Inevitably, I always come to the conclusion that I need a dedicated manager.
That person would be my most essential business partner.
But what I truly need isn’t just someone with marketing or promotional skills—those come second. What matters most is someone who has the passion and commitment to fully understand my vision and creative intent. Of course, technical skills are important, and having them is better than not, but if someone prioritizes those over everything else, they would suffocate me.
I refuse to do anything that goes against my beliefs. I think my principles are crystal clear and easy to grasp, but because there aren’t many people who serve as a reference for the way I operate, it’s not something that can be instantly understood or categorized.
That’s why this is going to be a painstaking process. And I wonder—how many people out there are willing to walk this thorny path with me? There are countless easier ways to make money.
On top of that, I can’t afford to pay a fixed salary. The only option is a full commission-based system. Even so, I’m searching for someone who wants to share this dream with me.
If someone is willing to dedicate their life to this, they can take equity, or even a significant percentage of the profits—I wouldn’t complain.
This EP is centered around the theme of “soul liberation.”
“Generation” was a song I created seven years ago, inspired by witnessing my father battle terminal cancer.
At that time, I was in my twenties, and seeing him fight the illness made me realize, “Things don’t need to last forever.”
Letting go of attachments is essential, and the idea that endings lead to new beginnings is something I find deeply important—not only in love and career but in every stage of life.
“Heart-in-true Dance” was written around the same time as Generation.
I found myself trapped in a slump, unable to write any music because I was too focused on trying to be liked by others.
In the end, I accepted that some people might walk away, but I made the decision to live honestly and true to my heart—and that’s when this song was born.
“My Way” was a song I wrote for my younger classmates when I graduated high school.
At first glance, letting go of attachments and following one’s own path might seem contradictory, but I don’t see it that way.
Rather, I believe that by freeing ourselves from unnecessary attachments, our true path becomes clear.
The final track, “Your Way, My Way,” is an answer song to the short film I directed, and it is also included in my album released in January.
Its theme revolves around the idea that if two people truly love each other, they don’t need to force themselves to stay together.
Once again, this song is about letting go of attachment, even when it comes to the person you love the most.
I hope this EP helps liberate your soul from the constraints of meaningless preconceptions.
今作は、「魂の解放」をテーマにしたEPです
Generationは7年前に私の父が末期がんの闘病をしている姿に
インスピレーションを受け制作した楽曲です
「ずっと 続いていくことは 必要ないんだ」
ということを20代だった時分に気づかされたというか
それはあらゆる執着を捨てるという事だし
終わるから、始まる、次へと繋がるという考えは
恋愛やキャリアなどあらゆる人生のステージにおいても
とても重要な事だと思っています
ときめきダンスはGenerationと同時期に制作した曲で
周りの人に好かれようとばかり考えていたら
一切、曲が書けなくなってしまったというスランプの中で
結果として、去っていく人はいるかもしれないけど
自分の心に正直に生きてゆこうと決意したときに制作した曲です
我が道をゆけは高校卒業の時に後輩たちに向けて書いた曲です
執着を捨てることと、我が道をゆくことは
一見、相反するようですが、私はそうは思っていなくて
むしろ不必要な執着から解放されることによって
真の我が道が拓けるのではないかとそう考えています
最後のYour Way, My Wayは1月リリースのアルバムにも収録されている
私が初監督したショートフィルムのアンサーソングですが
本当に愛し合っているなら、無理して一緒にいる必要はないという
やはりこれも、最愛の恋人に対する執着を捨てることがテーマになっています
つまらない先入観による抑圧から
皆さんの魂が解放されることを願っています
Tomoka Shindo’s Comment
When he asked me, I hesitated whether to bridge the gap between his world and the world beyond him.
The image of flowers that instinctively came to mind had various shapes and colors, and I wanted to weave them into the story of the song, which led to this visual.
Thank you for entrusting me with such a precious piece.
