Starlight Korean Entertainment

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Kim Tae-hee was stunned, but she didn't expect this. As a movie that expresses Japanese culture, it can't participate in the Japanese box office dividends. Isn't it almost certain to lose money? .

He hesitated for a moment, but when he saw Lin Youmin's tall and straight figure, Kim Tae-hee didn't hesitate anymore, and said directly and firmly, "It's okay, that's it, but I hope Mr. Nakazawa can help me fight for the best interests of overseas dividends." .”

Toshiaki Nakazawa nodded slightly, "Definitely."

He would do this without Kim Tae-hee telling him to do it. Being "bullied" by Yamamoto like this, Nakazawa is not a good person, and he has to pay some price over there. Besides, Shochiku's overseas income probably doesn't matter to Shochiku. The company has always been like this, and has an almost blind confidence in the local market.

Lin Youmin moved his lips, trying to persuade him, but Jin Taixi suddenly took his hand, clasped his bare hand tightly, and shook his head at him.

Takita Yojiro happened to see this scene, he couldn't help being taken aback for a moment, he squeezed his chin, remembered the script, and thought about it.

………………

Kim Tae-hee has been famous for many years and has always been the darling of the advertising industry. In terms of total income, it is definitely not a small amount.

One-fifth of the investment in "The Undertaker" was not a big deal to her, and soon Kim Tae-hee called her financial and legal team to start dealing with this matter.

Toshiaki Nakazawa's negotiations were also progressing smoothly, and he was very energetic. It is said that Yamamoto was severely scolded by the company's executives and transferred from Tokyo, and then agreed to share half of the overseas box office copyright revenue.

Of the [-]% of the income, Kim Tae-hee insisted on giving Lin Youmin [-]% and a half, and even said that he would lend him the principal. Put his name on it.

Anyway, after all the messy things, "The Undertaker" finally started officially. Yojiro Takita told Lin Youmin, "The most difficult thing to act in this movie is not nationality, not the script, not whether you can play the cello, but whether you can play the cello or not. culture and people's hearts."

"The Undertaker" is a kind of pursuit and desire for the beauty of death. The pursuit of beauty by the Yamato people is not perfection, but a kind of incomplete beauty, a kind of cruel rigor.

As a Japanese movie, it must reflect Japanese culture. Lin Youmin is a Korean, a Korean-American who grew up in the United States and matured in Korea. He has never been exposed to Japanese culture. Can you understand? Whether it can be interpreted is the core question.

Takita Yojiro told Lin Youmin some details and techniques of filming this movie, which made people laugh at the beginning, but as the plot deepened, the corners of his eyes were wet with tears, on the one hand, he devised various perverted plots to abuse the actor's heart, on the other hand, he Using an extremely pious way to make the audience believe that their hearts are strong and pure, it is such an extreme way to tell you the meaning of life. After listening to it, Lin Youmin felt a little creepy.

"Youmin, do you know that before this, I searched all the famous Japanese actors I could find, and the result was without exception, rejection, rejection, or rejection!" Said here, Takita Yojiro's voice It suddenly became much louder, and even turned into a roar.

"There are also those guys who say that I can't succeed at all, it was all luck before? Haha, nonsense!" Yes, Yojiro Takita is a famous Japanese director, but in the circle, those who disdain him are far more than those who respect him There are many people coming, just because he was born in shooting pink movies (a—————v).

Sitting next to Lin Youmin, Kim Tae Hee was slightly surprised. Only then did she realize that Takita used to shoot Chengren films, so she couldn't help but look a little weird.

"Forget it, let's continue talking about the script. The holiness of the mortician lies in his focus. He concentrates on turning every individual that cannot be replicated, imitated, and irreplaceable in the world into the same peaceful nostalgia. A face-to-face farewell. To die as if you were alive also means to live better, which is the memorial." Yojiro Takita closed his eyes, and said with some emotion, at the end, he asked again, "Yumin, Taixi, Can you understand?"

The two looked at each other, then nodded with a vague understanding.

The filming officially started, and Toshiaki Nakazawa was busy with other things after he made an appearance at the opening ceremony, and he didn't get much attention from the Japanese media, while the Korean media didn't know about it.

Everyone first had an all-hands discussion, including all actors, crew members, and other technical personnel.

Needless to say, the soundtrack producer Joe Hisaishi, even the camera director is well-known in the circle.

