Tokyo Literary Godfather

After the official filming started, Hideaki Shibasaki became the busiest person in the crew.

Kei Fujiwara wanted to help, but as a screenwriter, dictating the director's work would inevitably cause resentment. So during the filming of the scene, Kei Fujiwara just watched from the sidelines. Even though he had different ideas from Hideaki Shibasaki, he held his chest and said nothing.

But afterwards, Kei Fujiwara handed a storyboard script he wrote to Shibasaki Hideaki. After opening it and taking a look at it, Shibasaki Hideaki was a little surprised: "Teacher Fujiwara, did you write this?"

"Yes." Kei Fujiwara nodded and added: "Because I have a habit of writing. I will first imagine a picture in my mind and then write it into words."

It is the director's job to create a split-shot script. The split-shot script is equivalent to the commentary of the scene. The scene, scene, special effects, and music must be written clearly.

Write the storyboard script first, and then follow it directly during the actual shooting to improve efficiency.

"You don't need to follow mine during the official shooting. This is just for your reference to save you time. It's mainly based on your ideas." Kei Fujiwara said.

"Okay, I'll look back." Shibasaki Hideaki said.

Shibazaki Hideaki didn't pay much attention to it at first. Not long after, when he was planning to write a scene for a plot, he suddenly got stuck on a line of dialogue.

He smoked two cigarettes. Perhaps because he was too tired, he could not come up with a picture that matched the plot in his mind. At this time, his hand shook and the cigarette ashes accidentally fell on a document next to him.

Shibazaki Hideaki took a look and found that it was a split-shot script written by Fujiwara Kei, so he put out the cigarette, picked it up with the idea of ​​relaxing his brain, and opened a page at random.

At first I just looked at it casually and flipped through it quickly. The main reason is that I don’t think Kei Fujiwara can write any practical storyboard script, but as I flipped through it, the pace gradually slowed down.

Very professional...

Shibazaki Hideaki was a little surprised, and then he turned to the place where he had just been stuck to see how Fujiwara Kei wrote the split shots of this section.

After watching it, the corresponding picture quickly appeared in Shibasaki Hideaki's mind. Shibazaki Hideaki was silent for a while, picked up the pen, and transferred what Fujiwara Kei had written intact into his own script...

Compared with Shibasaki Hideaki's draft version of the split-shot script, Fujiwara Kei gave the final version of the picture guidance, which of course must appear more mature.

In the beginning, Shibazaki Hideaki did only use Fujiwara Kei as a reference, but later he referred to him more and more often, and gradually developed a dependence on him, and he wanted to take a look whenever he had nothing to do.

Later, whenever the shooting deadline was approaching, Shibasaki Hideaki would simply use it directly. Of course, this is something……

The progress of the script is not a problem at all. In addition to the one or two episodes currently being filmed, Kei Fujiwara currently has four episodes on hand.

The script was written too quickly, which also caused worries to Yui Mizuhara and the two of them. How about you think about it again? Never lower the quality of the script just to rush the work!

This is probably the first producer in Japan who dislikes the screenwriter for writing too fast.

Copying is naturally much simpler and faster than original writing, but it is not completely workload-free. Due to the differences between the two worlds, there are many things to read.

There are many places in the play that reference current popular elements. Since the version has been changed, changes must be made.

There is also the setting of the heroine Konan. Since Arima Katsura is much younger than Yamaguchi Tomoko when the film was filmed, it also needs to be changed.

In addition to the script, there is also a soundtrack.

"Long Vacation" has many classic soundtracks, such as "LA·LA·LA LOVE SONG" and "Deeper And Deeper".

After all, music is not Kei Fujiwara's specialty. He can't even recognize music notation and can't write songs, but he has good pitch and can sing these songs.

But after thinking about it, I decided to let it go. Don’t underestimate the musicians in this world. There are many classic songs that can be used. They are also suitable for the scene in the play and are no worse than the original songs.

But there was a piece of music that he was reluctant to part with and wanted to bring to the world.

