What Really Happened at Toei Kyoto Studios? Hidehiko Ishizuka Reveals Behind-the-Scenes Stories

Uzumasa is a sacred place that has produced so many masterpieces

Hello, everyone. I’m Hidehiko Ishizuka, and while shopping at a supermarket, I picked up a product because I thought it looked delicious—only to discover that it was dog food.

This time, I’d like to write about Toei Kyoto Studios in Uzumasa, Kyoto, where I had the pleasure of working on the filming of a detective drama in 2013.

When I received the offer, I knew that I would be playing the lead role, that filming would take place five days a week, and that the location would be Toei Kyoto Studios. Was I really going to leave home and go to Kyoto five days a week? But I was the lead actor, after all. I hesitated for a moment, but then I thought that if I went to Kyoto, I’d get to eat fresh yatsuhashi five times a week, so I gladly accepted.

The day before filming began, I packed five days’ worth of underwear, socks, handkerchiefs, and other necessities into my bag until it was stuffed full, then headed to Kyoto. When I stood in front of the studio, I felt a slight tremble. So many Japanese masterpieces—including “Battles Without Honor and Humanity, Japanese Yakuza, Mito Komon, and Abarenbo Shogun”—were born right here.

I wondered how many stars had passed through these gates over the years. I walked through the gate and headed to the Actors’ Building on the left, where I introduced myself: “My name is Hidehiko Ishizuka. I’ll be in your care starting tomorrow.”

After that, a member of the administrative staff showed me around the Actors’ Building. We passed the rooms of the wig stylists—the craftsmen who create actors’ wigs—and the costume department before arriving at my dressing room. It was a private corner room on the second floor with a window. About 30 years after my days as an extra, when the location bus served as my dressing room, I had finally been given my own private room in Uzumasa.

Since I had some time to spare, I took a walk around the building. The atmosphere upstairs felt slightly different, and noren curtains hung over the entrances to the dressing rooms. For stars such as Kotaro Satomi, Hideki Takahashi, Hiroki Matsukata, Ken Matsudaira, and Kaoru Yumi, dressing rooms were permanently assigned to them regardless of whether they were filming that day.

Amazing. I could truly feel the love and history that Uzumasa has for its actors.

Uzumasa is loved by actors, too

On the top floor was a training gym, and when I opened the door, I found rows of equipment, including bench presses and dumbbells. I decided to test my strength a little. As I lay on the bench and lifted the bar up and down, I thought, “Huh? Someone’s watching me.”

I glanced at the wall and saw several photographs of Ken Takakura. There was Ken-san shirtless, Ken-san in a suit, and Ken-san walking around the studio. The person watching me was Ken-san. Before I knew it, I was lifting a weight I had never managed to lift before.

I later heard that all the equipment in the training gym had been donated by Ken-san. Apparently, the large television in the lobby was donated by Kotaro Satomi. Uzumasa was loved by actors as well.

On the first day of filming, after greeting the staff, it was time for the first shot. While the director was giving me instructions on my performance, the craftsmen from the camera, lighting, and sound departments moved swiftly around the set. Whenever a veteran sternly instructed a younger staff member, the atmosphere on set became tense. Not a single person was smiling. Every single shot was treated as a serious contest.

Yet once filming was over, those same staff members were warm, friendly people with smiles on their faces. I loved that contrast. That’s probably why they are so loved by actors.

The set was demanding, but the costume staff were as kind as mothers. When we were filming on location on particularly hot days, they attached pockets to the backs of my dress shirts and put cooling packs inside them, allowing me to work comfortably. They take their work seriously because their goal is to entertain people. I would love to visit Uzumasa once again to see those incredibly cool craftsmen.

From the August 7 & 14, 2026, combined issue of “FRIDAY”