To Lin Youmin's surprise, the camera director turned out to be a woman, and she was a Japanese woman who looked to be in her early thirties and still had a charm. I heard that she had been in the camera industry for a long time and had a high prestige.

She even had the title of executive assistant director in the crew. When Takita introduced her, he said that she could be called director Ryoko.

Photography is indeed very important. For an excellent film work, what the camera does is not only to record the event and explain the theme, but also to describe the event. This description seems to be the inner world of things. A sense of movement between relationships.

For example, the collision of "lightness" and "heavyness", "spirit" and "flesh", or the sense of nature separated from the two societies, this sense of movement also exists in "The Undertaker" , And constitute the core "psychological description" of the film.

The method used by director Takita is to describe the complex state of mind of the protagonist mainly through the combination of static close-ups of things and the dynamic behavior of characters.

For photography, this is a difficult challenge, not only requires rich experience, but also superb skills, the most important thing is to find the feeling of shooting, similarly, this is a great challenge for Lin Youmin's acting skills Great test.

………………

"To rejuvenate a person who has been frozen and give her eternal beauty, it must be calm, accurate, and have gentle emotions. When parting, saying goodbye to the old, quiet, all actions are so beautiful" in the script The narrator said so.

Most of the life of the mortician is to tidy up the last grooming for strangers, and to express respect for death and protect the dignity of the deceased with simple and earnest integration into the operation of the fingers, just like a whisper, whispering for the departed.

Lin Youmin tried his best to integrate his emotions into this role and this profession, to feel and understand it carefully.

Director Takita's grasp and handling of details is amazing. The opening description is that the protagonist Kobayashi collects a young girl. When wiping her body, she has to cover it with a white cloth because the skin of the deceased cannot be exposed. The girl's lower body turned out to be a man's surname.

After a short period of shock, Xiao Lin had to tell the master in a very serious and low voice, and then the master asked the family members to take a step to speak carefully, because the make-up of the remains is divided into men and women, and the family members must be consulted.

Later, the encoffining was completed according to the preferences of the deceased. The attitude of death as life moved the deceased's father deeply.

The encoffining process with a strong sense of ritual is full of skin-to-skin contact between the dead and the living, pressing around the eyes, closing lips, smoothing the jaw, wiping the body, changing mourning clothes, and arranging makeup.

When filming, it is naturally impossible to actually use cadavers, but most of them are medical dummies. Occasionally, close-ups are needed, so extra actors come over to play them.

Seeing the corpse for the first time, that is, the corpse of the old man who had been dead for two weeks that no one found, Lin Youmin had to react quite "intensely". Washing himself desperately in the bathhouse, and seeing the slaughtered chickens at home began to vomit again, he felt that he wanted to become an embalmer as a punishment for not attending his mother's funeral, and like any normal person, he rejected such a profession from his heart.

This part of Lin Youmin's filming was a bit painful, and his face became a little grim, but fortunately, it was not a big problem.

Then, the first change in the protagonist's mind was when he saw the president enshrine the woman who had died of illness. He saw the president's gentle emotions make the already cold people glow with beauty again, and freeze this beauty forever , he felt a kind of quiet charm. For the first time, Lin Youmin felt a sense of solemnity in this profession, and began to recognize this profession.

This film not only shows the professional art of the mortician, but also runs through a strong family relationship, which is exactly the type that Lin Youmin is interested in.

………………

Due to the schedule, many of "The Undertaker" were filmed interspersed, and did not directly follow the narrative line of the script.

Among them, there is such a main line that runs through the movie. Kobayashi Dawu’s father abandoned his home and ran away in his early years, which caused great trauma to his soul. Although he often misses his father when he plays the cello, he has never been willing to forgive him. The father wandered out alone because he was ashamed of their mother and son.

Until the last father died, the father and son who had been separated for 30 years were separated by yin and yang. When the protagonist collected his father, he warmed his father's clenched fists with his hands and saw the stone given to his father when he was a child. Finally, the final communication between father and son was completed. I couldn't help but burst into tears.How can this kind of communication between life and death not be moving?

Lin Youmin hardly felt any sense of stagnation in this filming, and every filming was done in one go, and the screenwriter Koyama Xuntang was amazed by his understanding of the script.

It's hard to imagine that such a young man would feel so deeply about such a profession and Japanese culture.

Thinking about it, it is absolutely impossible for Lin Youmin to have received this kind of influence before, so the only thing that can explain it, apart from his extraordinary talent, is that he really worked hard and studied hard. (To be continued.)