Korea-Japan Co-Production: Achievements Tempered by Rights Distribution Challenges [K-Content Japan]

Jayuro Pictures Finds Success with Japanese Adaptation of "Please Marry My Husband"
"Mary Berry Love" Set for Release as Differences in Production Practices Remain a Challenge

The co-production of video content between Korea and Japan is beginning to gain market validation. Jayuro Pictures, following the success of the Japanese adaptation of 'Please Marry My Husband'—which combined government support programs from both countries with local casting—will release 'Mary Berry Love' on October 7. However, challenges remain in terms of rights distribution and differences in production practices between the two countries.

Poster of the Japanese version of 'Marry My Husband'.

Cheon Jaewon, CEO of Jayuro Pictures, introduced Korea-Japan media collaboration projects at the "Korea-Japan Content Co-Production Week" held in Tokyo on September 29. These collaborations are underpinned by public support from both countries. The company secured its production budget by leveraging support from the Korea Creative Content Agency and Japan’s Ministry of Economy, Trade and Industry’s J-LOX+ grant (now IP360). The introduction of an artificial intelligence (AI) visual creator system optimized pre-production visualization and storyboard work, reducing overall production time.

This stable production method, which minimizes risk from the planning phase, has led to commercial success. The Japanese version of 'Please Marry My Husband' achieved the highest viewership among Amazon Prime Original Videos in Japan to date. This was the result of adapting a popular Korean intellectual property (IP) to appeal to local audiences. By recruiting director Ahn Gilho of Netflix’s 'The Glory' and Japanese actors Takeru Sato and Fuka Koshiba, the project secured pre-sales on streaming platforms and confirmed its popularity upon release.

The next production, 'Mary Berry Love,' has also been selected as an official location-supported project by Japan’s Ministry of Economy, Trade and Industry. Ji Chang-wook and Mio Imada—who had the highest number of commercial appearances in the Japanese advertising (CM) market last year—take the lead roles. The production crew was split 50:50 between Korean and Japanese staff, facilitating technical exchanges and talent development on set. The drama will be released on Disney+ and Japan’s terrestrial broadcaster Nippon TV.

Jayuro Pictures has established four pillars of partnership to support this production model: public support from KOCCA and VIPO (Visual Industry Promotion Organization of Japan); casting cooperation with leading agency Tristone Entertainment; collaboration with capital and IP holders such as Dentsu, Kadokawa, Kodansha, and Shochiku; and a distribution network extending from Nippon TV and Fuji TV to global online video services (OTT).

Chun Jaewon, CEO of Jiyuro Pictures, is talking about the Korea-Japan media collaboration project at the 'Korea-Japan Content Co-Production Week' held in Tokyo on the 29th. / Korea Creative Content Agency Tokyo Business Center.

Based on these foundations, the company is preparing a lineup of major titles for next year. 'Shinjuku Shark,' co-planned with Fuji TV and based on a novel by Arimasa Osawa, will be directed by Lee Kwon of 'A Shop for Killers.' The fantasy romance 'Inyeonsu,' directed by Yoon Jongho of 'Carry Sunjae on My Back,' is also taking concrete form.

CEO Cheon said, “Through these works, we have seen the immense potential for co-productions between our countries. Although there are significant hurdles—such as IP rights allocation and cost structures—the very act of bringing experts from Korea and Japan together for ongoing discussion is highly meaningful.”

Cheon also participated as a panelist in a Korea-Japan video industry cooperation discussion moderated by Mitsuaki Asari, Chief Researcher at the Media Development Research Institute. Producer Masaki Koide of ROBOT and Tsuyoshi Katayama, President and CEO of TBS Korea, also joined the discussion.

Producer Koide recalled that about ten years ago, Korean production companies proposed IP remakes and film adaptations, but these did not come to fruition at the time. He explained, “With the advent of global platforms and the rise in popularity of Korean dramas, discussions about joint projects—where the Korean side acquires the rights to Japanese novels and manga—have become active.” One such initiative is the 'JKP (Japan Korea IP)' project, where properties are adapted and turned into live-action content in both countries.

Tsuyoshi Katayama, President and CEO of TBS Korea, is discussing the Korea-Japan media collaboration project at the 'Korea-Japan Content Co-production Week' held in Tokyo on the 29th.
/Korea Creative Content Agency Tokyo Business Center.

President Katayama introduced Studio Toon and The Seven, both of which TBS has invested in. Studio Toon is a joint venture established by Naver Webtoon, TBS, and webtoon production company Shine Partners. The company serializes webtoons based on Japanese dramas, distributing them worldwide and then remaking these grown IPs into OTT content. The Seven is a video production company focused on original Netflix works and serves as a bridge for IP between Korea and Japan.

Rights distribution was cited as a practical challenge in co-production. CEO Cheon remarked, “A perfectly equal 50-50 joint ownership model for IP is unrealistic.” This is due to the complexity of negotiating how to split rights and reconcile differences in production practices in the two countries during revenue generation.

As an alternative, he suggested, “Instead of making excessive rights demands, the process of building solid mutual trust should come first. At present, a partnership model in which both parties invest equally—50 percent each—in capital from the initial planning and development stage, and share risks, is the most practical and stable approach.”

'Mary Berry Love' poster.

The discussion also touched on differences in production structures between the two countries. In Korea, the production company oversees everything from financing and casting to filming and rights acquisition. In Japan, however, a production committee—comprising multiple investors—holds the rights, and production companies primarily act as subcontractors. When the Korean side asks for equal rights, this often causes friction with the Japanese side, which is accustomed to the committee model.

There are also differences in decision-making speed. In Korea, creators such as directors or writers drive quick decisions; in Japan, consensus within the committee is required, which takes more time. Language barriers and differences in work practices further increase communication costs.

As a solution, CEO Cheon stated, “We should strictly avoid the superficial approach of simply mixing nationalities through cross-casting actors.” He continued, “If we develop a localization strategy and build a project from the outset with an original IP and script that resonates in the global market—and from the very beginning, both countries’ production teams are involved in a truly integrated manner—then we can establish a joint production model that is competitive in the global streaming environment.”

This content was produced with the assistance of AI translation services.