Tokyo Literary Godfather

But even though he sensed Ishii's panic and apology, Kei Fujiwara still pretended not to know, and declined most of Ishii's invitations.

Originally, Mizunami Production Company's current production capacity is also limited, and it is impossible to cooperate with all five major companies at the same time to shoot works. However, in order to establish the status of "the social butterfly in the broadcasting industry", Fujiwara Kei intends to imitate Su Qin's gameplay of Rokukoku Xiangyin. All of them have established a good cooperative relationship through mediation between them.

So if we want to cooperate with each other, Fanxingtai should just go back a little bit, and now there is a reason. Their production bureau should also know that the cooperation of this drama is not particularly pleasant, although the result is good.

If it is really as if nothing happened, I am not sure if it will happen again in the next cooperation.

And as time goes by, some more avant-garde dramas can also be launched.

The first is another Korean drama... The success of "Blue Life and Death" proves that his transplant method is feasible, so he can safely release more Korean dramas.

However, selection still needs to be carried out. Some dramas are not satisfactory and have major changes and are still not suitable for direct filming at this time. For example, "Dae Jang Geum". The quality of this drama is unquestionable, but because it is based on the historical background of the Goryeo Dynasty, Still need to make some modifications.

However, after all, Japan and South Korea are both in the radial zone of the influence of Chinese civilization + Confucian culture. Their dynasty models are very similar, and it is not that difficult to change them.

The reason why Kei Fujiwara dared to test the waters of "Blue Life and Death" is also because this drama was successful in the parallel world of Japan as a foreign drama. Although it has been proved that this method is feasible, Kei Fujiwara still needs to be cautious when choosing the second Korean drama.

After some thought, Kei Fujiwara decided to film "My Name is Kim Sam-Soon".

The style of this drama is actually relatively close to the usual style of Japanese dramas. It tells the story of the struggle of small people to make progress, which is in line with the traditional Japanese aesthetics.

However, this drama is still fundamentally different from traditional Japanese dramas and conforms to the standard Korean drama formula. The formula style of Japanese dramas is "Both are ordinary, but you can find each other's brilliance in the crowd", while the formula of Korean dramas is "I am ordinary, you are dazzling, but you can still stand out in the crowd." saw me".

Although Kim Sam-soon is set to be an unattractive and slim 29-year-old spinster, the male lead is played by Won Bin...

In essence, it still conforms to the usual routines of Korean dramas.

After tentatively deciding on this drama, Kei Fujiwara wrote the titles of "Scamming the World" and "Jumping the Search Line". Both of these dramas are also popular dramas, and the key is that the theatrical versions of these two dramas sold very well.

Shuibo Production is a company that walks on two legs. The prosperity of the TV series business also needs to properly promote the rise of the film business.

Just as Kei Fujiwara was finalizing the production plan for the next season, there was a knock on the door and the assistant said: "Mr. Fujiwara, Mr. Otomo wants to see you."

"Let him come in." Fujiwara Kei nodded.

After a while, Otomo Keiichi walked in. When he opened the door and entered, Fujiwara Kei looked at him in a daze for a few seconds, and even subconsciously left the chair and stood up, but then sat down quickly , looked at Otomo Kei and smiled and said: "Supervisor Otomo, I almost didn't recognize you...when did you change your style?"

Otomo Keichi has changed his image. Although he is not very old, his hair is a little gray. Now he has a beard and wears a pair of glasses... It is more and more in line with the image of the old man with white beard in Kei Fujiwara's memory .

Otomo Keiichi scratched his head and said: "Change your mood... say goodbye to the past."

After all, he sat in front of Kei Fujiwara and said, "Mr. Fujiwara, our studio is officially established now, and I plan to start creating new works as soon as possible. But there is still a shortage of experienced painters. I hope you can ask colleagues from the personnel department to Please cooperate with us to complete the replenishment as soon as possible.”

"Oh? So quickly, do you already have an idea?" Fujiwara Kei asked.

"The idea about the work has been there for a long time, and it is even more than just an idea." As he said, Otomo Keichi took out a stack of papers from his purse and handed it to Kei Fujiwara: "This is the storyboard album I drew .You take a look."

Kei Fujiwara flipped through it, and found that this is not a storyboard. Most of the director’s storyboards are sketches, some of which are even very scribbled. They only depict the general positions and movements of the characters, so they can be barely understood.

And Otomo Keiichi is worthy of being an animator and manga artist. The storyboard pictures are just like commercial comics. Each picture is also accompanied by bubble dialogue, so that Kei Fujiwara can understand the plot in detail.

This is not a storyboard at all, more like a script.

Kei Fujiwara flipped through several sheets of paper with great interest, and found that it was a science fiction story, and asked, "Mr. Otomo, how long have you been creating this storyboard... manga?"

"The story of the script was conceived for a full year, and it probably took about a month to draw it." Otomo Keiichi said, combing his hair with his thumb.

"Did it only take a month? It's really fast..." Fujiwara Kei had heard that Otomo Keichi was extremely efficient at work, and he often forgot to sleep and eat when doing things. Now it seems that his reputation is well-deserved.

"In terms of work efficiency, in front of you, I am just doing what I do best." Otomo Keiichi said. He was not trying to flatter Kei Fujiwara, but he really felt that way. Kei Fujiwara creates multiple works at the same time all year round, and is able to maintain both quality and quantity, which indeed makes him sincerely admired as a fellow creator.

“Productivity is one aspect, what do you think of this story?”

"I haven't finished reading yet..."

"Can you watch it now?" Otomo Keiichi said, "I can wait."

The artist is the axis... Fujiwara Keishin said. He glanced at today's schedule on his desk, he was free for the whole afternoon, he had nothing special to do, just stay in the office to write scripts and read books. So he nodded and started to read formally.

As soon as Otomo Megumi said he would wait, he really kept waiting in the office. He sat on the sofa honestly and Fujiwara Keinori looked at it seriously.

Otomo Megumi was able to sit honestly at first, but within 20 minutes, he started to wander around the office, his eyes fell on the pile of scripts written by Kei Fujiwara, and he seemed to want to read it, but he was too embarrassed to speak.

After all, many of these scripts are works that have not yet been officially released. She is not the director and producer of TV dramas, and these are not animation scripts, so there is no reason for him to read them.

At this moment, Kei Fujiwara raised his head. He wanted his assistant to bring some tea and snacks to Keiichi Otomo. This guy was walking around in the office. It sounded disturbing. When he looked up, Keiichi Otomo's gaze fell on On his pile of waste paper, he smiled and said: "Teacher Dayou, I also wrote a script recently. You can also read it. Is it convenient?"

"certainly."

Kei Fujiwara thought for a while, opened the drawer with the key, took out the bound script from the drawer and handed it to him.

The name on the script is: "Your Name".