<figure id="attachment_462833" aria-describedby="caption-attachment-462833" style="width: 1979px" class="wp-caption alignnone"><a href="#" data-ident_hash="1a219606"><img src="https://res.cloudinary.com/fridaydigital/image/private/t_article_image/wpmedia/2026/04/a44c399ff1d02e33cf5c70fc831912c5.jpg" alt=""></a><figcaption id="caption-attachment-462833" class="wp-caption-text">Masato Sakai, 52, on location in Nihonbashi (Chuo-ku, Tokyo) last June. VIVANT,&#8221; in which he plays the lead role, is currently filming a sequel that will take as much time and cost as a movie!</figcaption></figure>
<h2> Disadvantages of Spending Large Production Costs</h2>
 The drama series &#8220;Oretachi no Hakone Ekiden&#8221; (NTV), which will air this fall, has been filming on a large scale across Japan since February.
 The drama was filmed in Okayama City from February 16 to 20, in Hiroshima City from February 21 to 27, and in the urban area of Mishima City in Shizuoka Prefecture from March 4 to 5, with traffic restrictions in place and hundreds of extras mobilized for the shoot. We also filmed on a large scale on the actual course of the Hakone Ekiden,&#8221; said a source close to the entertainment industry.
 The sequel to &#8220;VIVANT&#8221; (TBS), which is reportedly scheduled to air this summer, was also shot on a large scale in Gifu Prefecture.
 Dramas in the prime time slot are like showcases for TV stations. If a drama becomes a hit, sponsors for the station as a whole will increase, so all stations tend to produce one drama per one or two seasons.
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 The &#8220;pilgrimage to sacred places&#8221; that fans make to visit the filming locations of popular dramas has taken root. An increasing number of municipalities are attracting filming locations through public-private partnerships because of the potential to attract more tourists.
 It is difficult to conduct large-scale location filming in Tokyo, but in regional cities that are cooperative in location filming, the local government-run film commissions will handle applications for roadblocks and other such measures, as well as arrangements for extras. Some local governments will even cover the cost of lodging and meals, and are proactive in promoting their films. The station can shoot powerful footage, and the municipality can attract tourists at a lower cost than if they were to advertise in poor taste. It is truly a win-win-win situation.
 Matsue City in Shimane Prefecture, where the NHK morning drama &#8220;Bakebake&#8221; is set, &#8220;can expect an economic impact of 8 billion yen in one year,&#8221; according to an estimate by the local San-in Godo Bank.
 Of course, it is not all merit. Commercial TV dramas rely on volunteer extras. &#8220;In rural areas, we can get by with the rarity of celebrities, but in the Tokyo area, it is quite difficult to secure extras,&#8221; laments the producer mentioned above.
 If it is a film starring a popular idol or a popular actor, there are many fans who apply, but if it is a film starring a talented but not that popular actor, there is no way to get volunteer extras, so we have to rely on theater troupes and such. Even for a role with no dialogue, you have to pay several thousand yen per person, which makes it difficult to produce a film that requires a large number of extras.
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 Some TV people have voiced their opinion that there is no need to force a large-scale location shooting for a terrestrial TV drama.
 For example, if a sports drama requires a large number of extras to play spectators, terrestrial productions can only give simple instructions such as, &#8220;Cheer loudly! in a terrestrial production. Participants often complained that they didn&#8217;t even know what kind of scene they were in, and the filming ended without them knowing.
 With a Netflix film, we spend a lot of time and money to shoot, so the extras are given detailed explanations of the scenes. A sense of togetherness is fostered. Since extras are paid for by free volunteers, they probably think, &#8220;We can&#8217;t ask for that many extras,&#8221; but that doesn&#8217;t make for a truly powerful film,&#8221; said an entertainment agency executive.
 (A senior executive at an entertainment agency).
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 From the March 27/April 3, 2026 issue of FRIDAY
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 Kumataro Arai

 The reality is that the disparity in funding and time between terrestrial and Netflix productions leads to a difference in quality.

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The Limitations of Terrestrial Drama: Why “Netflix Cannot Compete” Despite Struggles with “High Production Costs and Large-Scale Location Shootings

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