Inspiring Emotion Through Entertainment

The Japanese entertainment industry has a long and rich tradition, evolving from Noh and Kabuki theater to the globally recognized icons of today. However, the international entertainment landscape is becoming increasingly competitive, with regional players like Korea gaining significant global traction with their intellectual properties. From your perspective, what do you see as the core strengths of Japan’s entertainment industry? How is your company adapting to this evolving landscape and responding to the growing competition?

One of the key strengths of the Japanese entertainment industry is its remarkable diversification. A wide range of stories and adaptations are told through various mediums, such as manga and light novels, making Japanese entertainment uniquely broad in scope. Unlike other countries, Japan offers stories across virtually every genre, covering all aspects of life.

For example, in the U.S., many narratives revolve around a clear-cut battle between good and evil, with the protagonist typically emerging victorious. These stories often follow a black-and-white moral structure. In contrast, Japanese storytelling embraces complexity, where even the antagonist can evolve into the protagonist. This nuanced approach attracts global audiences seeking deeper, more unpredictable narratives.

Another defining feature of Japanese entertainment is its commitment to freedom of expression. Unlike some countries that impose legislative restrictions—such as limitations on LGBTQ+ representation—Japan allows for creative freedom in storytelling. This openness enables a diverse range of narratives, spanning different historical settings from the Edo Period to the French Revolution. This broad spectrum of storytelling resonates both domestically and internationally.

However, this is just one facet of Japanese entertainment. We are now entering what I consider the “second stage” of the industry. While many Japanese stories remain unknown to global audiences, the time has come to introduce these narratives to the world.

When comparing Japan to Korea, I believe K-pop’s global success can be attributed to several factors. One of the biggest advantages was the absence of legislative restrictions on digital content. Piracy initially allowed Korean music to spread freely, creating widespread exposure. Two or three decades ago, Korean entertainment companies were on a similar level to HoriPro. However, they made a strategic push to market their music and entertainment globally, while Japanese entertainment remained overshadowed by industries like automotive and manufacturing.

Another key factor was the Korean government’s proactive approach. It prioritized cultural exports, heavily investing in the promotion of Korean entertainment overseas. When I first visited Korea 25 years ago, English was rarely spoken, and there were no English-language signs. However, Korea soon shifted its focus to global outreach, actively promoting its culture and entertainment to international audiences.

The COVID-19 pandemic also played a role in boosting Korean entertainment. With people confined to their homes, they had more time to watch movies and listen to music. Platforms like Netflix, which featured an extensive selection of Korean films and dramas, further amplified global interest. This led to increased attention on Korean entertainment at a time when Japanese content had less visibility.

One of Korea’s biggest strengths is its strategic, research-driven approach to international markets. They didn’t just expand overseas; they studied global preferences and tailored their content accordingly. Today, we see Korean communities growing in major cities like London and New York. Many Korean students who studied abroad served as cultural bridges, bringing valuable insights back home and helping shape Korea’s entertainment industry for global audiences. Now, many of these former students hold leadership positions in Korea’s entertainment companies, driving their overseas success.

Beyond storytelling, Korean companies excel in marketing and business strategy. They are fast-moving, highly adaptable, and quick to respond to market trends. In contrast, Japanese companies often face challenges such as language barriers, slower decision-making, and limited engagement in global trade talks. These factors have made international expansion more difficult for Japan’s entertainment industry compared to Korea.

That said, Japan’s strength lies in the depth and richness of its storytelling. While we may not have taken the same aggressive global approach as Korea, there is still tremendous potential to introduce more Japanese stories to international audiences.

Before 2010, Japan’s cultural impact on the global stage was far less significant than what we see today. However, Japanese culture has been gaining increasing popularity worldwide, largely due to the rise of digital platforms. For example, in cinema and television, streaming services like Netflix, Amazon Prime, and Disney+ have played a major role in expanding the reach of Japanese content. Today, 30% of globally distributed anime is handled by American streaming giants. Similarly, in the music industry, platforms like Apple Music and others have made Japanese music more accessible, with artists like Babymetal gaining international recognition. How do you see the rise of these global content platforms—whether in cinema or music—impacting the international distribution of Japanese entertainment? Do you believe these platforms alone are enough to break the language and licensing barriers you previously mentioned?

After the economic bubble burst, Japan experienced 30 years of loss, and the effects of that period are still felt today. As a result, it has been challenging for Japan to catch up with the Korean Wave, which is now in full swing across the U.S. and European markets. Of course, there are some successful examples of Japanese entertainment overseas, but these remain the exception rather than the norm.

When it comes to the language barrier, it’s important to note that a performer does not necessarily need to be fluent in another language to succeed internationally. If they are a strong performer, they can capture the hearts of audiences worldwide without speaking multiple languages. However, Japanese dramas often struggle to match the quality and impact of American, Korean, and other international dramas available on platforms like Netflix and Amazon Prime.

One major factor is the expressiveness of actors. In many international productions, actors effectively convey emotions through facial expressions, making it easy for audiences to understand the story—even without subtitles. Viewers can connect with the characters on a deeper level without needing to translate every line. Unfortunately, Japanese performers tend to be more restrained in their expressions, making it harder for foreign audiences to relate to them in the same way.

