensified, particularly as the Chinese government has increasingly incentivized support for domestic companies over foreign ones.

More recently, we’ve begun exploring the Indian market, which is new territory for us. While Japan’s population of over 100 million provides a substantial base for domestic entertainment, we understand that as a relatively latecomer to the industry, it’s difficult to consistently compete with major players without having a strong foundational infrastructure. We might achieve one or two standout successes, but achieving consistent, repeatable hits is far more difficult. That’s one of the key reasons we’re looking abroad—to tap into new markets with long-term growth potential.

India is now a central focus in our international strategy. We began laying the groundwork there in 2018, and this year, we successfully distributed a 4K remastered version of “Ramayana: The Legend of Prince Rama” ⒸTEM in 621 screens across India. While Japanese anime still remains a niche category in India and the market is significantly smaller than in China or the U.S., our main goal at this stage is to better understand local marketing practices and build a strong foundation. Once we’re more firmly established, we can steadily expand our presence.

The release of Ramayana did generate notable buzz in the Indian entertainment industry. Local media covered the story, highlighting the fact that a Japanese company came to India to distribute content directly. This kind of visibility is important for us as we continue to grow.

That said, we’ve come to understand just how complex the Asian market truly is. Compared to Western regions, Asia is far more diverse—politically, culturally, and religiously—which makes expansion especially challenging. When we look at the success of Korean content globally, it may seem like an overnight phenomenon, but in reality, Korea began making concentrated efforts to support its entertainment industry back in the early 1990s. It’s taken them more than 20 years to build that global presence.

The Japanese government has also provided support to the entertainment sector, but it hasn’t been as targeted or consistent as Korea’s. Through our experiences, we’ve come to realize that failure is often a necessary part of progress—and each challenge helps us move closer to long-term success.

India is clearly a massive and culturally distinct market, especially when it comes to media and entertainment. Bollywood has a dominant influence, and one of the defining features of the Indian market is its ability to localize global trends into content that resonates with local audiences—often through partnerships and collaborations. Are you currently seeking partners in Asian markets, particularly in India? And if so, what qualities or capabilities do you look for in an ideal partner?

Geek Picture India (GPI) is a joint venture with a local company, and the majority of the team consists of local Indian staff. While we have dispatched one Japanese staff member, the initiative largely relies on the strong network and market knowledge of our local partners to effectively penetrate the Indian market.

We’ve taken a hands-on approach by dubbing our content in multiple Indian languages in-house, and we’ve partnered with major Indian distributors and marketing firms—specifically AA Films and Excel Entertainment—to support distribution and commercial promotion. These collaborations are essential to adapting our content for local audiences and building a meaningful presence in the region.

©︎HOKUSAI : ANOTHER STORY in TOKYO

Which project that you’ve completed would you say delivered the most unexpected value for your company—whether in terms of growth, learning, or new opportunities?

One of our most impactful recent projects was Teki Cometh, which won the highest prize ”Tokyo Grand Prix/Governor of the 37th Tokyo International Film Festival—a historic achievement for us. The film has enjoyed an extended run in cinemas, and it's now gaining further recognition, having been nominated in six categories at the 18th Asian Film Awards, including the Grand Prix. If it wins, we expect another wave of attention and renewed popularity.

Another project that provided unexpected value is our immersive museum and theme park experience “HOKUSAI : ANOTHER STORY in TOKYO” at The Tokyu Plaza Shibuya. In collaboration with Sony PCL, we created the computer graphics and visual content, while Sony PCL provided the haptic technology. This partnership allowed us to offer visitors a truly immersive experience—when you enter the theatre, it feels as though you're being rocked by the waves, just like in Hokusai’s iconic depiction. It brings to life the moment he painted the scene from a boat, looking out at Mount Fuji. We're currently working to take this IP overseas.

Traditionally, we’ve operated as a BtoB content creator, producing work for other companies. But with projects like Teki Cometh and HOKUSAI : ANOTHER STORY in TOKYO, we’re making a deliberate shift toward BtoC content. Our goal is to establish a recognizable Geek Pictures brand through original films, immersive attractions, and art exhibitions.

Teki Cometh

©︎2023 TEKINOMIKATA

What are your goals or aspirations for the next 10 years as Geek Pictures continues to grow? What kind of company do you hope it will become by that time?

Over the next decade, we’re focused on strengthening our capabilities across multiple fields. With our IP-centric business model, we believe we can adopt a more multimedia mindset, expanding our reach while staying true to our core. Content creation will remain at the heart of what we do, even though it's one of the most difficult aspects to control. That’s why we're aiming to build a positive, self-sustaining virtuous cycle—where creation, monetization, and reinvestment feed into one another.

Our mission remains unchanged: to deliver happiness and joy through entertainment. We intend to pursue that goal aggressively as we continue to grow and evolve as a company.

For more information, please visit their website at: https://geekpictures.co.jp/en/