Tokyo Literary Godfather

Three days ago, Kei Fujiwara also attended a reception held by the Directors Association.

As Kei Fujiwara wears more and more vests, every year at the end of the year, he will attend endless cocktail parties, many of which are from major associations.

For example, the Mystery Writers Association at the beginning was a very influential organization in the Japanese literary world. Kei Fujiwara, as the founder and promoter of the socialist school, was invited every year.

The president of the Mystery Writers Association, Chun Shan, is very old. He once thought of giving up the position of president of the association to Kei Fujiwara. This made many people envious, but no one dared to have an opinion. Although Kei Fujiwara is young, few people in the association can compare with him in terms of his work qualifications.

Although the Mystery Writers Association is not a functional organization and has administrative power, it is also a very influential non-governmental organization that controls the circle culture of the Japanese literary world. They have a great say in the nomination and winning of many reasoning awards in Japan.

Even the judges of Ranpo Prize and Naoki Prize are almost all members of the association. The association also has shares in many magazines and has great influence on those newspapers and periodicals.

But Kei Fujiwara still refused because of his youth. Although Kei Fujiwara relied on his own personal ability to break the qualification limit, he also knew that a big tree attracts attention, and he is still not suitable for this position now. Chunshan's abdomen still looks strong for a few years, so let's wait until he is thirty.

However, Abdo Junshan did not give up, and still gave the position of vice president of the Mystery Association to Fujiwara Kei.

In addition to the Mystery Writers Association, the Television People Association, Filmmakers Association, Japanese Directors Association, and Screenwriters Association are also actively wooing Kei Fujiwara. Every year at the end of the year, Kei Fujiwara would feel quite a headache when receiving phone calls from major associations to invite people to cocktail parties.

Why can't you guys just merge into one team and become one? It's great to name the Artists Association, it also saves me from running between your classes all day long. I can't wait to have dinner together ten times a year, and I can get in and out of such a high-consumption club without any pressure. All the membership fees paid by the members are spent on food and drinks by you guys...

The January release date of "The Deep" has caused quite a stir, especially among the producers and distributors of the film, which is also scheduled for January. Just kidding, who doesn't get scared when they see the four characters "Shuibo Production"? If this animated film achieves tens of billions again, even if the market is big in January, excluding the one or two tens of billions of box office, the rest will be There is only some thin soup water to eat.

Some film producers were directly scared away, but the rest of them gritted their teeth and stuck to the original schedule, deciding to spare no effort to fight against "Deep Sea City", and there was even a grouping behavior - the film's main creators promoted each other's platforms, only to "City of the Deep" is excluded.

There is no way, who made Shui Bo's performance in the past so scary, and this cartoon has a higher production budget than Shui Bo's two previous 10-billion blockbusters. If you come up with another 20-billion-dollar box office job, Do we people still have food to eat?

In this situation of teaming up, the publicity effect of several other movies is extremely good. This is also the effect they are pursuing, trying to suppress the momentum of the movie "City of the Deep" as much as possible.

Indeed, we have seen considerable results. This film was the most anticipated film by the audience at the beginning, because it has one or two signatures of Mizunami Productions and Otomo Megumi. However, as time goes by, gradually, the audience's attention and The expectations have shifted and moved to other works.

…

"These are directors to choose from. I have selected three from many candidates. Look, they are all people with past works, but I am still considering who to choose. You are a screenwriter and a producer. Who do you think is more powerful? Suitable?" Daniel took out three resume-like personal information.

The resumes contain detailed information about the three directors. In addition to some basic personal information about them, there are also detailed descriptions of their works, award-winning experiences, box office performance, style descriptions, and even professional film critics’ evaluations of their directorial skills, as well as their merits. The shortcomings are all clearly written. Moreover, the writing is relatively objective and there is no subjective evaluation, which makes Kei Fujiwara, a person who is not particularly familiar with Hollywood, look very comfortable.

"These three are all directors who I think are capable, and they have been scheduled for some time recently."

"None of them seem very famous."

"With a meager budget, we can't hire a famous director." Daniel said bluntly, "These three have no works with a box office of more than 20 million yuan, otherwise it would be difficult for them to agree to shoot a work with a production budget of less than 2.5 million yuan. .”

The budget for "Saw" given by Kei Fujiwara was two million US dollars. He did not seek investment and paid it all by himself. Daniel thought it was too little and said that if it exceeded the budget, he would be willing to invest 500,000.

But in fact, Kei Fujiwara felt that it would not exceed the budget, because the original budget of this film was just over one million, and it is a classic work of Hollywood sawing a tree with a knife.

"Hmm..." Kei Fujiwara carefully looked at the resumes of these three directors. One of them, a forty-year-old director, has a very eye-catching resume. This director started out as a TV drama director and has directed many horror and suspense themes. TV series, and the ratings are very good.

However, the status of TV dramas in the United States is not like that in Japan. Compared with film art, it is a second-rate art. Therefore, the director came up with the idea of ​​​​touching film and resolutely transformed.

However, the results after the transformation were not ideal. After becoming a film director, he filmed three films in succession. Although it can't be said that he lost all his money, he did not make much profit. The highest-grossing film earned 17 million at the box office, but the cost was as high as 10 million. So it basically means that the film side didn’t make any profit.

Therefore, since then, it has been difficult for the director to gain the trust of investors. Although the path of film director has not been cut off, it is also difficult to obtain more than 4 million investments.

When film critics and professional evaluators in the industry evaluated him: he has complete and excellent technology, strong control over budget and time, and will not lose control of time and money costs (after all, he is a TV drama director, and costs are out of control and delayed. It is a disaster for TV drama shooting), good at creating a horror atmosphere, but too step-by-step and highly dependent on the script.

In short, a good director can improve the quality of a script, for example, a second-rate script can be changed into a first-rate one, but this director seems to lack the ability in this regard.

However, seeing such a negative review on his resume, Kei Fujiwara's eyes lit up.