Film Producer Masayuki Nagata on Practical Sharks in Bigger Sequel

This summer, independent Japanese film Hot Spring Shark Attack (温泉シャーク Onsen shāku) made a huge splash in the genre world after a remarkable premiere at the Chattanooga Film Festival. With distributor Utopia fully backing the international release here in the United States, it was remarkable to see the crazy shark movie with such personality (especially one with traditional practical effects that isn’t a major player like Godzilla or Ultraman) achieve such a high level of success and buzz.

As the Kickstarter campaign for the film’s sequel enters its final few weeks, Kaiju United had the opportunity to correspond with Producer Masayuki Nagata and ask him a few questions about the upcoming sequel, what it takes to be a successful independent movie producer, and the crazy special effects that captivated international audiences this summer.

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KU: What led to the decision to make a sequel to Onsen Shark [Hot Spring Shark Attack] so quickly after the original film?

NAGATA: That kind of madness doesn’t stay fresh forever, and we knew we had to strike again before the excitement faded. The wild energy the first film sparked created a crack, and we felt we had to hit back with the next punch before it closed.

On top of that, the ridiculous yet strangely lovable world of “Onsen Shark” living in our heads simply couldn’t be contained in a single film. We didn’t need any special reason to jump back on set, momentum alone was more than enough. The world is waiting for a Japanese TOKUSATSU shark movie, and we’re ready to deliver.

KU: Onsen Shark [Hot Spring Shark Attack] is a film aimed to boost local Onsen (hot spring) regional tourism. Has the first film helped raise awareness? What impact has the first Onsen Shark film had since it released internationally?

NAGATA: Thankfully, we’ve seen fans in Japan actually traveling to Atami, one of our main filming locations, just to check out the spots themselves. It may be a small thing, but we feel like the film has helped support local tourism in its own way. (In Japan, we tend to be a bit modest when talking about these things!)

The overseas theatrical release especially came as a surprise to the local community, and it brought a whole new wave of encouragement and support from people back home. TOKUSATSU films often get underestimated, so seeing that kind of international response really meant a lot.

KU: Almost all of the sharks in Onsen Shark 2 [Hot Spring Shark Attack 2] are practical, hand crafted special effects. In an age where everything is CGI (computer generated imagery), why do you feel like it is important to have movies with these handmade effects?

NAGATA: Even though CGI has come such a long way and you can create almost anything on a screen now, we deliberately wanted to hold on to that sense of “physicality”, the feeling that something is really there. We have a lot of respect for Japan’s long tradition of TOKUSATSU , and one of our key goals with this film was to let old-school techniques and modern visuals coexist, even on a small budget, powered by strange and bold ideas.

That balance is one of the core creative themes of this film. And then we decided to throw all of that TOKUSATSU spirit straight into a shark movie. That said, let me make one small correction: While we truly love the soul of TOKUSATSU, just like the first film, we do incorporate some limited-budget CGI as well. Why? Because CGI tends to aim for something “perfect,” but by combining it with practical effects, we can create what we like to call a “lovable glitch”, something slightly off, a little strange, and full of character. That contrast is exactly what makes it fun for us.

Mixing the real, physical weight of handmade suits with CGI created on a limited budget. That’s what we see as the ultimate “punk strategy” for indie filmmakers to stand up to Hollywood. As you probably know, TOKUSATSU isn’t cheap either, so using CGI where it makes sense lets us keep the director’s imagination fully alive while still keeping the budget under control.

Our TOKUSATSU crew, CGI artists, cast, and everyone on the team pushed themselves to the absolute limit within a very tight budget, and they delivered incredible work. As a producer, I’m genuinely proud of what they accomplished.

KU: In one of the press statements, it has been said that shark movies aren’t very common in Japan, but are rising in popularity. Are there any shark movies that you enjoy from around the world? Are there any Japanese shark films that international audiences should seek out?

NAGATA: “JAWS” is basically the bible, so it exists in a league of its own. And we have nothing but respect for “SHARKNADO” for inventing the glorious idea of “sharks falling from the sky.”

As for Japanese shark movies, well, part of me wants to say you don’t really need to watch anything other than the ones we’re about to make. But honestly, the Japanese shark movie scene is kind of like a Zen rock garden, very quiet, very minimal, shaped by extremely low budgets. I’d say watch them all at random and enjoy that unique mix of “Wabi-Sabi” and pure absurd comedy.

KU: What makes this film stand out for kaiju and genre movie fans?

NAGATA: By blending the globally familiar genre of shark movies with Japan’s hot spring culture and the long-standing tradition of “TOKUSATSU” filmmaking, “Onsen Shark” was born. It is a film created out of deep respect for the works we love, such as “Godzilla” and “Ultraman”, while pushing that legacy in a new and playful direction.

At the same time, we believe it has become a truly one of a kind, delightfully absurd film that delivers both laughter and genuine emotion. If possible, we especially hope future creators, children in particular, will watch it and discover how exciting “TOKUSATSU” can be. We want to share a simple message: “TOKUSATSU” is fun.

KU: Tell us about working with Utopia on the first Onsen Shark [Hot Spring Shark Attack] film’s distribution.

NAGATA: They were our partners in crime, treating our little “Jokes” way more seriously than anyone else. Instead of hiding the rough edges that come with Japanese indie films, they turned those quirks into part of the film’s unique flavor for North American audiences. We feel really lucky to have teamed up with such a crazy, like-minded partner.

KU: What was the Onsen Shark [Hot Spring Shark Attack] premiere at the Chattanooga Film Festival like? How have audiences embraced the first film?

NAGATA: I haven’t received detailed feedback, but judging by the reactions on social media, it seems like people really enjoyed it. We’re also very grateful to Utopia for giving us the opportunity to screen it at Chattanooga.

KU: What is the best quality or trait to have in order to be a successful film producer?

NAGATA: I’d say it’s all about being thick-skinned, stubborn as hell, and having a bit of a masochistic streak for enjoying chaos. When the budget’s blown, gear breaks, or the weather turns against you, it’s all about whether you can just grin and think, “Alright, how do we turn this disaster into something awesome for the movie?” That’s really what it takes.

KU: Aside from backing the Kickstarter, how can we further help support Hot Spring Shark Attack 2 and other independent cinema?

NAGATA: Whisper to your friends that there’s a crazy movie coming out of Japan. Our biggest weapon isn’t a massive ad budget. It’s you spreading the word like a virus. Even just sharing the campaign page on social media helps feed the sharks. (***On Kickstarter, every $7 pledge adds another shark to the movie!)

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Hot Spring Shark Attack 2 is currently crowdfunding on Kickstarter until January 13th, 2026. An international release is planned after the campaign secures funds for additional post-production assets, including a subtitle track and refined VFX.