Tokyo Literary Godfather

In the Japanese broadcasting industry, there is a well-known saying: If you want to pick up a piece of waste paper on the ground and want to find its owner, you only need to take out your film camera again. Soon, someone will come out and claim that the piece of paper is his, demanding that you pay a certain fee.

Fujiwara Kei also feels this deeply. When shooting on location, even if you shoot a trash can, someone may come over and declare sovereignty. Moreover, there is a certain probability that those who come to ask for money are those bosozoku or big gangsters.

And the big film and television companies have enough confidence to deal with these people, which can save Kei Fujiwara a lot of experience.

After receiving Eiji Shirai's promise, Kei Fujiwara began to think of ways to form his own core creative team.

As for the producer, Kei Fujiwara originally wanted to continue to let Yui Mizuhara be in charge, but Yui Mizuhara has already been in charge of the production and supervision of many dramas, so it is estimated that he has no skills at all.

At this time, Fujiwara Kei thought of Ono Nagaharu.

When Kei Fujiwara was heading to Arima Guixiang's house by car, he called Ohno Choji, "Hey, Ohno, I'm planning to shoot a movie recently, a feature film, please help me."

"Well, okay, you want to hire me as the director, right? First of all, I won't shoot the script if you didn't write it yourself."

"I wrote the script myself, but I plan to direct this movie myself."

"Then what do you want me to do? Be your assistant director?"

"You can be my producer."

"What? I've never been a producer. Do you want to think about it again? Wouldn't it be better to let Miss Mizuhara be in charge of the production?"

"Shuiyuan has her own work tasks. I really can't get out of it, so I have to trouble you. It's not difficult to make a film, and you are not a newcomer. You should have experience. It's settled, come to my house tonight , I will discuss the script with you in detail."

"Wait, I haven't agreed yet, hello, hello? Damn it!"

Kei Fujiwara came to the door of Arima Keika, but met Arima Masai, so the two stood outside the door waiting for Arima Keika to open the door.

After a while, the door slowly opened, and Arima Guixiang appeared inside the door, with a hesitant expression on her face, she winked at Kei Fujiwara, and said in a low voice, "Miss Meicheng is inside..."

Kei Fujiwara nodded and walked directly in. As soon as he entered, Mima Takahashi looked a little unhappy when he saw Kei Fujiwara.

At the beginning of Arima Guixiang's debut, Takahashi Mima has been her manager. Takahashi Mima herself has some relatives with the Arima family, so besides being responsible for Arima Guixiang, she also has the care of her elders.

After seeing Kei Fujiwara, Takahashi Meicheng couldn't help thinking that the failure of Arima Guixiang's work and the exposure of her love affair would affect her career development. Coincidentally, these two things are related to Fujiwara's Kyu related.

The original work of the movie version of "White Night Walk" is Kei Fujiwara, and his love interest is also Kei Fujiwara, so it is inevitable that Takahashi Mikiro has some opinions about Kei Fujiwara.

After Kei Fujiwara saw Mima Takahashi, he smiled and said, "Ms. Takahashi, I haven't seen you for a long time. I have caused you trouble."

Takahashi Meicheng sighed, and stood up, "Mr. Fujiwara, I'm not polite to you. This time it's really troublesome... I'm not against you falling in love with Guixiang, but why do you want to hide me? I'm very passive."

"I'm really sorry. It's true that Guixiang and I only established our relationship in the past two days." Kei Fujiwara said.

Mima Takahashi didn't say anything anymore. He couldn't scold Kei Fujiwara like he did to Keika Arima.

Although Arima Guixiang is a popular idol, Takahashi Mima, as a senior manager and senior, still has a bit of dignity in front of her, but she can't stand up to a big player in the industry like Kei Fujiwara.

Whether they are artists or managers, their status is lower in front of a creator with a high status in the industry like Fujiwara Kei, and they have no right to speak down.

But Kei Fujiwara didn't put on airs in front of her, and sat down at a random place, Arima Guixiang also sat down obediently, and didn't dare to be next to Kei Fujiwara, but found a place close to Mima Takahashi down.

Takahashi Mima sighed, and stood up, "Okay, this is the end of the matter, there is no other way, I will go to the company's public relations department to discuss how to deal with it later, Gui Xiang, take a good rest during this time."

"I'm afraid she won't be able to rest for long." Kei Fujiwara suddenly said.

Mima Takahashi looked at Kei Fujiwara: "Teacher Fujiwara, what does this mean?"

"Ms. Takahashi, don't be in a hurry. I am here this time for a personal matter. You are here, so I will tell you directly." Fujiwara Kei said, "I plan to shoot a new work, and I want Arima to be my new movie The main character in the movie."

Takahashi Mima didn't show any surprise at all. Looking at Kei Fujiwara, she sat down and thought for a while, "Mr. Fujiwara, are you planning to make a movie?"

Kei Fujiwara nodded and said: "Yes. And the main role is very suitable for Arima."

Arima Jiansai was anxious at the side at this time, pointing to himself and said: "What about me, Mr. Fujiwara, I am also Arima. You promised me back then, have you forgotten?"

Kei Fujiwara turned to look at him, "I didn't forget, you are also an important character."

Arima Jianzhai felt relieved. Although he is not the main character, it would be great if he played an important supporting role. After all, although the Gong Zhao he played in "The Homeless Child" was very popular, he died within one or two episodes. It is difficult to leave a deep impression on the audience.

As for competing with his sister for the leading role, he probably can't compete...

Takahashi Mima said: "Mr. Fujiwara, who is in charge of directing this movie?"

Kei Fujiwara's screenwriting ability is undoubted, but the director's level is also very important. To be honest, Mima Takahashi selfishly believed that the failure of the "White Night Walk" movie was a major reason why the director failed to demonstrate sufficient adaptation skills. However, I dare not say this. It is always the director's job to blame the actors. If an actor dares to blame the director, that is transgression. Even if you have a background of a quintessential Chinese family, you will still be ostracized by the circle.

"I will direct it myself," Kei Fujiwara said.

Mima Takahashi frowned and said, "Is this the cross-border work of Mr. Fujiwara?"

This sentence is more or less questionable. A transformational work means inexperienced, and the work may not meet expectations.

Kei Fujiwara said calmly: "It doesn't count as a transformation. In "Naoki Hansawa" and "Homeless Child", I also took on the director's duties. Besides, this is not the first time that I have transformed. Back then, "Long Vacation" wasn't my transition work?"

"Long Vacation" is Kei Fujiwara's first TV drama work, and before that, he only had experience in making variety shows and writing novels. At the beginning, Arima Guixiang agreed to play Kei Fujiwara as the main character, but Mima Takahashi was reluctant because she had no confidence in Kei Fujiwara's cross-border screenwriting.

When Kei Fujiwara said this, Takahashi Mima immediately stopped talking, knowing that the other party was using past successful experience to prove it to her. It is not difficult for Kei Fujiwara to prove that crossing borders.