Japan's Popularity Boom See’s Government Taking New Measures — Here’s How it Will Impact Filmmaking

The filming landscape in Japan is changing, and here’s how it could impact creators…

In recent years, Japan-based and Japanese productions such as House of Ninjas, Tokyo Vice, Shogun, Drive My Car, have taken the world by storm, and Japanese cinema is arguably as popular now as ever. Major international production houses, streaming platforms and television networks such as Netflix, FX and HBO have invested millions of dollars into bringing Japan and it’s local stories to global audiences, and the Japanese Government have taken notice.

With the country’s inbound tourism at a record high, Japan has seen a major influx of YouTubers, streamers, content creators and film makers entering for ‘workcations’; that is, holidaying while still technically working. Unfortunately, with them comes so-called ‘nuisance influencers’ such as Kick streamer, Johnny Somali, who was arrested twice last year and fined $2000 for disturbing customers by playing loud music at a restaurant, filming people on public transport without their permission and entering a construction site, to name a few of his unlawful actions. At the same time, YouTuber Fidias Panayiotou, was posting videos of himself exploring Japan for “free” by walking through train station ticket gates without paying, sneaking into hotels to eat buffets and begging locals for money.

Unfortunately for law-abiding creators, film makers, models and actors, the Japanese Government took notice and decided to act by implementing a new immigration procedure for those entering Japan with the intention of seeking short-term workcation in the entertainment industry— the Certificate of Eligibility.

Change 1 — The Certificate of Eligibility

In these circumstances, the COE applies to any model, actor, crew member, singer or athlete who travels to Japan for a production, photoshoot, concert or sporting event where they intend to receive payment. The certificate is applied for with an application form that needs to be completed by the invitee — the agency or company who has requested your service or attendance at said event or shoot.

The application form can be found here and needs to be handed in to immigration roughly 3 months prior to arrival in Japan. While I’ve heard rumors of large fines being imposed on those who don’t have a COE but have arrived in Japan with the intention of working in the entertainment industry, it does appear that there’s little policing (at the moment…) of those who enter on a tourist visa and intend to shoot or perform while here.

However, I have heard of an entire camera crew being turned away at Haneda Airport for carrying multiple professional-level hard cases of cameras, lighting and lenses, so for mid to small scale productions, the best practice might be to enter Japan with minimal equipment and rent any extras while here. Of course, that’s not an ideal scenario but not everyone has the luxury of knowing where they’ll be working in 3 months time.

While the COE does add an extra element to shooting or workcation-ing in Japan, any local producer/fixer or immigration lawyer worth their salt will be able to assist in making sure the forms are filled correctly and handed in on time.

Chane 2 —The Location Production Incentive Scheme

All that being said, it’s not all red tape and immigration procedures here! In fact, the Japanese Government have implemented the ‘Location Production Incentive Scheme’ to attract more film and TV shoots to the country.

The scheme offers a reimbursement of up to half of eligible expenses incurred in Japan, capped at JPY1 billion ($6.4 million).

This initiative is a collaboration between the Ministry of Economy, Trade, and Industry, alongside two key entities: the Visual Industry Promotion Organization, responsible for program administration, and the Japan Film Commission, tasked with program coordination.

Eligibility for the program extends to “large-scale international film and television projects.” These projects must meet certain criteria, such as having a minimum direct production expenditure of $3.2 million in Japan or, for projects distributed in ten or more countries, a Japanese production expenditure exceeding $1.1 million.

With the Japanese currency is close to a five-year low against the US dollar, Japan can be considered as a low-cost destination for major productions.

Further information on the scheme and on how to apply for funding can be found on the Tokyo Film Commission website.

Change 3 — Over-tourism Restrictions

In response to concerns relating to over tourism at some of Japan’s key touristic hot spots, several local authorities are taking drastic steps to reduce footfall at even some of the country’s most iconic locations.

The charming Gion district in Kyoto Prefecture, renowned for its narrow cobbled streets, Geisha houses, and traditional Edo-style wooden buildings, will no longer be accessible to tourists. This decision comes after years of local Geishas enduring street harassment from visitors. Notably, the district holds significance as one of the few places in Japan where real Geishas can be observed by the public. For decades, its allure has attracted content creators and filmmakers seeking to capture its unique charm, but due to a lack of respect for local rules around photography and video, several locations in the district will soon be off-limits to most.

While it’s not strictly related to filming or photo restrictions, local authorities in Shizuoka Prefecture have also succeeded in implementing a fee for those seeking to hike Mount Fuji, due to the intense strain placed on local infrastructure after the lifting Covid-19 restrictions saw an influx of people climbing the famous mountain. Many hikers arrive unprepared and underdressed and take advantage of lodgings saved for paying guests, as well as engaging in irresponsible behavior such as begging for food and littering. The $20 fee imposed on tourists may seem like a small sum, but it is expected that it will lead to an increase in tourist attendance at more ‘scenic’ spots such as Chureito Pagoda, or Kawaguchi Lake, where the stunning views of Mount Fuji have long attracted photographers and filmmakers.

In Conclusion …

Amidst these changes, the allure of Japan continues to captivate people from across the globe, presenting an endless canvas for storytellers. Creators and filmmakers who honor the essence of this remarkable nation will find themselves in a uniquely advantageous position to unveil its wonders through their craft.

In navigating the evolving landscape of international production and travel, it’s essential to embrace responsible practices and collaborate with local stakeholders to create an enriching and powerful experience for audiences worldwide.

If you have any questions about filming or production in Japan, please feel free to reach out to me at abbyhallcontent@gmail.com.