Tokyo Literary Godfather

Fujiwara Kei flipped through the photographer information in front of him. This was all given to him by Eiji Shirai, but these were only contracted photographers of Matsui Pictures.

But there are also many outstanding photographers who are independent photographers without owners, and these people are also the main screening targets of Kei Fujiwara.

Once the target person appears, Kei Fujiwara will write his name in his notebook. After writing down the names, I would focus on looking at the photographer's works, and then shake my head and cross out the names of these photographers from the book - like the grim reaper.

While Fujiwara Kei was selecting the chief photographer, Ono Nagaharu was sitting not far away from him, looking at the script. He shook his head while reading, and muttered: "What a pity, I directed this script so well..."

The two of them are not at Kei Fujiwara's house now, but on the second floor of Ono Bookstore. The second floor here has been transformed from the library where the niche books were stored into one of their conference rooms.

Ohno Kyou placed a lot of high-quality books and precious ancient books here. Because he was afraid that the crew would damage his treasures, he quickly moved all these antique books out, and the room suddenly became spacious.

Ohno Nagaharu was concentrating on reading the script, closing his eyes, thinking about how he would direct this movie. Suddenly, the sound of nails scraping against a blackboard penetrated his ears, followed by horror background music. Ohno Nagaharu started directly Goosebumps all over my body.

After opening his eyes, he found that Kei Fujiwara was playing a horror movie on the TV and watching it intently.

"Hey... Fujiwara, I can't stand this kind of movie. Can you go home and watch it yourself?"

Ohno Nagaharu said bravely that the genre he hated most was horror movies. When he was a child, he was so scared to go to the toilet in the middle of the night because of watching horror movies that he wet the bed. He was already in junior high school at that time. After this incident was found out by his classmates who lived next door, it quickly spread throughout the class, leaving a deep psychological shadow.

So much so that when he watches a horror movie, his prostate reacts and he can't help but run to the toilet.

Sure enough, Ohno Nagaharu stood up and went to meet Hanako in the toilet.

Kei Fujiwara ignored him, but repeatedly used the remote control to play it backwards and kept looking at one or several shots.

"This long lens is handled well..." Kei Fujiwara thought to himself.

The lens language of a movie is an important manifestation of the charm of the movie, and it is also what distinguishes film writers from script writers. [Lens] is the director's enchantment on the script. A good set of shots may be more touching than lines and music.

When teaching in the directing department of art schools, there is a very important link called "pulling", which is to watch the movie over and over again like a saw. In fact, the main purpose of this technique is to analyze the lens language of the movie.

However, it is not only the director who is responsible for the presentation of the movie lens, but also the cinematographer.

Although when it comes to the lens language of a certain movie that is very exciting, whether it is the film critics or the audience, the first person to praise will be the director: for example, the one shot in "Birdman"; the church massacre in "Kingsman"; Acting instruction and early morning separation in "The King of Comedy" and so on. But few people mention the photographer, as if he has made no contribution to the film.

But in fact, a great deal of effort has been made in the presentation of a movie, from the director to the cinematographer, to the editor, the storyboard artist, the assistant director in charge of art, etc. Movies are the product of collective efforts, integrating the wisdom of many people, so Kei Fujiwara has always hated the practice of putting the words "Work by Director So-and-So" on the title of a movie - how come it is your work alone?

Among them, the photographer is the most important thing. A mature and excellent photographer can often perfectly present the director's fantasy picture, and sometimes even surpass the director's fantasy.

Therefore, Kei Fujiwara needs a very mature and experienced main cameraman to control his own camera.

After some searching, his attention was attracted by a low-budget horror film. This horror film has a gloomy tone and a mediocre plot, but its rhythm and camera language are outstanding. It often uses deceptive shots and techniques to create unexpected effects for the audience.

And when Kei Fujiwara dragged the progress bar to the end of the film and saw the list of the film's main creators, he was even more surprised. One of the co-directors and the photographer of the film turned out to be the same person, named Miyabe Satsuki.

Kei Fujiwara has almost never heard of this person's name, which shows that he is not very famous as a director. As a photographer, he is not a well-known player in the circle.

Eiji Shirai recommended several photographers to Kei Fujiwara, all of whom were well-known and experienced. However, after seeing their work, Kei Fujiwara felt that they might not be the best photographers for his film. Good candidate.

After watching this horror film by Masatsuki Miyabe, Kei Fujiwara felt that maybe this person could perfectly recreate this classic suspense film.

At this time, Fujiwara Kei heard Ohno Nagaharu's voice coming upstairs again. He must have returned from Ten Thousand Toilet. Ohno Nagaji opened the door and saw that the picture on the TV in front of Fujiwara Kei was still the same horror movie. He couldn't help but "hiss" He made an inhalation sound, "Do you want to continue watching?"

Kei Fujiwara turned off the TV, took out the video tape, and asked: "Ohno, do you know the chief cameraman of this film?"

This movie was self-produced by Matsunichi Pictures two years ago, so this person may also be a cameraman contracted by Matsunichi Pictures. Ohno Nagaharu has been working at Matsunichi Pictures for half a year, so he should know many insiders.

"Is it "Suspicion in the City"? What's the name of the main camera?" Nagaji Ohno asked, tilting his head.

"Miyabe Zenzuki." Fujiwara Kei said.

Ono Changji said: "I've heard of this person. Are you interested in this person?"

"Yes, I want this person to be the main cameraman of "Confession"."

"Okay, leave it to me, I'll make contact. I'll go to the company's human resources department and ask for this person's contact information." Ohno Nagaharu said, got up and went to find a landline phone. This is also a task for the producer.

"One more thing, I forgot to tell you, I got you another 40 million." Ohno Nagaharu sat down, "But I need you to implement advertising placement in the film... It may need to be more obvious, okay? "

Fujiwara Kei shook his head and said: "This is too disruptive to the atmosphere, it's best not to."

Ohno Changji sighed and said, "Okay, then I'll look for something else."

Fujiwara Kei said nothing more. He was not worried about the money the most. He was not short of money to begin with, and he also had Ono Nagaharu, a rich second generation, around him, so he didn't worry about not having enough money to burn.

"Hello, hello, I'm Ohno Nagaharu. Haha, it's you Mitsuki. I didn't expect you to answer the phone. It seems that the two of us are really destined. We will have a chance to go to a bar together again. Last time we didn't So happy..."

"Ohno, it's business." Kei Fujiwara turned around and reminded him.

"Ahem, I'm sorry, Miyue, please help me find Miyabe Zhenyue's phone number, I need to call him for something, umm, thank you very much."

After getting Miyabe Masatsuki's phone number, Kei Fujiwara called the person directly, but no one answered. Kei Fujiwara first stated his intention in the phone recording, hoping to meet him. If there was a chance, he would Being able to collaborate on a new movie.

After hanging up the phone, Kei Fujiwara asked Nagaji Ohno: "By the way, what's your impression of this person?"

"I don't have much impression of him, but it seems that people in Matsuri Films don't like him very much."

"Why is that? Does this person have a bad personality?"

"It's not because of his personality... Hehe, you'll know it after you meet him."