The TBS Sunday Theatre drama "The Royal Family" (Sundays at 9pm) stars Satoshi Tsumabuki. When the first episode aired on October 12th, social media became a hot topic due to the passionate performances of Tsumabuki and Koichi Sato, the "true identity" of Snow Man's Ren Meguro, the only cast member whose role had not been revealed, and the racing scene featuring JRA (Japan Racing Association) jockey Take Yutaka. Producer Kato Shoichi, who is working on this drama, spoke about the differences between the original work and the drama.
We spoke to them about how they met, the behind-the-scenes story of their casting, and filming at the racetrack.
◇I was strongly attracted to the original theme of "inheritance"
The story is based on the novel of the same name by Kazuma Hayami. Eiji Kurisu (played by Tsumabuki) admired his father, who was a tax accountant, and followed in his footsteps. However, he experienced setbacks and lost hope. However, his life takes a major turn when he meets Kozo Sanno (played by Sato), a horse owner.
--Please tell us how you first encountered the original work and what your impressions were.
I first read it in the fall of 2019, shortly after the original novel was published, after an acquaintance recommended it to me, saying, "It's a really interesting novel, I wonder if it could be made into a drama." As I continued to read, I found the story and subject matter to be extremely interesting. I myself have never been involved in horse racing, so it felt like I was peering into an unknown world. It was my first time learning about the systems involved - horse owners, breeding farms, training farms, training centers - and it was refreshing to see, "So that's what the world is like."
What really attracted me was the theme of the work, "inheritance." Thoroughbreds pass on their bloodlines so they can run, but this also overlaps with human activities. I thought it was a wonderful theme.
When I met the original author, Hayami-sensei, through Shinchosha, we had a lively conversation and it was a story about horses that also connected to the way humans live. After that, I lost my father and there was a time when I felt like I hadn't done anything for him, but I also felt that I was who I was because of my parents, and that I had unconsciously inherited something from them, and this made me want to turn this original story into a film.
-What was the process behind making it into a drama and the path it took to get to broadcast?
I spoke with Shinchosha and Hayami-sensei at the end of 2019, and JRA readily agreed at the beginning of 2020. We were in a position to move forward immediately, but the planning was halted due to the COVID-19 pandemic, and it wasn't until two years ago that we were able to get it going again. It took five years. That's why I'm so happy that we've finally been able to get it aired. Rather than a sense of mission, I just wanted to share this wonderful original work that I was fortunate enough to come across with as many people as possible in the form of a video. I'm relieved that I was able to put that feeling into shape, and I once again feel that I've come across a great original work.
-Was there anything difficult about preparing for filming?
With the full cooperation of the JRA, we are filming at the racecourse between actual races. Also, as it is difficult to keep active thoroughbreds racing as they have owners, we are still working hard to gather horses together.
Among these, the most memorable was the interviews I did from the beginning of last year, before filming began in earnest. As I spoke directly with ranch owners, horse owners, jockeys, and trainers, I realized that there were many things I couldn't understand by researching in books or online. Horse racing involves many people and has a business aspect to it. I really enjoyed listening to these real stories from the field.
I will never forget the contrast I saw when I visited both the large-scale ranch and the small ranch in Hidaka, Hokkaido, run by a husband and wife. Seeing the struggles they faced in such a limited environment made me strongly feel that I wanted to portray this in a drama.
--What kind of techniques do you use when filming racing scenes?
It would be difficult to recreate a race with 18 horses, and there were also limitations on the location and the horses, so how to film it was a major challenge. I consulted with Director Tsukahara (Ayuko) many times, and we went through a lot of trial and error.
It's natural to be moved by watching a live horse race, but our goal was to "figure out how to make the race affect the story of the drama." We thought it was important to depict how human relationships are intertwined with the outcome and development of the story. To that end, we combined a variety of footage and tried to incorporate a different perspective in each episode. It was hard work to make sure the race footage didn't all look the same, but it was rewarding.
◇Reasons for hiring Satoshi Tsumabuki, Koichi Sato, and Ren Meguro
--Please tell us why you chose Tsukamoto and what you felt on set.
He is an actor I have wanted to work with for a long time, and I felt that Tsukamoto was the perfect fit for the role of Kurisu. In the original work, he plays a storyteller-like role, but in the drama he also functions as a driving force behind the story. It is a difficult role that requires a sense of balance.