私にお願いしてくれた時、彼の世界と彼以外の世界の狭間を埋めようか埋めないか迷いました。
直感的に浮かんだ花の姿は多種多様な形と色をしていて、
曲の物語の中に添えたいと思い今回のビジュアルに至りました。
大切なピースを託してくれてありがとう。
She listened to the song and, without any input from me, brought it to life purely through her inspiration.
Dan Mitchel’s directorial debut, A Love Story in The Summer, has been officially selected for the Hollywood Reel Independent Film Festival (HRIFF)!
With this honor, I am planning to embark on my very first journey to the United States this March.
At the end of last year, guided by a flash of inspiration, I submitted my film to several of the countless festivals around the world. It seems one of those sparks has ignited. I can’t help but feel that performing in English was the right choice after all.
Just as I declared my hope to visit America this year, the doors of opportunity have opened wide. This is a moment I cannot afford to let slip away.
Simply attending the festival isn’t enough for me. I want to create a promotion team and, if possible, capture this milestone through a documentary. Yet, I realize that directing the documentary myself may be a task too great to take on alone.
The announcement of my film’s screening schedule is set for February 20. The festival itself will span from March 5 to 15—ten days filled with endless possibilities. On the technical side, I’m still quietly wrestling with the mysteries of DCP (Digital Cinema Package) submission. Terms like “5.1 surround sound” and other specifications feel like another world to navigate, but I’ll find my way through.
I would love to have a team by my side, including a documentary director, a cameraman, an interpreter, and a hair & makeup artist. However, I have yet to extend any formal offers. Ideally, I hope to find team members who can take on multiple roles. I’m also hoping to arrange costume consultations here in Japan before my departure.
Depending on the length of my stay, this venture may cost as much as 2 million yen.
Fortunately, with the submission deadline for the DCP set for February 20, I still have time to refine and edit the film. I am considering adding the names of sponsors to the end credits as a way to showcase their support on the Hollywood stage. I wonder how many sponsors would be willing to join me on this journey under such mutually beneficial terms.
Of course, simple donations would also be greatly appreciated. I would be incredibly grateful for any support. In time, I will find a way to give back to this country that has shaped me.
Lately, I’ve been reflecting deeply on why I sometimes feel frustration toward Japan. It’s because, at my core, I am Japanese. Despite everything, I cannot abandon the love I hold for this country. This is a truth I feel in my heart every day.
I can’t align myself with the current trend of escaping Japan or glorifying such avoidance as a virtue. I cherish this country’s culture, its natural heritage, and above all, the family and friends who live here.
It is precisely because of this deep attachment that I feel the need to succeed abroad. That’s why I have adopted the name “Dan Mitchel”—to blend in overseas—not because of any infatuation with foreign trends or aesthetics.
This coming week will be a battle, particularly in assembling the right team. But I will face it with unwavering determination.
Please, I humbly ask for your support. Your encouragement would mean the world to me.
Thank you very much in advance.
Dan Mitchel初監督作品「A Love Story in The Summer」が
ハリウッドの映画祭、”Hollywood Reel Independent Film Festival/HRIFF”に入選しました
My debut short film, A Love Story in the Summer, features a stunning score composed by pianist and songwriter Aiko Yoshiba.
The entire soundtrack was crafted specifically for this project, with Aiko composing each piece while watching the edited footage I provided. She meticulously outlined detailed notes on where and how the music would integrate with the film. The result is a masterful collection of elegant, emotionally resonant, and profoundly moving tracks that perfectly enhance the narrative.
Unfortunately, not all of these compositions could be included in the film. To showcase Aiko’s remarkable work, we decided to release an original soundtrack, which includes previously unreleased tracks created for this project.
Additionally, I wrote a new song, Your Way, My Way, as a response to the film. Inspired by my personal experiences, the song delves into the bittersweet reality of love—that mutual affection alone isn’t always enough to sustain a relationship. I believe it beautifully encapsulates this theme.
