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This is a guided, formation of an individual. Jake is making himself into who he wants to be, and he’s decided that the place he has to be is Japan, and who he should be is a reporter. “His circumstances are part and parcel of that music. And I think it’s formative for Jake,” Mann says of the Pearl Jam track. “Jake is very much a product of the ‘90s and it happened to be key to his character, this sense of extreme expression, extreme yearning for identity, for a state of mind – the anguish that’s inherent in that body of music is very powerful to me. In the pilot, a key scene features “Release” from Pearl Jam, a song Mann chose not just because he’s a fan of the band and its grunge contemporaries like Soundgarden, but because it represents Jake’s mindset. In addition to its fidelity to the culture of Japan in the late ‘90s, “Tokyo Vice” is also a thoughtful period piece about the era itself. That also made it pretty tough, but we managed to do it by being persistent and innovative.” SEE Ken Watanabe interview: ‘Tokyo Vice’ Like, there’s a couple of people who may show up exactly at 4:30, so if you want to shoot at 4:30, you can’t and no amount of money is going to change that attitude…. Plus, you run up against a quite wonderful Japanese cultural tradition and value system where if somebody has a food stand, they’ve been running that food stand for 35 or 40 years, they have their customers, and they are not going to interrupt the flow of their customers or the customers’ expectations.

And that’s the way that was the way it works.

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If you’re shooting in Shibuya, there’s a whole little structure of Shibuya, and you have to be talking to the political head, and plus the head of the police for that one particular prefecture. I mean, it is top-down, but it’s also bottom-up. “We had a lot of help, but shooting in Tokyo, you are not in Kansas. And in Tokyo, it’s really put to the test,” Mann says of directing the pilot on the streets of Tokyo before and after production shutdown due to the coronavirus pandemic in March 2020. “There’s a certain approach to generally shooting in real places I have: you never take no for an answer. Mann directed the pilot episode of the show and Rogers said previously in an interview with Gold Derby that the two-time Emmy Award winner deserved “enormous credit” for the look and feel of the subsequent episodes.

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