‘Tokyo Vice’ Producer, Netflix Executive Urge Changes to Japan’s Production Incentive at MPA Seminar as Government Readies Unified Content Body

‘Tokyo Vice’ Producer, Netflix Executive Urge Changes to Japan’s Production Incentive at MPA Seminar as Government Readies Unified Content Body hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 27, 2026 1:45am PT ‘Tokyo Vice’ Producer, Netflix Executive Urge Changes to Japan’s Production Incentive at MPA Seminar as Government Readies Unified Content Body By Naman Ramachandran Plus Icon Naman Ramachandran Latest ‘Mirzapur’ Tops a Decade of Indian Streaming as New Commissions Fall, IMDb Report Finds (EXCLUSIVE) 4 hours ago Tokyo Jury President Rolf de Heer on FIAPF’s New A-List: ‘It Matters a Great Deal to Some People, and Not at All to Others’ 5 hours ago ‘Ghosts: The Possession of Button House’ Scares Up U.K., Ireland Box Office Win 5 hours ago See All Add us as a Google Preferred Source Comments “ Tokyo Vice ” producer Alex Boden and Netflix production policy director Deb Richards urged changes to Japan’s international production incentive at the Motion Picture Association ’s annual seminar at the Tokyo International Film Festival , as the government prepares a new body to bring its scattered content-industry support under one roof. Boden, the London-based producer who spent almost two years in Japan making two seasons of HBO Max’s “Tokyo Vice,” traced the scheme from a 2020 research program, which “Tokyo Vice” supported, to the 2023 J-LOD incentive and today’s IP360, which offers 50% against Japanese spend.

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Related Stories Macklemore Calls for Unity During First ‘Free Palestine’ Show as Hozier, Kneecap and Mark Ruffalo Support: ‘Those Two Words Are So Threatening to Some People’ The Production Studio, Reimagined He said the minimum spend, raised to JPY800 million ($5.1 million), shut out independent films and co-productions, since most Japanese films cost between $1.5 million and $3 million. He also called for an automatic approval system in place of panel-based selection, which he said made Japan one of the few territories with a subjective incentive, at a time when projects can take three to five years to come together.

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“So how does a producer know that they can count on the Japan incentive in advance? That’s the question, and we need a solution,” Boden said.

He pointed to Martin Scorsese’s “Silence,” “Pachinko” and “Shōgun” as Japan-set projects that scouted in the country but shot elsewhere, and argued for building training into the incentive, citing the U.K.’s 0.5% ScreenSkills levy as a model. “You can have a lower incentive, that’s fine, as long as it’s certain, as long as the criteria are clear,” Richards said during the panel.

“And that’s one of the things that for the Japan incentive, the criteria is not clear.” She added that applicants could work out why they were turned down only by looking at who was approved, calling the process “opaque.” Paul Muller, the MPA’s VP of production policy for Asia-Pacific, held up Australia, where an international production must spend at least AUD20 million ($13.9 million) and put 1% of its budget toward training. Since that rule took effect in June 2023, more than AUD20 million has gone into training, he said, while the average cost of an hour of Australian TV has climbed from AUD2 million ($1.4 million) to around AUD5 million–AUD6 million ($3.5 million–$4.2 million) over seven or eight years.

Muller welcomed signs that the Ministry of Economy, Trade and Industry (METI), which runs the incentive, was moving from single-year to two-year financing and raising maximum thresholds. Georgina Pope, head of production at Toho Tombo Pictures, whose recent Japan work includes A24’s “Marty Supreme” and “Monarch: Legacy of Monsters,” said permitting in Tokyo, while still difficult, was

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