Yoko Higuchi-Zitzmann: “I have always embraced change"

What is your favorite film?

Yoko Higuchi-Zitzmann: One of my all-time favorites is an Italian film: “Cinema Paradiso” by Giuseppe Tornatore. The movie is about a young boy in a village in Italy who dreams of becoming a projectionist and later becomes a great filmmaker. It's about family, it's about love, it's about broken hearts. But above all, it's about the love of great stories and cinema – a wonderful movie. Of the current films, I really liked “Wicked”. I thought it was nice that they took the time to tell the story of the friendship between these two girls: between Glinda, played by Ariana Grande, and the green witch, who isn't actually evil at all, but also a great young girl.

What does a movie need to convince you?

Higuchi-Zitzmann: It has to be a story that immediately arouses curiosity. For example, I'm a big fan of true stories. With “My blind date with life”, for example, I have already filmed such a story together with Ziegler Film, Prosieben Sat 1 and Studio Canal. I happened to hear a radio interview with Saliya Kahawatte, who was almost blind and yet had made a career in a five-star hotel – without anyone knowing about his visual impairment.

And then, of course, a fantastic screenplay is important: it needs the right arc of suspense and great dialog. A good movie must also be technically very well made. This includes a good camera, great direction and actors who bring the story to life. That's what makes a perfect movie.

You originally studied law in Bonn and Munich. When did you know that the film industry was right for you?

Higuchi-Zitzmann: I always wanted to be in movies, I knew that even as a child. But I come from a very conservative Japanese family, full of lawyers, doctors and bankers. The film industry was just very far away from that. I got important values from my Japanese parents - politeness, discipline and hard work are among them. But when it came to my passion for film, I was more of an outsider in the family. That's why I first studied something sensible, namely law. (laughs)

However, I had always worked in film alongside my studies and then applied for a job at Prokino. That was my entry into the film industry.

A film must reflect the zeitgeist and appeal to a clear target group

You worked as a buyer for Constantin Film and Telepool for a long time. What criteria do you use to assess whether a movie can be successful?

Higuchi-Zitzmann: On the one hand, having a nose for successful films is a bit of a talent. But there are two factors that buyers should pay attention to: The movie must fit the zeitgeist and it must have a clear target group. There are good films that are incredibly difficult to categorize in the market because you can't say exactly whether they cater to mainstream tastes or not, whether they appeal to a young or older target group. These films are difficult to market. In America, almost all blockbusters are now branded, i.e. either a sequel or based on a famous novel, comic or game. It is very difficult to land a really big hit in America with original stories.

And what is it like in Germany – is there a typical German taste in movies?

Higuchi-Zitzmann: Comedies work best here. They have a long tradition in Germany and work very well as audience blockbusters if they are well made. The Otto films were very successful in the 80s, followed by the Bully films such as “Schuh des Manitu” and “Traumschiff Surprise” in the early 2000s. This was followed by romantic comedies, above all Til Schweiger's “Keinohrhase”. And finally the great comedies by Bora Dagtekin: “Fack ju Göhte” was a safe bet.

Were there moments when you were unsure about your purchase?

Higuchi-Zitzmann: It is always difficult to weigh things up, because there is no guarantee of success. You have to be prepared to take a bit of a risk. There are always examples, both in Germany and in Hollywood, where a famous book is made into a movie and nobody watches it. And then there are surprise successes that no one expected. That's the magic of movies.

In recent years, negative headlines about long strikes in Hollywood have shaken the image of the film industry. Is the industry in an international crisis?

Higuchi-Zitzmann: The industry is always undergoing major changes – and is doing so again at the moment. The restrictions caused by the coronavirus pandemic and the US strikes have been extremely difficult for the entire industry. The entry of streaming platforms also had a major impact – it's a real revolution that Netflix and co. have triggered. But I think things will pick up again. That's always the case: good times come in waves, there's never just a steep upward trend. But the hunger and desire for film, cinema, television and streaming will not change. You simply have to adapt to the new distribution channels and the new needs of viewers and continue to tell good stories – then the industry will overcome any crisis.

How are companies responding to these challenges? Which financing and business models could be a sustainable solution?

Higuchi-Zitzmann: On the one hand, partnerships are becoming increasingly important. On the other hand, we have to adapt to the viewing habits of the new TikTok generation. It is simply not enough to only serve old formats that may have worked in the past in cinemas or on analog television. The young generation mainly consumes stories via streaming and shorter formats, for example on TikTok. The key to reaching the younger generation is to listen to them: What do they find exciting, what stories interest them? I learn an incredible amount from our 16-year-old son. He introduces me to new formats, new YouTube and TikTok stars, new sports that he consumes. Change in itself is always fundamentally good, I've always embraced it and I think that's why I'm still in the industry. There's a wealth of interesting formats, shows and stories to engage young people - this includes revivals of classic brands, “Wicked” is a good example in the US of how “Wizard of Oz” has been successfully brought back to life for young viewers.

Bavaria as a media location: High concentration of production companies, film studios and creatives

You have also been working as a very successful film producer for around 15 years. What prompted you to take the step into filmmaking?

Higuchi-Zitzmann: After many years of managing film acquisitions and sales at Constantin Film, I wanted to make films myself. I started producing feature films and series and really learned how to develop scripts, work with writers and directors, select actors and film financing. The fact that I have both distribution and production experience, i.e. really hands on, means that I am well equipped for this industry. Today, in the position of managing director, I can help young people from sales or production who approach me.

How important is Munich as a location for you as a film producer?

Higuchi-Zitzmann: I think Munich, and Bavaria in general, is a really unique location. We have a high concentration of leading production and distribution companies here, as well as American studios such as Amazon and Disney. With the FFF Bayern, there is also strong local film funding. Not forgetting the successful TV stations and streamers such as Bayerischer Rundfunk, ProSieben, Sat.1 and Joyn. And of course the creatives: Many great authors, actors and directors live and work in Bavaria.

Your films have won major film awards, such as an Oscar for “La Vie En Rose”. What do these awards mean to you?

Higuchi-Zitzmann: An award like this is the icing on the cake, but for me, audience success has always been the most important thing. I've always bought, produced and sold projects, putting the audience at the center and never thinking about whether a particular film would be relevant for the Oscars, the Bambi or the Bavarian Television Award. But of course you're happy when awards come your way because it shows that you've delivered good quality work.

Film production is still a very male-dominated industry. To what extent have you had to be particularly assertive as a woman in your career?

Higuchi-Zitzmann: I never thought about the fact that I had to assert myself as a woman, but tried not to lose sight of my path and my goal. My upbringing helped me a lot with this. I believe that values such as diligence, discipline and politeness are qualities that never go out of fashion. I love working with women, but I also enjoy working with men. And I also promote women and men. But they have to be good women and good men! (laughs)

AI will not replace human creativity: “Big bang must come from us”

According to The Hollywood Reporter, you are one of the “40 Most Powerful Woman in International Film 2024” and the “BGA Woman of the Year 2024”. In addition to diligence, politeness and discipline, which of your character traits have helped you become one of the most influential women in the film industry?

Higuchi-Zitzmann: This includes my creativity. I see a new series, a new movie, a new show in every novel, in every format, in every star, in every conversation. And I think that people who are creative and have great ideas will still be very much needed in the future. Artificial intelligence will play a major role in the creative process and in administration, but ultimately it can only reproduce what we invent. The idea and the big bang still have to come from us creative people.

What footprint would you like to leave in the industry?

Higuchi-Zitzmann: I have two personal wishes: firstly, I would like to continue telling good stories. And secondly, I want to be a role model for young women and motivate them not to lose sight of their goals.