Tokyo Literary Godfather

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. There are often one to three such short clips 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.

But to be honest, the audience didn’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 They are all outdated and embarrassing old jokes.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, "I also learned a lot from my seniors."

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

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

"Hmm, 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 show crew didn't take this to heart, so it wasn't a big deal to hand it over to a newcomer.

"Okay then, I'll tell Mr. Xiaolin tomorrow. Even if it's just a small 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. Such words were particularly funny coming from the mouth of an old salty fish like him.

Ryuuichi Kaneki is not young this year, he is in his thirties, but he still works in a production company. He did not get a long-term contract from the TV station production bureau, so his ability is probably a flaw.

However, he has never been depressed because of this, and has made up his mind to embrace the big tree of Gao Gongli until he dies.

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 Shuzo's office.

Kobayashi Shuzo sat at his desk and asked, "Fujiwara-kun, I heard from Kaneki-kun that you want to be in charge of shooting short films?"

"Yes, although I'm a rookie, I think I can handle this task very well."

Shuzo Kobayashi nodded in satisfaction, he actually admired Kei Fujiwara very much. Because compared with other Japanese young people, this person has the courage to pat his chest and promise.

"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 play Kyogen and sketches?" Kei Fujiwara suddenly asked.

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

"I plan to create a script for a comedy short film by myself. The duration remains the same, and a short film is only about five minutes."

"Do you want to write it yourself?" Kobayashi Shuzo was a little surprised. You know, 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.

And most of the skits or kyogens that were played before are not created now, but have ready-made mature scripts, let the artists perform, and they just shoot and edit.

Thinking about the script now is really too troublesome and difficult.

"Yes." Kei Fujiwara replied.

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

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

"This is a street sketch I wrote, you can have a look at it."

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

"This is my own name. It's similar to a spoof. It will let the actors deliberately say some funny and absurd dialogues in front of passers-by, and then shoot them with a hidden camera." Fujiwara Kei explained, "The show not only takes the actors Performances and dialogues, but also the reactions of passers-by."

Shuzo Kobayashi looked at the dialogue lines in the notebook and thought it was nothing at first, but when he heard Kei Fujiwara's description and imagined the scene, he suddenly felt that the script in his hand became interesting.

"This...is very interesting." Shuzo Kobayashi looked at the script in his hand, his eyes lit up, and 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 can it cost to shoot this thing? On the contrary, when filming Kyogen in the past, we had to hire a Kyogen master, which was quite expensive.

Kei Fujiwara immediately contacted the photographer and a producer assistant, both of whom 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 era 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 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, but can also be passers-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 in many comedy 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 Station again, intending to select actors from the production bureau's information.