Tokyo Literary Godfather

"What's the name of this show?"

""Hanzawa Naoki"."

"Are people's names used as the title of the play?"

Fujiwara Kei handed the plan book and the first episode script to Mizuhara Yui and Shibazaki Hideaki. The two sat side by side and read it carefully.

Shibasaki Hideaki was the first to read it. After reading it, he put the script of the drama on the table and solemnly said: "Fujiwara-san, I will definitely try my best to make this drama."

"Wait, I haven't finished reading yet..." Mizuhara Yui quickly raised her hand to prevent the two of them from discussing it themselves and not playing with her.

Kei Fujiwara showed them a literary script rather than a formal script. The difference between the two is that literary scripts are closer to novels in terms of writing language. They do not seem difficult and are designed to facilitate reading.

When filming officially, the lines of the official script must be used.

After watching it, Mizuhara Yui asked: "Are you going to make a professional drama this time? A type that I have never tried before..."

Most of Kei Fujiwara's previous dramas were dramas such as "Long Vacation" and "Homeless Children", which had a relatively feminine temperament and a relatively high number of female viewers in the audience.

Professional dramas tend to be tough in style. In order to "soften" the style of such dramas, many drama producers often insert emotional threads into the dramas. For example, "hero".

Or arrange a cute heroine to interact with the hero from time to time, such as "Victory is Justice".

But "Naoki Hansawa" is completely different. Judging from the script and planning of this drama, Kei Fujiwara does not seem to have arranged a pillow scene in it. Although the male protagonist Naoki Hansawa has a wife, this wife is completely outside the main plot and has nothing to do with the plot.

A purely workplace drama, will the audience like this kind of story? Is the style change a bit too much? Fujiwara... can he write well?

"Fujiwara, what we have been broadcasting these days are family dramas such as "Homeless Child" and "Housekeeper Mita". If we suddenly change the style to a tough professional drama, will the audience be disappointed because it does not meet their expectations? leave?"

"Yes." Kei Fujiwara nodded, "But there's nothing we can do about it. NBC's upcoming new drama "My Ex-Husbands" is an ethical love drama, and Fanxing Channel's "Kyoto Lovers' Notes" is a pure love drama. This Both dramas have a female audience as the main group."

"Not only that, I also found out that TTV and Dongdao Channel will broadcast idol dramas on the ninth day of the spring season. The investment is not large. Although it will not pose a big threat to us, it will definitely take away a certain amount of viewers."

"Four of the five major TV stations will broadcast themes such as ethics, love, and family in the next spring. Although they seem to be different, the audience groups of these types of themes overlap."

Kei Fujiwara looked at Yui Mizuhara and Hideaki Shibasaki, "If we continue to follow the original route, even if we make another "Homeless Child", we will definitely be hit with a bloody head. So we must change our path. rut."

"And for the drama next spring, I plan to use a higher budget to produce it, which is about 1.5 times that of "Housewife Mita." Kei Fujiwara said, "As long as the budget is sufficient, there is no need to worry about the quality of the drama."

Professional drama itself is difficult to shoot, the actors themselves have higher requirements for acting skills, and the selection of scenes must be more rigorous and more realistic. The number of actors is even more demanding.

In a romantic drama, there may be only four or five characters who appear on the screen for a long time, and there are only two core characters. All the stories revolve around these few people. For example, "East Love" and "Long Holiday" are the same.

But professional dramas like "Naoki Hansawa" are different. There are many characters. After all, a company has multiple departments, and the actions of the protagonist will involve many parties, and the plot is more complicated. And as the plot unfolds, new characters will often appear. Among other things, the actors' remuneration alone is not a small expense.

Mizuhara Yui nodded: "I'll take care of the budget, and I'll work hard to find advertisers."

Fujiwara Keiichi lowered his head and said, "Please."

"As for the actors..." Shibazaki Hideaki looked at the script and frowned. Who should Naoki Hansawa play? Such a charming character.

And not only the protagonist, there are many flesh and blood characters in the script. For example, the cute villain Owada, the protagonist's friend Watarino Shinobu, and the prosecutor Kurosaki who sometimes convulses.

Although Shibasaki Hideaki hasn’t seen Kei Fujiwara’s complete script, but just looking at the character introduction in the project book, he thinks these characters are very interesting, but at the same time, it is difficult to create, which is not something ordinary actors can handle. Where to find them So many suitable actors?

"In terms of actors..." Kei Fujiwara spoke again at this time, "I think that apart from the protagonist, some roles with strong performance styles are better entrusted to Kabuki actors with rich stage experience."

"A kabuki actor?" Yui Mizuhara asked, "Mr. Matsumoto?"

"Not necessarily. There must be a lot of kabuki actors who are willing to act in film and television dramas. I also met a lot of them a while ago. I will visit them in person later." Kei Fujiwara said.

In fact, Kei Fujiwara felt in his heart that it was inappropriate for Konoe Matsumon to play the role of Owada, because the image of Ren Saburo Guhata was so deeply rooted in the hearts of the people that it was easy for people to play.

And his image is too good, although he is over 50 years old, he is still a handsome old man. When he appears on the stage, his charm may directly overwhelm the protagonist, causing a group of female audiences to scream, which is not suitable for Owada. The image of a despicable villain who hates is inappropriate.

If Matsumoto Konoemon is really allowed to act, maybe in the last few episodes, Owada was forced to kneel down and admit his mistakes under the coercion of the protagonist. Not only can't the audience have the refreshing feeling of revenge, maybe some audiences will feel that the protagonist is too fussy...

It's okay to design the villains and supporting characters to be full of charm, but if they overwhelm the limelight of the protagonist, it will be a bit brain-dead.

I have to find someone as ugly as Kagawa Teruyuki.

Fujiwara Kei thought to himself.

Kei Fujiwara delineated several important roles. The actors for these roles were found by Kei Fujiwara himself, and Hideaki Shibazaki made the decision directly for other roles.

In the next week, each of the creative trio will have their own busy schedules.

Mizuhara Yui calculated the shooting cost, applied for a budget, and solicited advertising sponsorship. Moreover, Kei Fujiwara attaches great importance to this drama, so Yui Mizuhara decided to use the strongest team for filming. She selected the most mature and technical personnel among the two teams, and then borrowed some people from the production bureau.

Yamaguchi Jifeng originally didn't want to borrow it, but the second season of "Furuhata Rensaburo", which was almost on his lips, flew, and he was a little unhappy. As a result, Director Yoshida Kashi directly ordered him to borrow people-this is not considered a leapfrog report, it was originally from two departments.

A team of elite members of the station quickly formed and were at their beck and call.

Shibazaki Hideaki took advantage of this time to select actors, and worked tirelessly to create the storyboard script, imagining the scenes in the play in his mind. In order to restore the appearance of Naoki Hansawa's workplace to the greatest extent, he looked around for a suitable shooting location.

Finally, at Kei Fujiwara's suggestion, he went to Sumitomo Mitsui Trust Bank in Tokyo, and after some communication, he finally obtained permission to shoot here.