godfather of tokyo entertainment

After the two of them finished shooting today, they ran to a quiet tavern to drink and chat.

"I plan to participate in this year's peer film festival." Ohno Nagaharu said, "The purpose of shooting commercials is to raise funds for filming. I have almost saved up and plan to start shooting next week."

"Your father won't support you?" Kei Fujiwara asked.

Ohno Nagaharu is actually a second-generation rich man who has no worries about food and clothing. His family's business is not only Ohno Bookstore, but the work in the bookstore is the most leisurely, so he chose to work here.

"I didn't mention it to him. I plan to save some money myself." Ohno Nagaharu said.

Kei Fujiwara was silent for a moment and asked: "Do you have the movie script?"

"I wrote one myself." Ohno Nagaharu said, "What, do you want to read it?"

"Okay." Fujiwara Kei nodded.

Ohno Nagaharu took out a few pieces of paper from the backpack behind him, handed them to Kei Fujiwara, and read them under the dim light of the tavern.

Kei Fujiwara read the script carefully, and then sighed: "Ohno, you are not good at screenwriting."

This script is almost the same as the scripts of Ohno Nagaharu's first two films. The script is full of various metaphors, but there is no smooth story. It is unqualified as a movie script.

Kei Fujiwara has seen Ono Nagaharu's works and found that as a director, he is not without talent. His lens language is very good, and he often has some very interesting ideas that suddenly come up.

But he also has an obvious shortcoming, that is, he does not have the ability to be a screenwriter.

His previous two films were self-written and directed, and the scripts he wrote were very bad.

In fact, it is not so much that it is bad, but that Ohno Nagaharu has not considered the audience other than himself at all. His movies are like created for himself, like a ridiculous and bizarre dream that only the person involved can understand.

Every word of the dream seems to be muttered in a dream. The dreamer knows what it means, but outsiders have no way of knowing.

If Ono Nagaharu was an already successful director, his two works might be constantly interpreted and deconstructed to analyze the meaning behind every shot and every line of his lines. But unfortunately, he is just an unknown person, and the audience

When I saw those incomprehensible plots, I had only one thought: What is this?

The first time he watched a film by Ono Nagaharu, Kei Fujiwara saw a familiar feeling in it. Later he realized that the style of Ohno Nagaharu's films was somewhat similar to that of a writer.

Haruki Murakami…

Speaking of Haruki Murakami, most people can only think of the work "Norwegian Wood". The sales of this work in Japan have exceeded 10 million. Kei Fujiwara also thought about copying this book at first.

But firstly, I didn’t have the celebrity effect of Haruki Murakami at that time, and secondly, this book was written in the 1980s and might not be compatible with the times, so I gave up.

But in fact, the reason why this book is so popular is that it is the most secular of all his works. It is said that "Norwegian Wood" is an autobiographical work by Haruki Murakami (envy

), compared to others, this book tells a more complete story and is more in line with the readers' reading habits.

More of Murakami Haruki's works are full of political metaphors and obscure, such as "Kafka on the Shore", one of his masterpieces of magical realism.

When Kei Fujiwara first read this book, it was confusing. The various paradoxical plots and weird narrative rhythms in it were like an illogical dream, which gave people a headache.

For most readers, it is difficult to arouse interest in reading. When Fujiwara Kei read it for the first time, he only read some of the driving scenes in the book. It was not until he got older that he read the entire book.

Read it casually.

Kei Fujiwara feels that 90% of the reason why some people buy and read this book is because the author of this book is Haruki Murakami.

If you want to be disobedient in your work and still have people pay for it, you have to become a celebrity first.

Ohno Nagaharu seemed to have failed to understand this truth before, and the works he produced completely ignored the audience.

Feel.

And he seems to have realized it recently, so the newly written scripts have become much more popular, but they are still... not very good.

"I know." Ohno Nagaharu drank the glass of wine, "That's why I haven't taken pictures yet, but I can't seem to write anything better... Looking back at my works now, I realize how bad my ideas were at the time.

How self-righteous."

The sign of a person's progress is to overturn his past self. From this point of view, Ohno Nagaharu has indeed grown.

After this period of time, Kei Fujiwara has almost clearly seen Ohno Nagaharu’s skill panel and various ability values. If you say he has the ability to direct, the films he makes are indeed bad; if you say he does not, some of the audio-visual language and language in the film are

Some unique and innovative designs seem to tell you that this director is quite spiritual.

So confused.

After much deliberation, Kei Fujiwara defined Ono Nagaharu as a pure director who cannot write scripts. Give him a good script and he might be able to make a good film; but if he writes it himself, he can make it.

You can't look at things.

In fact, there are many such directors, and there is one in China.

If the screenwriters are Li Bihua and Lu Wei, they can produce "Farewell My Concubine"; if the screenwriter is himself, he can only produce "The Promise".

By the way, one more thing, "The Promise" was released later and was rewritten by Guo Jingming. As far as "The Promise" is concerned, the two directors can probably be regarded as confidants.

Suddenly, the air became stagnant, and Ohno Nagaharu turned his head to look at Kei Fujiwara.

Fujiwara Kei: "...I'll think about it later."

Ohno Nagaji stretched out his hand to hold Fujiwara Kei's hands: "Then I'll trouble you, Fujiwara."

"Ohno, would you consider working on my crew?" Kei Fujiwara suddenly asked.

"...I have no experience filming TV shows."

"You have experience in shooting independent films. Most of the crew members did not have such experience as you before joining the crew." Kei Fujiwara said, "But after all, you haven't been involved in shooting for a while. To be honest, imaging technology has been updated very much now.

Fast, new technologies will appear almost every once in a while. If you want to make good works, you can’t do it without learning.”

Ohno Nagaharu looked at him and asked, "Won't it cause you trouble?"

Kei Fujiwara laughed and said: "I have a little power in the crew now, so it's easy to do it alone."

"Thank you." Ohno Nagaharu raised his glass.

When Kei Fujiwara left Ohno Bookstore, the money Ohno Nagaharu gave Kei Fujiwara helped him through the most difficult period after he came to this world. Later, Kei Fujiwara would always ask Kei Fujiwara out for dinner, so Kei Fujiwara has always been interested in

He is grateful.

Of course, when Kei Fujiwara got rich later, he started evading the bill at every turn.

On the second day, Kei Fujiwara brought Ohno Nagaharu into the set. Before Ohno Nagaharu came, he specially groomed himself, used hair oil to suppress his unruly and messy hair, and even wore black-rimmed glasses. It should be

I hope to appear more polite.

After working on the crew for a few days, Kei Fujiwara met a producer from a film department of Mizuha Productions, who was currently producing a romantic literary film.

After chatting for a while, Fujiwara Kei suddenly thought of Ohno Nagaharu, so he recommended Ohno Nagaharu to the producer and showed him the two works of Ohno Nagaharu.

After reading it, the producer was silent for nearly half a minute. After half a minute, he smiled frankly at Kei Fujiwara: "The story is really bad."

"Who says it isn't?" Kei Fujiwara sighed.

"But..." the producer touched his chin, "In addition to the story itself, there seems to be a lot of merit in the movie's graphics and shots. Maybe you can train it. How about joining my crew as a second assistant director?"

There are some differences between film crews and TV drama crews. The second assistant director is mainly responsible for aesthetics and aesthetics, which can be regarded as an important position in the crew.

Fujiwara Kei directly agreed on behalf of Ono Nagaharu. When I told him the next day, he also ran over. I heard that it didn’t take long for him to get along like a fish in water on that crew. When nothing happened, he and the chief cameraman would go out to play small

Steel balls.