1. Early Life and Education
Masayuki Mori was born on January 7, 1953, in Tottori, Tottori Prefecture, Japan. He spent his entire childhood and high school years in Tottori City. After completing his secondary education at Tottori Prefectural Tottori Nishi High School, he pursued higher education at Aoyama Gakuin University, graduating from its Faculty of Law in 1976.
2. Early Broadcasting Career
Following his graduation from university, Masayuki Mori began his professional career by joining Super Produce Inc. (スーパープロデュースSūpā PurodyūsuJapanese), a Japanese television production company. There, he initially served as an assistant director (AD) and a research staff member. During this period, he contributed to the production of various television programs, including `Migoro! Tabegoro! Waraigoro!` (みごろ!たべごろ!笑いごろ!Japanese) for TV Asahi.
In 1980, Mori first encountered Takeshi Kitano while working as an AD on `Quiz!! Magazine` (クイズ!!マガジンKuizu!! MagajinJapanese). At this initial stage, their relationship was strictly that of a program host and a production staff member. By 1981, Mori's role expanded significantly as he became a chief AD and subsequently a director for `Idol Punch` (アイドルパンチAidoru PanchiJapanese), also on TV Asahi, actively participating in core planning and content development. His innovative contributions included coining the name "Takeshi Gundan" (たけし軍団Takeshi GundanJapanese) for Kitano's group of disciples and integrating them into various shows. Furthermore, he devised segments that later served as foundational concepts for popular recurring features in programs such as `Super Jockey` (スーパージョッキーSūpā JokkīJapanese), particularly the `Ganbaruman` (ガンバルマンGanbarumanJapanese) segment, and `Beat Takeshi no Owarai Ultra Quiz` (ビートたけしのお笑いウルトラクイズBīto Takeshi no Owarai Urutora KuizuJapanese). These early successes cemented Kitano's trust in Mori's creative and organizational abilities.
3. Office Kitano Era
Masayuki Mori's professional life was profoundly shaped by his involvement with Office Kitano, from its inception to his long tenure as its president and his continued role within the company following its restructuring.
3.1. Establishment and Early Activities
In January 1988, newspaper reports mistakenly suggested that Takeshi Kitano would depart from his agency, Ohta Production (太田プロダクションŌta PurodakushonJapanese), to establish a new company with Mori as its president. While the initial report was inaccurate, Kitano did eventually leave Ohta Production. Masayuki Mori played an active and crucial role in the actual establishment of Office Kitano (オフィス北野Ofisu KitanoJapanese) on February 10, 1988, where he assumed the position of Director of Production (取締役制作部長). The company's first president was Yukio Tachi, then the representative director of Tohtsu (東通TōtsūJapanese). From the outset, Mori began working as a film producer, directly involving himself in films directed by Takeshi Kitano under his directorial name, "Kitano Takeshi."
3.2. Tenure as Office Kitano President
Masayuki Mori ascended to the presidency of Office Kitano in 1992. His leadership was critically tested and became widely recognized in 1994 when Takeshi Kitano suffered a severe motorcycle accident that required hospitalization. During this crisis, Mori took on a highly visible role, holding daily press conferences to update the public on Kitano's condition and the company's stability. His composed and steadfast presence during this period showcased his significant role in managing public relations and ensuring the company's resilience during a major challenge involving its most prominent figure.
3.3. Film Producer Activities
Following Takeshi Kitano's directorial debut in 1989 with `Violent Cop` (その男、凶暴につきSono Otoko, Kyōbō ni TsukiJapanese), a role he took over from Kinji Fukasaku, Kitano began receiving numerous offers to direct films. Masayuki Mori, who had observed Kitano's exceptional directorial and visual sensibility since their days in television, recognized the potential for "film director Kitano Takeshi" to emerge as a distinct artistic entity, separate from his popular persona as "television personality Beat Takeshi." To realize this vision, Mori decided to establish in-house film production and film distribution capabilities within Office Kitano.
Initially, Mori's responsibilities were more akin to a manager for the director, but he quickly expanded his role to encompass the comprehensive management of production costs, box office revenues, and overall film distribution. Beyond the acclaimed films directed by Kitano, Mori also took on the role of producer for other notable works. These included `Shichinin no Tomurai` (七人の弔Shichinin no TomuraiJapanese), directed by comedian Duncan, and `Ikinai` (生きないIkinaiJapanese), directed by Hiroshi Shimizu.
In 2001, Mori produced `Brother` (BROTHER (映画)BrotherJapanese), which provided him with his first direct experience working with Hollywood film professionals. This collaboration significantly reshaped his perspective on filmmaking. He was particularly struck by the Hollywood industry's unwavering commitment to the business aspects of film production. This exposure led him to critically assess the Japanese film production and exhibition system, which he began to perceive as "irresponsible" and overly speculative or "gambling-like," due to its frequent prioritization of artistic temperament over financial accountability. As a result, Mori's philosophy for film production evolved to advocate for a dual goal: achieving the simultaneous realization of film as a vital cultural medium and as a financially viable business, thereby pushing for a more professional and accountable industry structure in Japan.