This song is "here we are again".

You may not know which song it is just by hearing the name, but you can usually remember the lines.

"Wai, where are you going?"

"Go to work."

"Is it okay not to go to work?"

"If you don't work, you support me."

"..."

"crooked!"

"I'll support you!"

Do you remember it?

This song is the classic soundtrack of the King of Comedy. A good song cannot provide help in times of need. It is common for bad movies to be paired with divine songs.

But it can indeed be the icing on the cake.

The song "here we are again" is a stroke of genius when placed in the context of The King of Comedy. Kei Fujiwara has listened to all kinds of pop music and pure music, and he never thought that a second song could replace this song in The King of Comedy. In that movie.

This song first came from "Long Vacation", and later Zhou and Li bought the copyright and used it in the movie. "The King of Comedy" not only uses the soundtrack of "Vacation", but the characters of the male and female protagonists are also similar to "Vacation".

In a nutshell, he is a depressed little person.

In "The King of Comedy", there are walk-ons and wine girls.

"The Long Vacation" is about a failed pianist and a model who can't find a job.

Perhaps in the context of the Great Depression, only the stories of small people can better touch the hearts of the Japanese in this era, right?

"The Long Vacation" is not just a romance movie, or in other words, a story. If you want to tell love well, you can't just tell it about love.

If you want to describe the love between Yang Guo and Xiao Longnu well, you must not only write about their love, but also write about the dangers of the world, about Yang Guo's love for flower poison; about Xiao Longnu's humiliation (Mahler Gobi); about their In addition to love, there is also a woman who became a nun and never married. It is necessary to write about the miserable lives of other women to show their love.

If you want to tell the story of Yin Tianchou and Liu Piaopiao's love, you can't just write about the night they watched the sea, but you have to write about Yin Tianchou calling a friend to ask how much Miss Sleeping cost; you have to write about him giving up all his wealth Paying "prostitution"; I want to write that when Yin Tianchou and Du Juaner were dancing on the dance floor, Liu Piaopiao was beaten black and blue by her elder brother...

If you tell the story of life and love well, it will come naturally.

All good works must contain a unique emotion, and "here we are again" is also very suitable for the story of "The Long Holiday".

"Teacher Fujiwara, I'm here."

When he was stunned, Kono Aoi stood behind him and whispered.

She subconsciously kept a certain distance from Kei Fujiwara, and she didn't know what Mr. Fujiwara suddenly wanted her to do.

Main actors of the opposite sex usually don't do anything good when they meet a young actor alone... they may make very excessive demands. The seniors in the circle had warned her so.

Kono Aoi felt that Fujiwara Kei didn't look like this kind of person, and he was young, promising, and handsome. There were so many girls in the circle who wanted to pounce on him, so they probably wouldn't use force on her.

But that’s hard to say. What if he’s just looking for excitement?

Fujiwara Kei looked back at Kono Aoi, stood up, and asked: "Thank you, Kono, I want to trouble you with something."

Kono Aoi swallowed subconsciously: "What's the matter?"

"Kono, let me hum a song. Can you compose it into a piano piece?"

Kono Aoi was relieved and said: "There should be no problem, but if Mr. Fujiwara goes out of tune, there will be nothing you can do."

...You don’t have to be so practical.

"That's good."

They borrowed a musical instrument room in Fukuyamadai. Kono Aoi sat in front of the piano, while Fujiwara Kei cleared his throat and hummed in front of her.

"Thing thump, thump thump, thump thump, thump thump..."

Listening to this song, Aoi Kono's eyes lit up, and she turned to look at Kei Fujiwara: "Teacher Fujiwara, is this a piece you made?"

"No." Kei Fujiwara rejected it directly. He couldn't even read the musical notation. If he said he could compose music, it would be easy for others to cheat him.

But what if someone else did it? Say who? If you don’t admit that the song is yours, what if someone suddenly pops up claiming that he is the original author?

Thinking of this, Kei Fujiwara said: "This is a song I listened to when I was a child. The author is my late mother."