godfather of tokyo entertainment

The crew drove to Kanagawa Prefecture.

Kei Fujiwara and Nagaharu Ohno drove out of Tokyo in their own cars, taking the crew and equipment with them.

The weather today is very good. Although it is a bit cloudy, the wind is very comfortable on my body. The sun cannot be seen in the whole sky, but it is as bright as a movie screen.

Today we mainly filmed the scenes of Singin' in the Rain. Tokyo is a highly modern city, and it was difficult to find a field path that fit the scene of the script, so the group came to Kanagawa Prefecture, which is very close to Tokyo.

Kanagawa is very close to Tokyo, but the rent of houses here is cheap, so many young people working in Tokyo live here to save money. It is like the relationship between Yanjiao and Beijing.

[Japan is all rural except Tokyo]. There has always been a saying in Japan that Tokyo is called Tokyo, and places outside Tokyo are called places.

Tokyo is an international metropolis full of technology and modernity, but many cities outside Tokyo still have a rural scene.

For example, there are many fields in Shizuoka and Kanagawa, not far from Tokyo.

Ohno Nagaharu asked Tokyo and its surroundings where it was suitable for filming and where there were scenes full of story-telling. After understanding the content of the script, he quickly decided on this place.

In order to create a rain scene, they rented a sprinkler truck in advance. The water outlet pipe sprayed water into the sky and then fell down. After adjusting the water output, the official shooting began.

Regarding the dance in the rain in the script, Ohno Nagaharu and Fujiwara Kei have not yet decided on what to dance and how to dance it. If it is all left to Mei Sato to perform on the spot, it will not be very safe. What if the dance is not good?

manage?

At this moment, Keika Arima suddenly called Fujiwara Kei and told him that someone from Dongzhen Pictures had contacted her and hoped that she could play the role of Karasawa Yukiho.

The two made an appointment for dinner, and during the meal they chatted for a while about the movie version of "White Night Journey". The director Dongzhen Pictures initially selected was a commercial film director with considerable achievements.

Kei Fujiwara has seen that director's work. Although the work is indeed pretty good, Kei Fujiwara has a bad feeling. Because this director seems to have never made suspense themes before, he may not be able to control the story of "White Night Walk".

The story of "White Night Journey" itself is difficult to remake, and there are so many versions of film and television works that have almost never been filmed successfully. Because the original work of "White Night Journey" itself is a two-line parallel model, the story line and the female protagonist are relatively independent, and in

There are almost no direct intersections between the two in the original text.

The past between them only appeared in the mouth of the old policeman Sasahara.

However, almost all film and television versions directly filmed the interaction between Yukiho and Ryoji, which more or less destroyed the charm of the original work.

Another point is that many film and television versions seem to have a tendency to whitewash the role of "Yukiho". The work focuses on showing the pain that Yukiho has suffered, and presents the relationship between Ryoji and Yukiho in a pure and poignant way.

In fact, this also weakens the charm of "White Night Walk". Keigo Higashino actually leaves a lot of blank space in "White Night Walk", and the characters are also very complex.

Taking the character of Yukiho Karasawa, does her evil really stem from her childhood experiences? Not necessarily.

….

A person who has been sexually assaulted, when he encounters trouble, the first thing he thinks of is to have someone rape or film the woman who caused him trouble. People who have been sexually assaulted are very

Obsessed with using *** to harm other people.

It's hard to say whether Karasawa Yukiho was traumatized and turned into a villain, or whether she was originally a villain but her childhood experience catalyzed the fruit of evil and made her obsessed with the identity of the perpetrator.

In addition, there is also the relationship between Yukiho and Ryoji. Whether these two are dependent on each other or whether Yukiho has unilateral control over Ryoji, Higashino Keigo has not made it clear.

[A book-chasing book recommended to me by an old book friend I have known for ten years, @

I have to say that Keigo Higashino's skill in writing the book "White Night Journey" is impressive.

While eating, Katsura Arima asked about the role of Yukiho Karasawa, and Kei Fujiwara told her his thoughts.

Arima Keixiang quickly took out her notebook to record, nodding her head: "I see..."

Fujiwara Kei looked at her serious look and said with a smile: "It would be great if that boy from Masai is as attentive as you are."

"Yes, if I were a boy, [White Crane House] would be mine." Arima Keika's tone sounded quite resentful.

"By the way, do you two get along well?"

"Um?"

"I heard from my mother that I always wanted to visit your crew, but my father forced me to practice at home."

Kei Fujiwara almost spat the drink in his mouth back into the cup. Seeing Keika Arima's strange look, Kei Fujiwara couldn't help laughing and told her about Arima Masai's crush on Inoue Morimata.

After Arima Keixiang heard this, the fire of gossip burned in her eyes, "Is this the kid who played Suzu in "The Homeless Child"?"

"Yes, she is also a little beauty."

Arima Guixiang touched her chin and said with a bad smile: "This boy... finally has something in my hand, hahahaha..."

"You smile like a middle-aged uncle..."

"Go away." Keika Arima said, raising her glass: "I heard that the ratings of "Homeless Children" have surpassed "Gemini Detectives"? Congratulations."

Fujiwaratani smiled and clinked glasses with her: "You are very worried about me."

"Yes." Arima Keixiang admitted generously, "I am my benefactor after all. Thanks to you, my current advertising endorsements have increased a lot..."

"Oh, it turns out it's because of this." Kei Fujiwara sighed.

Arima Keixiang was obviously panicked, the drink in the glass shook slightly, and she quickly changed the subject: "By the way, I heard that you are filming a movie recently."

"Microfilm." Kei Fujiwara said, "I plan to participate in the peer film festival soon."

"Do you need me to make a cameo?"

"No, because most of the participating films are newcomers. Therefore, this film does not even use professional actors. The film has no commercial intention and does not require big stars."

"Hmph, don't use it if you don't want it. Don't even want it delivered to your door for free." Arima Keixiang angrily stuffed a large piece of barbecue into her mouth.

"By the way, what kind of story are you filming?" Katsura Arima asked.

"A love letter to the creator." Keimichi Fujiwara.

Arima Keixiang raised her head: "I want to see when the photo can be taken?"

"It's only been a month since the finished product was released... just in time to meet the peer film festival review deadline."

"I happen to be free tomorrow, so I'll go visit the class." Arima Keixiang said.

"Hmm, okay." Fujiwara Kei responded, and suddenly thought of something: "By the way, Guixiang, you are a dancer by training, right?"

"Yes." Arima Katsura nodded. As the daughter of [Shiraturuya], Arima Katsura was exposed to dance since she was a child, and she performed on stage when she was seven or eight years old.

"Creating a dance party?"

"I'm not very good at hip-hop. Ballet and classical dance are okay..."

"It doesn't have to be too professional, it has to be natural, but it has to show the character's emotions..." After that, Kei Fujiwara told her about the plot of "Dancing Alone in the Rain" in the script.

After hearing this, Arima Guixiang thought for a moment and said, "No problem, I will choreograph the dance today, and I will go find you tomorrow."

Sima Guitai