Tokyo’s Film Scene “Brings Something Really Compelling to the Industry”

AOI Pro director Natsuko Suzuki first learned about the structure and strategy behind advertising while at university when she joined the Advertising Research Club. This drew her to the industry where she discovered the joys of visual storytelling.

Her work focuses on human drama and dialogue-heavy narratives, placing a strong emphasis on creating an atmosphere that can be felt through the visuals. To date, she has several awards under her belt including a Jury’s Special Award from BOVA 2024 for ‘Abe to Mako’ and a JAC Award 2021 in the directors category for ‘Akai Onna Tachi’.

In this interview with LBB’s Sunna Coleman, Natsuko shares her biggest influences including old Japanese manga, and fond memories from shooting actress and singer, Airi Suzuki.

LBB> What first sparked your curiosity for film? Were you always creative since childhood or did you find your passion later?

Natsuko> I was always glued to the TV as a kid. It just felt like a natural part of my world, something I couldn’t imagine life without. I remember watching everything from dramas and anime to variety shows, from morning till night, without ever getting bored.

LBB> How would you describe the advertising and film scene in Tokyo?

Natsuko> What I find really fascinating is how people from completely different backgrounds come together and collaborate. People from rural areas and big cities, natural leaders and quiet types, even those who didn’t attend school regularly. A lot of creatives seem to draw from the frustrations or heavier parts of their past, and that mix brings something really compelling to the industry.

LBB> What do you feel makes Japanese creativity unique from other markets across the world?

Natsuko> I think Japanese comedy culture is very distinctive. The concept of ‘boke’ (the fool or jokester) and ‘tsukkomi’ (the straight man) is a form of communication that’s uniquely Japanese. The quick back-and-forth rhythm, the subtle pauses shaped by our tendency to read the room, the sarcasm that comes from moments of vulnerability, the delicacy. I think all of that comes through not only in commercials, but in Japanese films as well. It’s something I really love about Japanese culture.

LBB> What does the creative process look like for you – from concept to final cut – and how do you maintain your vision throughout?

Natsuko> When a project offer comes in, I usually start by watching films or ads that might be helpful as references for the kind of expression I'm aiming for. From there, I begin by structuring the audio, and then start thinking about the shots.

Lately, I’ve been working a lot on performance-based pieces, so I always start by creating detailed character backgrounds. I look forward to seeing how the actors interpret and elevate those characters.

I often cast actors whose interpretation of the script, of the actual words in the storyboard, feels close to mine. Editing is the most important part for me, so when the schedule allows, I like to take my time working closely with the editor.

LBB> What is something that is currently inspiring you?

Natsuko> Lately, I’ve been really into old Japanese manga and subcultures. A lot of it is very sexual or cynical, filled with provocative expressions that wouldn't work in today’s advertising but it’s still incredibly interesting, and I learn a lot from it. I’d love to find ways to subtly weave some of that influence into my own work, even if just in small parts.

LBB> What have been some of your most memorable career highlights so far?

Natsuko> Getting to have a one-hour conversation with my all-time favorite soccer player. My mind went totally blank. I hardly remember anything. Even now, I wonder if it was all just a dream.

LBB> Who have been some of the most interesting people you have worked with or shot?

Natsuko> There are so many unique people, it’s hard to name just one. But Airi Suzuki [Japanese singer and actress] really left an impression. Even after I called “cut,” she kept moving as if the camera were still rolling. I didn’t want to stop filming. She instantly lit up the whole set. I truly admire her.

LBB> Who are some of your personal favourite Japanese film talents and why?

Natsuko> I’ve always loved Masako Motai. Her quiet presence, her timing, her acting style is so distinct and yet so real. I think she’s one of a kind.

I was also really inspired by a show she was in called ‘Yappari Neko ga Suki’ (‘I Really Do Love Cats’), which aired on Fuji TV.

LBB> What do you see as the biggest challenges and opportunities for directors in Japan today?

Natsuko> I’m not too familiar with the industry overseas, so I can’t speak to that. I feel like the space for creative expression keeps getting narrower. There’s this constant sense of, “You can’t do that, it might offend someone” and honestly, it can be pretty exhausting.

Still, I think it’s important to keep pushing. To not give up on making things interesting despite those limits.

LBB> Outside of your career, how do you like to express your creativity?

Natsuko> I enjoy writing, so I like using platforms like X to share little stories or thoughts from everyday life. I’m always on the lookout for ideas in the things that happen around me.