Tokyo Literary Godfather

Itagaki Kazuhiko had doubts at first, but the more he watched, the more immersed he became. When he saw the protagonist Kaiji finding a loophole in the gambling game, he couldn't help but feel excited. At this moment, there was no more.

Itagaki Kazuhiko raised his head and glanced at Fujiwara Kei. Fujiwara Kei shrugged his shoulders and said: "I haven't written the rest yet, and I'm not sure whether it will be published, so I didn't write too much."

"Are you still worried about this..." Itagaki Kazuhiko was speechless. In the entire Spring and Autumn Society, whoever worried about the manuscript issue did not have to worry about it. Even if he stepped on the manuscript paper, the president was willing to charge the highest grade manuscript fee.

"I'll go back and sort out your manuscript. In addition, I'll get you a new royalty ratio." Itagaki Kazuhiko sounded quite proud as he drew a number on the table.

"16.5?" Kei Fujiwara raised his eyebrows. Kei Fujiwara did want to increase his royalties, but he only planned to add half a percentage point to the original 14%, and that was fine. Unexpectedly, Itagaki Kazuhiko added so much in one go.

16.5% royalties are already at the celebrity level. In Fujiwara Kei’s impression, there are only two living writers who enjoy this ratio. One is the famous literary writer Sakuradabe Ga, and the other is Hattori, the president of the Mystery Fiction Association. Chun Shan.

Both of them are giants. Kei Fujiwara's qualifications are not as good as theirs, but he can get the same level of royalties as the two. To a certain extent, in the minds of people working in the publishing industry, Kei Fujiwara and they are already on the same level as famous names. .

"Yes, and I can promise you that if "Confession" and "Gambling Apocalypse" can still achieve the sales results of previous works, I will do my best to add... half a point on this basis. Proportion."

Itagaki Kazuhiko gritted his teeth and said.

Although he is now the deputy minister, he cannot fully decide on the royalties of his authors, especially for authors of Kei Fujiwara's level.

His current royalties can easily reach hundreds of millions. For every percentage point added to his royalty contract, the publisher will have to spend tens of millions more. The publishing house is in pain from top to bottom, but if royalties are not increased, other publishing houses will be eyeing Kei Fujiwara and try every means to poach people.

It is said that some publishing houses have even offered shares as a condition for signing contracts. Itagaki Kazuhiko also asked Fujiwara Kei in a sideways manner whether this was true. Fujiwara Kei did not answer directly, but judging from his attitude, Itagaki Kazuhiko felt that this was close to the truth.

No matter how good his relationship with Kei Fujiwara is, it is impossible to keep Kei Fujiwara without increasing his remuneration. Fujiwara Kei is not the kind of naive boy who would rather sacrifice his interests because of human feelings. He has been in the broadcast industry for two years and is shrewder and more calculating than anyone else.

"Then I'll leave it to you." Kei Fujiwara said, "I think if nothing else happens, the sales volume of these two books will not be low."

Kei Fujiwara's tone was still calm but full of confidence. Itagaki Kazuhiko felt relieved, put the manuscript into his briefcase, and stood up: "Okay, I'll leave first."

Kei Fujiwara bid farewell to Itagaki Kazuhiko and went to the editing room to participate in the editing work.

Film creation is mainly divided into two stages: shooting and editing. In fact, in the film industry, especially commercial films, it is the producer, not the director, who can really decide the final broadcast version. In some cases, directors are not even qualified to enter the editing room, and this situation is common in Hollywood.

Because the Hollywood film crew is a producer-centered system, the producer decides everything, and the director and actors are the cards selected by the player, the producer. It is also common for directors and producers to have conflicting production concepts, resulting in conflicts. In most cases, the producer has the upper hand and "politely" asks the director out of the editing room during the editing stage.

Even the king of movies, Cameron, was asked out, so later he was so angry that he became the producer of his own movies.

However, Kei Fujiwara is a director who has a dominant position, so he is the biggest one on the set and in the editing room. After all, even the producer was found by him himself, not assigned by Matsuri Films, which is why he insisted on letting his own person be the producer.

Kei Fujiwara must ensure that the big scissors are in his hands. Editing is also a decisive part of film production, even the part that directly produces the original film. Kei Fujiwara is as concerned about the editing room as he is on the shooting scene.

A female editor is concentrating on editing and showing the previous clips to Kei Fujiwara.

Kei Fujiwara looked at it for a while and said, "Miss Tanaka, what about the scenes I asked to keep?"

Editor Tanaka was listening to rock music with headphones on, shaking his head subconsciously while editing, saw what Kei Fujiwara seemed to be saying, and took off the headphones.

"What did you say?"

"Where are those scenes that I asked to keep?"

"You didn't say you must keep it, you said you should keep it as much as possible."

"So you deleted them all?"

"That's right, it's not necessary to keep it." The female editor said, "Supervisor Fujiwara, you want to keep too many things. If you don't kill yourself, the original 110 minutes will not fit that much."

"No, delete the rest as soon as you delete them. You must keep these three minutes for me."

"Hey, you're stuffing three minutes here and two minutes there, I'm very embarrassed." The editor waved his hand, "I can't fit it, I really can't fit it, it's going to explode."

"You won't be able to fit it in. How will you know if you don't give it a try." Kei Fujiwara said calmly, "At worst, the final film will exceed the time limit, and we will just delete it."

After some tug-of-war discussions, the editor finally agreed.

And this kind of thing happens almost every day. Where is the editing room? It is clearly a confrontation between the director and the editor. Kei Fujiwara and the female editor have a relatively harmonious relationship, and a direct quarrel between the director and the editor is not guaranteed to happen.

The director feels that the editor is just a loser, always wanting to delete the highlights that he has worked so hard to film. The editor also feels that the director is a big fool. He has no skills at all. He wants to keep everything but is not allowed to exceed the time limit. , just like a dream.

After staying in the editing room for more than an hour, Ohno Nagaharu also came over and talked about cooperation with the special effects company.

Although the movie "Confession" is a feature film and not a special effects blockbuster, there are still a few minutes of special effects scenes, especially the final explosion scene. It is definitely not a real shot, but it also needs to have more realistic special effects.

Money is burning bit by bit, and the project funds that were previously injected into the crew are about to bottom out. Ohno Nagaharu has been contacting some media recently, hoping to get their investment. If you get their investment, you will get not only money, but also their publicity resources.

However, due to the cold weather, only more than 30 million yuan was attracted, and there was still a budget gap of about 50 million yuan. If new investment could not be attracted, Fujiwara Kei decided to fill the remaining money himself.

At this moment, NHK suddenly expressed its willingness to become one of the investors in the film.