Except for the pre-released theme song, My Love, the entire soundtrack was a collaborative effort between Aiko and me. It’s been three years since we first worked together, and this time I focused on drawing out the best in both of our talents. For example, in Your Way, My Way, we experimented with the monitor track, left the piano arrangement entirely to Aiko’s interpretation, and avoided imposing rigid ideas beyond the vocal melody. In some sections, such as the piano solo, I intentionally refrained from specifying chords, granting her complete creative freedom. Her suggestion to loop back to the beginning in the outro aligned perfectly with the song’s lyrical themes, making it a natural inclusion.
Despite collaborating remotely, this project yielded an unexpected yet captivating creative synergy. I’m thrilled with the results and hope you’ll enjoy both the film and its accompanying soundtrack!
There are almost no works in my portfolio that involve love stories. In that sense, Dan is like a mentor to me, as he has created so many romance-themed works. For the music, I played the piano while listening to Dan’s a cappella recordings, and for the soundtrack, I repeatedly watched the visuals, pressing the record button, and playing in real time dozens of times until I felt, “This is it.” I submitted what I thought was the best. It turned out to be live-feeling music, a realistic creation crafted by human hands rather than machines. I shared my thoughts about which scenes inspired each piece of music, but the final decision was up to Dan, who even came up with the titles for the tracks. It was a great collaborative experience!
I’ve been feeling lost since around May last year, but I think I’ve finally managed to get myself back on track—what I’d call a successful “dandy tuning.” It feels like my heart is in order again.
The tricky part, though, is that emotional turbulence often brings about the best creative ideas for my work. However, when it comes to performances or organizing projects, even a slight imbalance throws everything off. Balancing this dual nature is a real challenge.
It’s the fate of a playing manager, I suppose.
Someday, I hope to have a strong right-hand person, like a capable manager, by my side. But I do acknowledge that I’m a bit difficult to handle—a dangerous man, so to speak. Recently, I’ve become more aware of this.
While I don’t think I’m the type to engage in power harassment, I do have a certain contradiction: I’m open-minded yet distrustful of others. This makes me prone to misunderstandings. Sharing concepts effectively has never been my strong suit either, so that remains an ongoing challenge for me.
Ultimately, it probably comes down to whether someone can genuinely take an interest in me and share my dream. Perhaps I need to set my life goals in a more catchy or relatable way.
Let’s say, for instance, “founding an independent nation.” Trends aren’t meant to be followed—they’re meant to be created. Something like that, I guess.
By the way, I’m always on the lookout for an art advisor to help address my biggest weakness: the visual aspects of my work.
As a result, the first idea has descended upon me:
I would take on the role of a time traveler who has wandered into the present, collaborating with a DJ to create a musical performance—a concept likely untouched by anyone and perhaps impossible for anyone else to achieve.
The live show would feature a unique structure where I would interweave solo theatrical performances between singing parts of my songs. Using my role as a person from the future, I could deliver social satire as lighthearted jokes, offering commentary on the “past,” which is our present. This premise suits my immersive, “possession-style” creative approach perfectly.
The DJ could enhance the performance with tailored background music and sound effects, creating a seamless integration of music and theater.
This idea has the potential to captivate an audience, even with original songs, due to its low-budget yet impactful execution. If it gains traction, it could evolve into a larger-scale production by bringing in additional musicians or performers. Alternatively, it might even work with a pianist or guitarist instead of a DJ.
That said, there are several challenges to address:
1. What language should I use?
This is a question of targeting the right audience.
In the long run, the performance should probably be in English, but for now, I’m in Japan. Displaying subtitles via a prompter would require an additional staff member. However, since 70% of my songs already have English lyrics, subtitles might be necessary anyway. Should I restrict the performance to Japanese-language songs? Or should I simply disregard the issue of lyrics altogether?
2. A striking character design
This will be critical. As a “futuristic” character, I need to create a visual appearance that’s entirely new, overwhelmingly impactful, and attention-grabbing—all on a low budget.