3.4. Resignation and Post-Presidency
In 2018, Masayuki Mori officially resigned from his position as the representative director and president of Office Kitano. Following his departure, Edamame Tsumami, a talent affiliated with the agency, was appointed as his successor. Despite stepping down from the presidency, Mori chose to retain his position as a director within the company. The company subsequently underwent a name change, becoming TAP, where Mori continues to contribute in his directorial capacity.
4. Personal Life and Anecdotes
Masayuki Mori's personal interests and past experiences offer insights into his character and professional trajectory, revealing a blend of artistic passion and a pragmatic, sometimes humorous, approach to life.
4.1. Musical Background
During his student years, Masayuki Mori harbored strong aspirations of becoming a musician. To gain entry into the music industry, he initially took a part-time job as an art staff member at NET TV, which is now TV Asahi. However, he found himself increasingly engrossed in television production work, which ultimately led him to set aside his musical ambitions.
Mori has maintained a deep passion for the electric guitar. In various interviews, including one published in `Guitar Graphic Vol. 6` in 1996, he has openly discussed his extensive collection of guitars and his fondness for guitar effect pedals. Furthermore, he was actively involved in the production of a live video for the renowned Japanese heavy metal band LOUDNESS, serving as its director. In 1985, he even accompanied LOUDNESS for approximately ten days on their U.S. tour. Footage from these American performances, originally shot for archival purposes, was long thought to be lost. However, it was later discovered to have been stored at Office Kitano, where Mori served as president at the time. This valuable footage was subsequently included in the limited edition of the `THUNDER IN THE EAST` 30th anniversary edition, released in 2015. Mori also appeared in a documentary DVD accompanying the release, sharing anecdotes from that historic period.
Mori once proposed a project to Terry Ito (テリー伊藤Terī ItōJapanese), the general director of `Tensai Takeshi no Genki ga Deru Terebi!!` (天才・たけしの元気が出るテレビ!!Tensai Takeshi no Genki ga Deru Terebi!!Japanese), aiming to support young Japanese heavy metal and hard rock bands. Unfortunately, Ito's apparent misunderstanding of the genre led to the project being severely distorted. Instead of a supportive initiative, it became a derisive segment that exaggerated and mocked the superficial appearance and extreme image of the bands.
4.2. Character and Notable Incidents
Masayuki Mori is recognized for his consistent practice of addressing talents he has known since his early days as a director with the honorific "san" (Mr./Ms.), even those he is very close to. Notably, he refers to Takeshi Kitano as "Kitano-san" or "KantoKu" (監督KantokuJapanese, meaning "Director"). In a reciprocal gesture of respect, Kitano also addresses Mori as "Mori-san."
During his tenure as an AD on `Migoro! Tabegoro! Waraigoro!`, Mori also took on an unconventional role as a suit actor for the character Densenman (デンセンマンDensenmanJapanese). This particular fact has frequently been brought up and humorously referenced by both Takeshi Kitano and members of the Takeshi Gundan.
5. Writings
Masayuki Mori is the author of the book `Tensai o Produce?` (天才をプロデュース?Tensai o Purodyūsu?Japanese, "Producing a Genius?"), which was published in May 2007 by Shinchosha. The book is presumed to offer valuable insights into his extensive experiences within the entertainment industry, with a particular focus on his long-standing professional relationship with Takeshi Kitano, and his unique perspectives on talent management and creative production.
6. Assessment and Impact
Masayuki Mori has left a significant and enduring mark on both the Japanese broadcasting and film industries. His career began in television, where his foundational roles as an assistant director and director honed his keen ability to identify and cultivate talent. This was notably evident in his early recognition of Takeshi Kitano's unconventional comedic brilliance and, later, his foresight in discerning Kitano's distinct vision as a filmmaker.
A cornerstone of Mori's legacy is his pivotal role in the establishment and subsequent leadership of Office Kitano, which he transformed into a highly regarded independent film production house. By cultivating an environment that allowed Kitano to pursue his artistic ambitions independently of his popular television persona, Mori substantially contributed to the diversification and enrichment of Japanese cinema. His unwavering commitment to realizing "film director Kitano Takeshi" helped to carve out a unique space for auteur filmmaking within the broader commercial landscape.
Mori's experiences, particularly his exposure to Hollywood's business-centric approach during the production of `Brother`, profoundly influenced his professional philosophy. This led him to openly advocate for a more disciplined and financially responsible model within Japanese film production. His critical stance against what he perceived as an "irresponsible" and "gambling-like" domestic system highlights his dedication to the long-term sustainability and professionalism of the industry. His efforts aimed to bridge the gap between artistic integrity and commercial viability, a progressive goal vital for the stability and growth of cultural production. Through his extensive work, Mori demonstrated how a skilled producer could effectively manage not only logistics and finance but also serve as a crucial partner in shaping a creative vision and navigating the complex interplay between artistic expression and commercial realities. His enduring contributions have not only defined a significant period of distinct Japanese filmmaking but have also influenced the broader landscape of entertainment management in Japan.