godfather of tokyo entertainment

This method of inserting funny short films from time to time in the main film is not unique to "Japanese Illustrated Book", it is found in many programs.

This should be an art form originating from Japan, Kyogen and Noh drama.

Noh drama is a classical Japanese drama form, while kyogen is a bit like a cross talk sketch, a kind of comic performance.

Kyogen performances are usually interspersed with Noh plays and are a kind of improvised comedy.

In the initial planning of the variety show "Japanese Illustrated Book", this method was also adopted, and funny short films would be inserted into the program.

Sometimes it’s a rant performance, sometimes it’s a comedy sketch. One to three such short films are often inserted into a program. It mainly depends on the length of the formal content. If there is less formal content, more short films like this will be shot to supplement it.

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But to be honest, the audience doesn't seem to be very interested in these short films.

Kei Fujiwara has also watched their programs. These short films are as boring as the Spring Festival Gala sketches. They are all outdated and embarrassing old jokes. Even dogs don’t watch them.

"Fujiwara, how about you take charge of this short film." Ryuichi Kaneki poured himself a glass of beer and said.

"Kaneki-kun, he is still a newcomer, so don't embarrass him." An AP said, but he glanced at Kei Fujiwara, "But Fujiwara, I think you are quite capable. You are obviously a newcomer. How strange..."

"Maybe it's because I often participated in club activities before," Kei Fujiwara said, "and I learned a lot from my seniors."

"You're really good at talking. Come and have some cheesecake."

"Mr. Kaneki, leave that short film to me. Please tell producer Kobayashi in advance."

"Um, okay...eh?" Jin Mulong raised his head and glanced at Fujiwara Kei, "Are you serious?"

Fujiwara Kei nodded: "Didn't Mr. Kaneki say that he would leave it to me?"

"I'm just talking...but it's not impossible..." Because for this short film, you only need to contact the artists and let them perform in front of the camera. It is not difficult. The program team did not take this to heart, so the handover

Giving it to a new guy is no big deal.

"Okay then, I'll tell Mr. Xiaolin tomorrow. Even if it's just a short film, you have to work hard. You can't mess up even the smallest things in the show."

Jin Mulong raised his wine glass and said, these words were particularly funny coming from the mouth of an old salted fish like him.

Ryuuichi Kim is not young this year, he is in his thirties, but he still works in a production company and did not get a long-term contract from the TV station production bureau. It is estimated that his ability is flawed.

However, she was never depressed because of this and had already made up her mind to hug her until death on the big tree called Gao Gongli.

Kei Fujiwara's olfactory system was almost paralyzed by the smell of alcohol that filled the banquet. After all, the group of people were almost drunk, so they got up and left one by one. Kei Fujiwara walked home.

The next day, Kei Fujiwara came to Kobayashi's office.

Kobayashi Shuzo sat at his desk and asked: "Fujiwara-kun, I heard Kaneki-kun said that you want to be in charge of the shooting of the short film column?"

"Yes, although I am a newcomer, I think I can complete this task well."

Kobayashi Shuzo nodded with satisfaction. He actually admired Kei Fujiwara because compared to other young Japanese people, this man had the courage to make promises.

"Okay, then I'll leave it to you. Filming a short film is not difficult. You just need to choose a good script and performers. Under normal circumstances, the artists know what to act, so you don't have to worry too much."

"Mr. Kobayashi, do you have to perform kyogen and sketches?" Fujiwara Kei suddenly asked.

"Huh?" Kobayashi Shuzao glanced at him, "Then what do you want to play?"

"I plan to create a script for a comedy short film myself. The length will remain the same, and a short film will only last about five minutes."

"Do you want to write it yourself?" Kobayashi Shuzo was a little surprised. You must know that comedy is difficult to create, especially short-length comedies. You have to make people laugh within five minutes and make people feel good. The laugh points must be very dense.

Yes, but baggage creation relies heavily on inspiration.

Most of the sketches or rants that were broadcast before were not created now, but already had ready-made mature scripts for the artists to perform, and they just filmed and edited them.

Thinking about the script now is really troublesome and difficult.

"Yes." Fujiwara Kei replied.

"Well... it's not impossible, but it's difficult to write this kind of comedy script. Don't be careless just because it's a short film... What is this?"

Fujiwara Kei put a notebook on the table, pushed it in front of Kobayashi Shuzo, and said:

"This is a street sketch I wrote. You can take a look."

"Street sketch, what do you mean? I've never heard of it." Kobayashi Shuzo picked up his notebook and read it, and found that the notebook was full of dialogues.

"This is a name I gave myself. It's similar to a spoof. The actors will deliberately say some funny and ridiculous dialogues in front of passers-by, and then use hidden cameras to film them." Kei Fujiwara explained, "The program will not only film the actors'

During performances and dialogues, the reactions of passers-by must also be captured.”

Shuzo Kobayashi looked at the dialogue lines in the notebook and initially thought they were nothing, but after hearing Kei Fujiwara's description and imagining the scene, he suddenly felt that the script in his hand became interesting.

"This... is very interesting." Kobayashi Shuzo looked at the script in his hand, his eyes lit up, and he asked: "Fujiwara-kun, did you come up with this by yourself?"

"Yes." Fujiwara Kei said shamelessly, anyway, what is in my mind is mine.

Kobayashi Shuzo glanced at the contents of the notebook again, suddenly smiled, and returned the notebook to Fujiwara Kei with a rather appreciative tone.

"It's quite interesting, let's do it." Xiaolin Xiuzou said, "But the funding won't be much. If you want to hire an artist, don't hire one that's too expensive."

"I know, don't worry."

Kei Fujiwara thought to himself: How much does it cost to shoot this thing? On the contrary, when I used to shoot kyogen, I had to hire a kyogen master, which was quite expensive.

Kei Fujiwara immediately contacted the photographer and a producer assistant, who were also responsible for the short film.

The first thing is to find actors.

In the past life of Kei Fujiwara, a street prank show like this, I saw it in the works shot by several Korean Internet celebrities. The script was of high quality and the jokes were dense, and it received a huge number of clicks on the Internet.

It has to be said that the Internet age is indeed the general trend. The wisdom of the people has directly crushed the elites of some TV stations to nothing. If many grassroots Internet celebrities want to enter the public eye, they must be enough to attract people's attention.

Although the actor who is responsible for reading the lines and performing the performance does not need to be too famous, he must have a good command of lines, and he must be natural, with no trace of deliberate performance, and at least he must not laugh.

There are also passers-by who are responsible for listening to the funny dialogue. They do not have to be real passers-by, they can also be passer-by actors.

In this type of funny videos, the reactions of passers-by are also crucial and play a catalytic role. Just like canned laughter appears in many funny variety shows, some passers-by are also needed to enhance the atmosphere.

Of course, it would be better if this passerby is a beautiful woman.

Under the guidance of an AP, Kei Fujiwara went to Fukuyama Terrace again, intending to select actors from the production bureau's information.