When I went to meet Hayami-sensei to say hello, he asked me, "What do you think of Tsumabuki-san?" and we got along well, so I was happy that it came to fruition. When he actually performed the role, the moment Kurisu began to move on his own, I felt that the character of Kurisu and Tsumabuki-san's acting were perfectly matched.
-During the filming, was there any episode where you felt Tsukamoto's greatness?
More than half of the script was already completed when Tsukamoto-san started filming, and I was surprised to see that he had it all in his head. He not only knew the lines but also the flow of the plot. He not only focused on his own acting, but also looked at the entire production from a broad perspective and even gave advice that was in line with the flow of the story. As the lead actor, he also played the role of leader, leading the filming set. There were many scenes where he showed acting that exceeded the imagination of those who had read the original work, and there were many scenes that made me think, "Wow, that's amazing!"
--What about Sato, who plays the role of Sanno Kozo, the founding president of the temporary staffing company Royal Human Co., Ltd. and horse owner?
Kozo is a difficult character who embodies the image of a "Showa-era business leader," but is also deeply compassionate. If he were a dictatorial president and a scary character, he wouldn't have much depth, but I thought Sato-san would be able to bring out the warmth underneath. In reality, he's a smart and cool guy, but asking Sato-san to play him would make him even more persuasive. I was attracted to that, so I offered him the role.
Furthermore, he has been friends with Tsukamoto for a long time, and although they are far apart in age, their brother-like relationship is projected directly onto the relationship between Kurisu and Kozo, which has an impact on the film. At the start of filming, there was a scene where the two of them stood side by side watching the training at the Miho training center, and I was almost in tears at the natural interaction between the two. They fit together even better than I had imagined, and they still support the entire filming site.
--Joining the cast is Ren Meguro, who plays an important character who holds the key to the story.
Yes. We have worked together on the film "My Happy Marriage" (2023), the Friday drama "Trillion Game" (2023), and the movie version of "Trillion Game" (2025), but this time I asked him to play a very delicate role that will have a major impact on the story. From a very early stage, I had been thinking, "I want Meguro-kun to play this role."
In the scene where they interact with the horses in Hokkaido, the imagery was so beautiful that it brought tears to my eyes, and I truly felt that I was glad I asked him to do it. I'm sure that Meguro will transform the atmosphere already established between Tsumabuki and Sato, and create a new atmosphere there. I'm really looking forward to it.
-What was it like for the cast filming with horses?
Tsukamoto and Sato have had many opportunities to ride horses in period dramas and other productions, so they are very used to it. During the poster shoot, Sato approached the slightly nervous horse himself and spoke to it, which I thought was impressive. In fact, the filming of the actual movie went smoothly and calmly.
The same goes for Tsukamoto-san, who once shared an anecdote about how "I was having trouble riding, so I washed the horse, and it opened up to me," and from that experience, I get the impression that he has a good understanding of how to interact with horses. And when filming began and the staff were flustered by changes in the weather and schedule, Tsukamoto-san always put the horses that were cooperating with the shoot first, and he gave us advice, saying, "It might be best to film with the horses with the minimum number of people necessary." When we actually changed the environment, the horses quickly settled down.
When Meguro-kun was filming in Hokkaido, we were conscious of this ingenuity. At first the horse was nervous, but gradually it opened up and we were able to capture it naturally as it approached Meguro-kun. The actors were acting while thinking about "how to portray the horse," which resulted in great images.
--The guest on the first episode was active jockey Take Yutaka.
The conversation with Sawamura Kazuki, who plays the horse owner Shiina Yoshihiro, also had the realism of an actual interaction between an owner and a jockey. Perhaps the fact that it was filmed in a familiar location, a racecourse, played a big part. In fact, a popular jockey will also be appearing in the second episode, so please look forward to it.
--Please tell us what you want to convey through this work.
When I work with and film horses, I notice their purity and timidity. If I'm nervous, they'll run away, and if I approach them boldly, they'll run away right away. But if I wait with an open heart, they'll come to me. I find that behavior soothing, and I wanted to express those feelings in my footage.
Many people today find life difficult, and are burdened with a variety of worries and anxieties. In this climate, I think it's wonderful to see someone like Kozo, who is not shy about talking about his dreams and acting with passion, saying, "This is my dream." I hope viewers will also watch this drama on Sunday nights and think, "I'll try my best starting tomorrow." I also think that simply watching a horse run can be soothing.
