godfather of tokyo entertainment

After the official filming began, Hideaki Shibasaki became the busiest person on the crew.

Kei Fujiwara originally wanted to help, but as a screenwriter, dictating the director's work would inevitably cause resentment. So when filming the scene, Kei Fujiwara just watched from the sidelines. Even though he had different ideas from Hideaki Shibasaki, he held his chest and said nothing.

Word.

But afterwards, Kei Fujiwara handed a storyboard script he wrote to Hideaki Shibasaki. After Hideaki Shibasaki opened it and took a look, he was a little surprised: "Teacher Fujiwara, you wrote this?"

"Yeah." Kei Fujiwara nodded and added: "Because I have a habit of writing. I will first imagine a picture in my mind and then write it into words."

It is the director's job to create a storyboard. The storyboard is equivalent to the commentary of the scene. It must be clearly written about the scene, the scenery, the special effects used, and the music to accompany it.

Write the storyboard script first, and then follow it directly during the actual shooting to improve efficiency.

"You don't need to follow mine when you're officially shooting. This is just for your reference to save you time. It's mainly based on your ideas." Kei Fujiwara said.

"Okay, I'll look back." Shibasaki Hideaki said.

Shibazaki Hideaki didn't pay much attention to it at first. Not long after, when he was planning to write a scene for a plot, he suddenly got stuck on a line of dialogue.

He smoked two cigarettes. Perhaps because he was too tired, he could not picture a picture in his mind that matched the plot. At this time, his hand shook and the cigarette ashes accidentally fell on a document next to him.

Shibazaki Hideaki took a look and found that it was a story script written by Fujiwara Kei, so he put out the cigarette, picked it up with the idea of ​​relaxing his brain, and opened a page at random.

At first, I just read it casually and flipped through it very quickly. Mainly because I didn’t think Kei Fujiwara could write any practical storyboards, but as I flipped through it, I gradually slowed down.

Very professional...

Shibazaki Hideaki was a little surprised, and then he turned to the place where he was stuck just now to see how Kei Fujiwara wrote the split shots of this paragraph.

After reading it, the corresponding picture quickly appeared in Shibasaki Hideaki's mind. Shibasaki Hideaki was silent for a while, picked up the pen, and transferred the script written by Fujiwara Kei intact to his own script...

Compared to Shibasaki Hideaki's draft version of the split-shot script, Fujiwara Kei gave the final version of the picture guidance, which of course looked more mature.

In the beginning, Shibasaki Hideaki only used Fujiwara Kei as a reference, but later he referred to him more and more often, and gradually developed a dependence on him, and wanted to take a look at him whenever he had nothing to do.

Later, whenever the shooting deadline was approaching, Shibasaki Hideaki simply used it directly. Of course, this is a story for later...

The progress of the script is not a problem at all. In addition to the one or two episodes currently being filmed, Kei Fujiwara currently has four episodes on file.

The script was written too fast, which caused Yui Mizuhara and his wife to worry. Why don't you think about it again? Don't lower the quality of the script just to rush the work!

This is probably the first producer in Japan who dislikes the screenwriter for writing too fast.

Copying is naturally much simpler and faster than original writing, but it is not completely workload-free. Due to the differences between the two worlds, there are many things to read.

There are many places in the play that reference current popular elements. Since the version has been changed, changes must be made.

There is also the setting of the heroine Konan. Since Arima Katsura is much younger than Yamaguchi Tomoko when the film was filmed, it also needs to be changed.

In addition to the script, there is also a soundtrack.

There are many classic soundtracks for "Long Vacation", including "Lovesong" and "DeeperandDeeper".

After all, music is not Kei Fujiwara's specialty. He can't even recognize musical notation and can't write songs, but he has good intonation and can sing these songs.

But after thinking about it, I decided to forget it. Don’t underestimate the musicians in this world. There are many classic songs that can be used. They are also suitable for the scene in the drama and are no worse than the original songs.

But there is a piece of music that he is reluctant to part with and really wants to bring to this world.

This song is "here are again".