This may be rooted in cultural tendencies. There is something deeply ingrained in the Japanese way of life that discourages overt emotional expression. People often conceal their emotions, and this subtlety is reflected in Japanese dramas. In fact, studies at Tokyo University of the Arts have shown that when foreign high school students were shown dramas from both Japan and the U.S., they found the American drama easier to understand. The lack of pronounced expressions in Japanese performances creates a barrier to accessibility for global audiences.

The second major challenge is copyright restrictions. For many years, Japanese TV broadcasters held significant power and owned fantastic intellectual properties. However, they were reluctant to allow external parties to create new content based on those IPs. As a result, while audiences could easily access American and European content on platforms like YouTube, high-quality Japanese content remained largely unavailable.

Fortunately, this is beginning to change. Major U.S. companies with substantial budgets are now purchasing copyrights from Japanese studios and adapting popular IPs into new content. While these adaptations often differ from the original Japanese storytelling approach, they at least allow these stories to reach a broader global audience.

Anime is a different case—it has always had a strong international following, with a passionate fan base around the world. However, outside of anime, Japanese entertainment has historically struggled to find global exposure. That said, as attitudes toward copyright and international expansion evolve, there is growing potential for Japanese entertainment to gain a stronger foothold in the global market.

Japan’s large population has historically allowed its entertainment industry to thrive domestically without relying heavily on overseas markets. However, with the country now facing a significant demographic decline, this self-sufficiency is no longer sustainable. The shrinking domestic market and the decreasing talent pool are becoming major challenges for the industry. From your company’s perspective, how is this demographic shift affecting your operations? What strategies are you implementing to navigate these challenges and ensure sustainable growth in the future?

Japan’s declining population and shrinking domestic market are realities that cannot be avoided. These changes are beyond our control. However, when it comes to expanding our business portfolio, the most important factor is creating original content from scratch. The reason for this is simple—content that requires us to deduct production fees and pay royalties offers limited financial returns.

For example, Broadway musicals would undoubtedly sell out in Japan, but after factoring in production costs and royalties paid to the original copyright holders, our actual earnings would be minimal. Similarly, taking Japanese IPs overseas presents challenges, particularly due to the tight control exerted by Japanese TV broadcasters. This is especially problematic for IPs that have already been introduced to international markets, as securing financial benefits from their expansion can be difficult.

That said, we have found ways to capitalize on certain opportunities. One example is the secondary voice fees paid to voice actors for overseas animation distribution. Every time an anime is broadcast internationally, platforms and broadcasters must pay these fees. Additionally, we own the rights to some original content, such as Death Note: The Musical. This was a project built entirely from scratch, allowing us to introduce it directly to overseas audiences without the burden of external licensing costs. It was a major success, selling out in several foreign countries—even when performed in Japanese. This proved that if a production is based on a strong IP, features a compelling lead, and has a recognizable story, language barriers are less of a concern for global success.

We were also involved in the Death Note movie production, with Tatsuya Fujiwara in the lead role. I recall sitting in a pub with him in London when a passerby recognized Fujiwara and asked for his autograph. We were surprised because, at the time, Death Note was still relatively niche outside Japan. The fan mentioned that he had watched it on cable TV, which made me realize the potential of bringing original Japanese productions to international audiences.

That moment inspired me to draft the first concept for Death Note: The Musical. I talked to the composer, Frank Wildhorn, about this concept, he shared the idea with his son, who was in high school at the time. Given the immense popularity of the Death Note anime, he encouraged his father to pursue it fully, which became a great motivation for him. We initially planned to launch the musical simultaneously in both Japanese and Korean speaking markets and sought partnerships with stage production companies in both regions. We then set out to perform in English-speaking countries.

For this reason, from the beginning we asked an American scriptwriter to create an English script, which we translated into Japanese and Korean at the same time.

 Ultimately, it became clear that the production’s success was closely tied to the original Japanese performer, who had already established a strong connection with the audience through the anime and the movie.

Image from Death Note: The Musical show

Another great success story was our sponsorship of an anime festival in Singapore. It all started with an unexpected email from a local Singaporean company asking us to bring May’n, a highly popular anime song performer, to perform at the country’s first anime festival. At the time, we were skeptical—we had no prior knowledge of the event or the company organizing it. Moreover, the anime associated with May’n was heavily protected by copyright and had not received exposure overseas.

Despite our reservations, we decided to take a chance. My main condition was that they pay the participation fees upfront, and to our surprise, they did so almost immediately. That was when we knew they were serious about making this event happen.

Watching May’n perform on stage was a revelation. One of her songs was incredibly well received by the audience, and it became clear that piracy had played a role in its popularity. While piracy is undeniably harmful to the industry, it had, in this instance, contributed to the anime’s exposure in Singapore. The fans were thrilled to see their favorite performer live—an experience they might not have had otherwise.

