Tokyo Literary Godfather

Later Ohno Nagaharu also tasted the meat used as a filming prop, and it was indeed a bit sour.

But this is not a food competition after all. A piece of sour meat will not kill you. Be your own Buddha. A piece of rotten pork can make you a Buddha.

And the taste didn't reach the level of rancidity, it was just a little bit acidic. Doesn't acting require you to eat a pot, and you can't stand even one bite?

Without spoiling the first scene at the opening ceremony, this is already a consensus in the industry. Many senior actors have experienced the same thing. Miyata Takaharu even swallowed raw chicken that was said to have a "corpse smell" smell.

But it is not unreasonable for her to be unwilling to eat stale ingredients. If she were forced to eat it, it would be considered bullying.

So the crew members didn't say anything, but everyone who makes a movie is superstitious. When they saw that the first shot of the film was shot badly, everyone was a little unhappy, and even this emotion was reflected in everyone's mind. On the face, it’s clear at a glance.

Many people even directly had opinions on the female lead, feeling that she lacked professionalism. Isn't there the first rule when you are in Hollywood that you must not shoot something? There are also people working in the United States on the crew. This rule is applicable everywhere. No matter which country is filming a movie, they pay great attention to omens.

The reason is that shooting is very dependent on the weather, and making movies is a regrettable art. You want to shoot the sunrise and sunset, but it rains continuously for a month, and you just can't. And during the filming process, there will always be some unpredictable situations. For example, the blaster failed to control the amount of gunpowder and died; the stuntman cramped underwater and plunged into the water and never came out again; It is possible for an actor to accidentally get into an accident while filming a horse riding scene, fall and become a paraplegic, etc.

Of course, what scares the crew the most is that the movie will not be a hit and will lose a lot of money. However, from the perspective of many creators, whether it can be sold really depends on God's will. Because they cannot accurately predict the market's preferences, whether the work will please the audience is a matter of luck for them.

So for people who make movies, luck is very important. Otherwise, do you think the purpose of asking priests and monks to sprinkle salt and tie knots, burn idols and offer sacrifices when turning on and off the computer is just out of habit? Most of it is just to reassure the crew members, and those who ruin their "luck" will inevitably incur everyone's dissatisfaction.

We don’t believe that you are unruly in Hollywood, otherwise you, an Asian, would never have been able to hang out in that place of white supremacy for so long—even though you haven’t gotten out yet—how come you started to act unruly as soon as you returned to China? Woolen cloth?

After listening to Ohno Nagaharu's narration, Fujiwara Kei could almost predict that if any accident happened during the filming of this movie, someone would blame Sato Mia.

A lot of accidents will happen when making a movie, let alone major accidents, there will be endless minor accidents. For example, the camera overheats during work and cannot work, the slate breaks, and other small things. However, if you do not follow the rules on the set, it is very likely that the crew members will blame you for these small things. This is actually quite troublesome.

After hearing this, Kei Fujiwara couldn't help but frown. Kei Fujiwara was not particularly superstitious about these crew rituals, but he could tell from this trivial incident that perhaps Sato Mia was not a good person to work with.

This is completely opposite to Kei Fujiwara's first impression. He didn't have much contact with Kei Sato, but with that little contact, he felt that this person was knowledgeable and had a soft body.

But come to think of it, the way she appeared in front of Kei Fujiwara was a special one, a dish for others. As a supervisor with a low reputation in the industry, Ohno Nagaharu did not gain the same respect from her.

Kei Fujiwara couldn't help but feel a little worried, because according to his experience, many unruly people had a trial behavior before doing anything, and after the trial, their behavior may gradually become more excessive.

"Did you tell her about this later?" Kei Fujiwara asked directly.

Ohno Nagaharu raised his head and glanced at him: "No, do you want to warn her?"

Fujiwara Kei nodded: "I think it is necessary."

"Okay." Ohno Nagaharu said, "I'll go find her."

"Don't look for her, ask her to come over." Fujiwara Kei said.

Ohno Nagaharu put down the storyboard and called to the assistant director. The assistant director nodded, picked up the walkie-talkie and said, "Is Mr. Sato here? The monitor is here."

After a while, Miya Sato walked in a little unhappy, but the moment she saw Kei Fujiwara, her expression changed, "Teacher Fujiwara, why are you here?"

"Come to attend the opening ceremony." Kei Fujiwara said, "But I arrived late because of the traffic jam. I don't know what happened. I heard it didn't go well."

Miya Sato's face froze and she was speechless for a moment.

"Miss Sato," Ono Nagaharu said, "I won't repeat what happened today, but it needs to be noted that as an actor, you also need to take care of the feelings of other employees on the crew. Most of the teachers on the crew are very concerned about the details of the actors' behavior. Yes, I hope you will pay more attention to it in the future.”

The corners of Sato Miya's mouth twitched, but she still bowed and said: "I'm sorry, I did something wrong today, I will buy a drink to apologize."

"It's not about apologizing, just pay attention next time." Ohno Nagaharu said.

Miya Sato turned to look at Kei Fujiwara again, and then left the director's car.

Kei Fujiwara wandered around the set twice more, watched a few scenes, and was about to leave, when a young woman stopped him.

"Teacher Fujiwara, please stay."

"Who are you?" Fujiwara Kei turned around and looked.

"Excuse me for disturbing you." The woman quickly bowed and apologized, "I am Miss Sato's personal assistant. Miss Sato would like to invite Mr. Fujiwara to have dinner with me tonight. Do you have time?"

"Not very much." Kei Fujiwara refused directly, "Let's do it another day. Or on the day when the shutdown ceremony and celebration banquet are held, we will have the opportunity to eat together."

Then he got in the car and left.

The woman wanted to say something more, but she was a little timid in front of Fujiwara Kei. She didn't dare to say more and went back to tell the artist.

Miya Sato was taking off her makeup when she heard her assistant say that Kei Fujiwara had directly rejected the invitation and did not show any displeasure. She seemed to have expected it, but she still felt a little regretful.

Even though Nobi Shisuke could give her a lot of help in her career, the help often did not achieve much results. In the year she returned to China, although Nobi Shisuke appeared in a movie, it was silent and there was no news at all. What results were achieved. Even because of her poor box office performance, she was vaguely given a negative reputation as a box office poison. Some powerful directors were not willing to cooperate with her at all, which had the opposite effect. Those directors and screenwriters of Songni Pictures are basically useless.

Although the power of money is great, with the full efforts of Matsuri Pictures' media fans, it has indeed created a phenomenon where she seems to be popular and famous, but she does not need to be reminded by her agent, she herself knows that this atmosphere It's too false, and it can't last long. If there are no popular works around, sooner or later this atmosphere will break down.