You may not know which song it is just by hearing the name, but you can usually remember the lines.

"Wai, where are you going?"

"Go to work."

"Is it okay not to go to work?"

"If you don't work, you support me."

"..."

"crooked!"

"I'll support you!"

Do you remember it?

This song is the classic soundtrack of the King of Comedy. A good song cannot provide help in times of need. It is common for bad movies to be paired with divine songs.

But it can indeed be the icing on the cake.

The song "Here are Again" is a stroke of genius when placed in the context of The King of Comedy. Kei Fujiwara has listened to all kinds of pop music and pure music, and he never thought that a second song could replace this song and be placed in the movie "The King of Comedy".

inner.

This song first came from "A Long Vacation", and later the copyright was bought by Zhou and Li and used in the movie. "The King of Comedy" not only used the soundtrack of "A Long Vacation", but in fact the characters of the male and female protagonists

It is also similar to "Long Vacation".

In a nutshell, he is a depressed little person.

In "The King of Comedy", there are walk-ons and wine girls.

"The Long Vacation" is about a failed pianist and a model who can't find a job.

Perhaps in the context of the Great Depression, only the stories of small people can better touch the hearts of the Japanese in this era, right?

"The Long Vacation" is not just a romance film, or in other words, a story. If you want to tell love well, you can't just tell it about love.

If you want to tell the story of the love between Yang Guo and Xiao Longnu well, you must not just write about their love, but you must write about the dangers of the world, about Yang Guo's love for flower poison, about Xiao Longnu's humiliation (*** Gobi), about how they are

In addition to his love, there is also a woman who became a nun and never married. She wanted to write about the miserable lives of other women to show their love.

If you want to tell the story of Yin Tianchou and Liu Piaopiao's love, you can't just write about the night they watched the sea, but you have to write about Yin Tianchou calling a friend to ask how much the lady sleeps with; you have to write about him giving up all his wealth.

Paying "prostitution"; I want to write that when Yin Tianchou and Du Juaner were dancing on the dance floor, Liu Piaopiao was beaten black and blue by her elder brother...

If you tell the story of life and love well, it will come naturally.

All good works must contain a unique emotion, and "Here Are Again" is also very suitable for the story of "The Long Holiday".

"Teacher Fujiwara, I'm here."

When he was stunned, Kono Aoi stood behind him and whispered.

She subconsciously kept a certain distance from Kei Fujiwara, and she didn't know what Mr. Fujiwara suddenly wanted her to do.

Main actors of the opposite sex usually meet a young actor alone, and often nothing good happens... They may make very excessive demands. Seniors in the industry have warned her so.

Kono Aoi felt that Fujiwara Kei didn't look like this kind of person, and he was young, promising, and handsome. There were so many girls in the circle who wanted to pounce on him, so they probably wouldn't use force on her.

But that’s hard to say. What if he’s just looking for excitement?

Kei Fujiwara looked back at Aoi Kono, stood up, and asked, "Thank you for your hard work, Kono. I want to trouble you with something."

Kono Aoi swallowed subconsciously: "What's the matter?"

"Kono, I'm humming a song, can you compose it into piano music?"

Kono Aoi was relieved and said: "There should be no problem, but if Fujiwara-sensei you are out of tune, there will be nothing you can do."

...You don’t have to be so practical.

"That's good."

They borrowed a musical instrument room in Fukuyamadai. Kono Aoi sat in front of the piano, while Fujiwara Kei cleared his throat and hummed in front of her.

"Thing thump, thump thump, thump thump, thump thump..."

Kono Aoi listened to this song, her eyes

His eyes brightened, and he turned to look at Kei Fujiwara: "Teacher Fujiwara, is this a piece you made?"

"No." Kei Fujiwara rejected it directly. He couldn't even read musical notation. If he said he could compose music, it would be easy for others to tell him he was lying.

But if you say that someone else did it? Who should you say? If you don’t admit that the song is yours, what if someone suddenly pops up and claims that he is the original author?

Thinking of this, Kei Fujiwara said: "This is a song I listened to when I was a child. The author is my late mother."