The event was a resounding success, and as a result, we decided to invest in the company that had originally contacted us. Eventually, Sony acquired the majority of the rights, e the company in which we invested asked us to remain as shareholders, we ended up owning 5% of the company. This experience taught us an important lesson—fans of Japanese content will always find a way to access it, whether through official channels, piracy, or live events like this festival. We were deeply grateful for the opportunity, and the collaboration led to a long-lasting friendship with the company.

Images of the Anime Festival in Singapore

Singapore has become a major hub for anime in Southeast Asia, attracting fans from neighboring countries such as Indonesia, Malaysia, and China who travel specifically to attend events and see their favorite artists perform live. Similarly, in Europe, France has emerged as a key center for anime culture. When I visited France for JAPAN EXPO, I was struck by how deeply embedded Japanese content had become—so much so that I even saw people cosplaying at the airport. In recent years, Japanese entertainment has gained significant exposure in France, further cementing its place in the global pop culture landscape.

I had a similar experience when Death Note The Musical in Concert was staged in London. The audience was incredibly diverse, with fans from the U.S., India, Germany, and many other countries, all united by their love for this Japanese content. It was an incredible feeling to witness firsthand how our work was resonating with people from different backgrounds around the world—it reassured us that we were on the right path.

The U.S. has also proven to be a massive market for Japanese anime, with dedicated fans traveling across state lines to attend anime conventions or traditional matsuri festivals. The passion for Japanese content continues to grow, and seeing this level of enthusiasm globally is both inspiring and motivating for the industry.

You have a subsidiary, HoriPro International, through which you manage global talent, including a well-known Chinese artist and other performers from across Asia. In addition to artist management, HoriPro International also organizes events and sponsors AFA (Anime Festival Asia) to promote the distribution of J-pop and Japanese entertainment abroad. Can you tell us more about the international arm of your business? Which regions or markets do you see as having the most potential for these services?

In many ways, the Japanese music industry is a gamble—much like the stock market, good investments yield strong returns. With that in mind, we have identified two key channels for expanding our business internationally.

The first involves collaboration with the Chinese giant Tencent Music Entertainment Group (TME). This partnership presents significant opportunities, as TME has an extensive talent pool, and we would like to expand Japanese artists to Asia using TME's network, just as Japanese artists are finding success in China. This is the merit.

 However, China has complex legislative regulations, and it's a political issue that can affect the arts and entertainment, such uncertainty may limit profitability, which may be a risk.

Our second approach is investing in Broadway or West End productions, such as Buena Vista Social Club. Working with established international production companies is something we are eager to explore, as these investments are generally more secure. As I mentioned earlier, language barriers are not necessarily a concern. This musical is performed in English, but the singing parts are in Spanish with no subtitles, and audiences still thoroughly enjoyed the experience. If a production has a compelling story and a strong title, its origin or language becomes secondary. Once we navigate the legal and contractual restrictions, we will be in a great position to bring high-quality productions to audiences worldwide.

We are living in an era of diversification. Manga, for example, is no longer exclusively produced in Japan—Chinese companies are now excelling in manga production, with some of their stories successfully penetrating markets in Japan and Europe. Great storytelling is not limited to any single country; it can come from anywhere. Our role is to find talented creators and provide them with a platform to showcase their work.

Sony was a pioneer in expanding Japanese content into new markets, largely driven by its success in electronics. Our company represents part of the second wave of international expansion. However, as a smaller company, we must carefully assess the risks involved. This is particularly true when working with TME, given the geopolitical complexities between China and Japan. When introducing Japanese content in China, we have to be strategic in selecting the right artists and navigating regulatory challenges. Even on the day of a performance, Chinese authorities exercise strict control to prevent unapproved content from going viral. Contracts in China are also highly specific, so we must be meticulous in ensuring compliance with all terms and conditions.

If we were to return for another interview in 2030, what dreams or ambitions would you like to have achieved by then? How do you envision HoriPro’s evolution over the next five years, and what message would you hope to share with us in that future conversation?

I want HoriPro to expand into many different areas. If you ask someone today about HoriPro, they would likely describe us as a talent management company. While that is a core part of our business, we do so much more beyond that. The profitability from talent management alone is relatively small, which is why we actively invest in other areas. Unlike talent management, investments do not require us to cover production fees or pay artists directly. Instead, when an investment is successful, we collect royalties, which has become a major profit driver for the company.

Looking ahead 20 or 30 years, I want to see the talent we manage breaking into international markets, securing roles in major foreign productions, including Hollywood films. I also envision HoriPro becoming increasingly involved in producing, co-producing, and investing in global concerts and musicals.

At the same time, I don’t want us to follow a singular path or be tied to one specific platform, such as exclusively licensing our content to a single streaming service. Instead, I want us to retain control over our copyrights and diversify our content distribution. By doing so, we can maximize long-term value and create more opportunities for our artists and productions.

HoriPro has already built strong recognition in Japan as a leading talent management company. My goal for the future is to expand our role on the international stage—adding new capabilities and functions rather than simply relying on the company’s past successes. The entertainment landscape is evolving, and I want HoriPro to evolve with it, continuously finding new ways to bring Japanese talent and content to global audiences.

For more information, please visit their website at: https://www.horipro-ghd.co.jp/