But here’s the catch: I’m terrible at visual arts. I have no sense of style. I wear the same clothes almost every day and haven’t changed my hairstyle in years.
That said, the answer likely lies in the delicate balance between “eccentric” and “cool.” Somewhere on that razor-thin line is the winning formula. If I can make people say, “Only Dan Mitchel could pull this off,” I’ll have succeeded. It’s a feat impossible for the average cookie-cutter pretty boy.
3. Lighting effects
Since theatrical elements are involved, lighting will play a crucial role. If I want to record the performance, expertise in both stage and video lighting would be ideal.
This means I’ll need to officially form a “Dan Mitchel Creative Team.” Not just musicians or performers, but a group of extraordinarily talented individuals is essential.
But here’s the harsh reality: I don’t currently have the funds to make this happen, nor do I know if I’ll secure sponsorships or partnerships.
Even so, if there’s anyone who feels inspired to take part, I’d love for you to reach out. Gender, age, and nationality don’t matter. I need collaborators who can share a sense of ownership and think creatively alongside me.
Somebody, please help me. At this rate, I might truly fall apart.
This year, I hope to live with an emphasis on “playfulness” and “sensuality.” However, last year was so tumultuous, filled with extremes of miracles and despair, that I haven’t fully processed it all, and its impact still lingers.
Looking back on 2024, it feels like a year where I encountered many different worlds. I had the opportunity to interact with musicians, dancers, artists, actors, filmmakers, entrepreneurs, businessmen, academics, non-academics, STEM professionals, humanities majors, the wealthy, the poor, salarymen, self-employed individuals, elites, self-made people, lawyers, criminals, men, women, sexual minorities, liberals, conservatives… and people of various generations and nationalities. These random exchanges were truly invaluable.
On the other hand, I also witnessed the staggering divides that exist in every field. Hatred arises everywhere simply because people cannot understand each other. This animosity is often masked by a pretense of indifference to maintain appearances. It seems that society has already given up on trying to understand one another. In a world that avoids conflict, the prevailing “justice” is to keep these divides from intersecting forever. This has led to a culture where people inevitably adopt an attitude of “as long as I’m fine.”
Can this truly be called diversity? Who is actually smiling as a result of this?
As for me, I’ve become like a solitary island, unable to fully align with any faction.
There are simply too many things that feel unnatural to me, and I can’t suppress the visceral sense of disgust they evoke.
I tried to escape this reality, but I’ve ended up starting the new year in much the same position.
I feel like I’m missing something critically important, but I don’t know what it is. This year will likely be a journey to search for that missing piece. If I don’t find it, I fear I might end my life never truly empathizing with anyone, and never being understood by anyone in return.
I might need to change my environment to find that missing piece. Moving abroad is an option I’m considering—not out of blind admiration for other countries, but as a practical choice. Still, I don’t have any concrete plans in mind.
I also find myself reflecting on the miracle of April 14th. On that day, it felt like magic was in the air—a miraculous groove brought together people from all kinds of categories. Everyone connected with sincerity, creating a beautiful energy. There seemed to be no careless divides, so why can’t such moments be sustained in everyday life? This question weighs heavily on my mind as 2025 begins.
By the way, my first dream of the year involved being attacked by a snake. Whether that’s a good omen or a bad one, I have no idea!
I’m ashamed that, despite the support I’ve received from so many people, I’ve yet to repay any of them. Perhaps I’ve lost sight of my “grand ambition.” That’s the reality I face.
We must not be bound by even the saddest of pasts. Instead, we must clearly acknowledge that what is wonderful is wonderful, and what is not is not, as we build a new era and a new world. While reflection is always necessary, nothing can be born from criticism, denial, or attack. Where has the generous, all-encompassing love disappeared to?
Still, I’d like to keep struggling a little longer to create some groundbreaking shared language—something that could bridge those divides—through my work or some kind of content.
Dan Mitchel 