Tokyo Literary Godfather

As soon as Otomo Megumi walked out of the studio, she stretched vigorously.

When I looked up, the moon and stars were sparse, and the night sky was like a dark movie screen.

Otomo Keichi took out a cigarette from his pocket, lit one, looked at the night sky, and couldn't help thinking about it.

He imagined the night sky as a big movie screen, and began to imagine his own movie being shown on the screen. Those retro and artistic images, the philosophical and profound storyline... will definitely make the movie theater audiences linger.

Thinking of this, he couldn't help laughing.

"Teacher Otomo." Oshii An came over from behind, holding a can of soda in his hand.

Otomo Huiyi turned his head, saw Oshii An, and handed over the cigarette box very coolly: "Oshii, are you finished too?"

"Today is really too late, I will continue shooting tomorrow."

"Haha, that's what an animator does. Every piece of paper is soaked in painstaking efforts and sweat. Come on, take one to relieve fatigue."

Oshii An shook his head and said, "Quit, teacher. Work has been too hard recently. In order to cope with the high workload that will come next, it is very important to take good care of your body. I have not touched tobacco or alcohol for a long time. This I also do soft exercises before going to bed for a while.”

"Have you already started to pay attention to body maintenance at such a young age?" Otomo Hui smiled, didn't insist anymore, and took back the cigarette. "But those who make art must not be old-fashioned. After all, we are doing creative work, not the kind of repetitive work where we stay in the same place day after day."

"Teacher, you are right."

Otomo Keichi looked Oshii An up and down, and in terms of mental outlook alone, Otomo Keichi looked like a young man. Perhaps because he is full of expectations for his own work, Otomo Keiichi is now like a bulging balloon, while Oshii An seems a little depressed due to the super work pressure.

Otomo Keiichi asked about Oshii'an's recent work progress and learned that his shooting progress was moving forward at a very fast speed. He couldn't help but give some advice in a teacher's tone: "I want to paint quickly. The mentality is normal, but we must also pay attention to the quality of the film itself, and we must not blindly advance."

"Yes, I remember, teacher."

In front of Otomo Keichi, Oshii An always behaved very respectfully, and the two got along like a traditional teacher-student. Otomo Keiichi heard that Oshii-an had recently used the latest animation production technology. In order to present a better picture, he was curious and asked a few more questions. Oshii-an was reluctant to mention it at first, but later he still said it when pressed.

Only then did Keiichi Otomo realize the reason why he, a student, was unwilling to mention more, and that was that the new technology was completely contrary to his previous ideas. Otomo Keiichi has always insisted on hand-painting, while the new technology is almost computer-based painting.

Computer painting can indeed bring higher work efficiency, and the picture can also be more refined, but the price is the lack of naturalness and ingenuity. Many viewers can see the difference between the two at a glance.

Although using computers is now a major market trend, Otomo Keiichi has always adhered to his own hand-drawing path. He also believes that blindly obeying the public is not a wise choice. Even in an era when all industries use computers, hand-painting will definitely have a place, so he must occupy this place in advance.

Otomo Keiichi was originally consistent with him, but now they are filming separately. Unexpectedly, they have also gone on the opposite path.

Otomo Keiichi sighed and said: "Oshii, don't be sorry, everyone can choose the method that suits them. If you think hand-drawing can better reflect the true meaning of animation, just use hand-drawing. If you think computers are more convenient, just use computers. We animators are not religious fanatics, we are not either/or and cannot tolerate heresy."

"Yes, teacher." Oshii-an quickly nodded.

Although he said this, Otomo Keiichi still felt a sense of loneliness. After bidding farewell to Oshii-an, he set off on his way home alone.

I must prove to myself that hand-drawing is the right way out for animated films. I am the one who can truly carry the banner of Japanese animation. Otomo Keiichi said.

…

"My Sassy Girl" quickly entered the promotion stage after being finalized.

In terms of publicity resources, Shuibo Productions has already connected with major media platforms, so it is progressing very quickly. Almost overnight, advertisements for "My Sassy Girl" were posted on tram stations, and some local TV channels The trailer of the movie is also being broadcast on a rolling basis, and the male and female protagonists of this movie are also frequently appearing on various variety shows to show off their faces.

Fukuyama TV was originally the TV station with the closest relationship to Shuibo Production, and it was also the most important TV media resource for Shuibo Production. However, due to various previous incidents: the expulsion of Miya Sato from the crew, Fukuyama Station's divestment of the film, and the poaching of Kei Fujiwara, etc. The relationship between Mizunami Productions and Fukuyamadai is now a bit delicate. Even though the two parties have agreed to cooperate on the second part of "Victory is Justice", the relationship will not be back to the past.

Fujiwara Kei also guessed that it was no longer possible to have Fukuyama Station broadcast movie trailers for him as before. Even if he agrees, he will make other demands and embarrass himself. Simply avoid Fukuyama Station and instead discuss cooperation with Fanxing and NBC.

These two TV stations are now in a fierce battle with Kei Fujiwara. Last year's two TV series, one "The White Tower" and the other "Blue Life and Death", directly broke the ratings records of the two TV stations for many years and pushed them away from Fukuyama. He was rescued from the shadow of Yue Jiu—even if the shadow itself was created by Kei Fujiwara.

Therefore, these two TV stations are now very much looking forward to cooperating with Kei Fujiwara for the second time, and they have spared no effort to please Kei Fujiwara. This can be seen from the appearance of the attendants they bring to every banquet with Kei Fujiwara - they look better each time. , and even called out the head anchor several times.

And this time when Kei Fujiwara asked to promote the movie, the two TV stations spared no effort and wanted to broadcast the trailer of "My Sassy Girl" as an official program.

The two TV stations promoted at the same time, and no one wanted to be inferior in front of the other.

In this way, a film called "My Sassy Girlfriend" gradually entered the audience's field of vision, and began to try to occupy the mind.

Intensive publicity for the film began one month before its release. The publicity period was nearly a month, but it could only be one month, not any longer. Otherwise, even if the audience knows about the movie, they will be bored and exhausted.

In fact, Kei Fujiwara was a little worried about this film, so he spent a high level of publicity funds. There is no other reason, but it is a common consideration, that is, the issue of native region.

"My Sassy Girl" was originally a Korean movie, and its box office performance was frighteningly good, but it was not a Japanese movie after all. Whether it can adapt to the local environment is still a small question mark.

Although Kei Fujiwara had already tried it with "Blue Life and Death" half a year ago, Korean classic films can also achieve results in Japan.

However, the initial ratings of this TV series were not particularly satisfactory, but the long broadcast period of the TV series can gradually change the audience's views. But that’s not necessarily the case with movies.

So there are still some risks.

In order to further eliminate risks, Kei Fujiwara not only increased the publicity budget, but also hired a professional public relations department to monitor public opinion on the film to avoid any factors that would be detrimental to the film's box office.

This was another expense, which made Yoshida Kashi gasp in pain, but he finally swallowed it thinking that he would be able to recover some funds soon.