Poverty story after Tokyo actress

After breaking away from Katsuhiro Otomo and starting to work alone, Toshi Kon's storyboarding style gradually began to be more realistic, with a strong sense of film.However, influenced by Otomo Katsuhiro's high-detail animation, Kon's animation works also have super high detail.

In the first few works, "Mima's Room" and "Tokyo Godfather", the dream-like storyboards of Toshi Kon's later period have not been shown, but it can also be seen from the original paintings that Kon Toshi is meticulous about details. high-intensity control.

From the arrangement of objects in the room to the bustling or chaotic night scene of the metropolis, Kon basically fills in all the details when making it. Therefore, Kon’s works have a strong sense of fullness.

Even when he is doing animation, he rarely uses empty landscapes that save drawing time, such as in Mima's house, Mima's apartment. Generally speaking, even if it is to show that the protagonist loves to decorate the room, in most cases Next, in the animation, in order to save the cost of painting, we will try our best to reduce miscellaneous small objects, and only put some key bonsai and so on.

But Kon Min doesn’t do that. In Mima’s room, Kon designed more than 100 small objects, posters, potted plants, books, fish tanks, toys, pillows, ornaments, pen jars, etc. for Mima’s small apartment. etc.

These small objects, according to Toshi Kon, are things that Mima will use in daily life. Although they can only be used as backgrounds in the animation, Mima needs them.

Handing over these complicated little objects to any painter would make him squirt blood, but in order to ensure the realism that a lively girl should have, Kon Min has to make these small objects look good even if his hands are cramped. All of them are piled up, and they are only needed for one sentence.

Such a detail-crazed filmmaker can't find any faults in the storyboard Jiang Bai produced. Although, in this way, there is a little less sense of participation, but it also saves Jiang Bai a lot of work.

Moreover, it is really enjoyable to watch Kon Min's storyboard design. This steady, smooth and beautiful storyboard perfectly hits Jiang Bai's excitement.

The style of Kon Min's works is simply perfect in Jiang Bai's aesthetics.

Of course, although Toshi Kon’s storyboard can’t find any shortcomings, Jiang Bai still found some points that need to be improved during the shooting process, because the storyboard is static after all, but the shooting is a dynamic individual.

No matter how good the storyboard is, it can't show the beauty of dynamics, and the beauty of this dynamic needs to be controlled by Jiang Bai himself.

Moreover, the main character is Makoto, our wife, if you take pictures of your wife, you must take pictures of your wife beautifully!

"Well... Director, I think we can add a fan in this direction to create a feeling of sea breeze blowing, and create a dynamic effect..."

"Director, director! I came up with a new method. We can put a black cloth on the window to cover some sunlight, and then slowly remove the black cloth to let the light slowly extend out. This way we can Bring out a feeling of time passing!"

"Director, director! I think I can do it all over again! I have a new idea!"

"Director, director! Shall we wait a little longer? I feel that the weather is not very good now. What should we do when the sun comes out?"

.........

Jiang Bai's enthusiastic and energetic attitude really caused the director who is over half a century old to have a headache. Although it is said that the opinions raised are pretty good, but Naihe is too good at raising opinions.

Director Takashi Yasuda is no longer young. It has been more than 90 years since he entered the industry in the 20s.

He is not so well-known in his 50s. What he really wants to say is that he filmed some romantic comedies that were notoriously famous at that time, but now he has passed the stage of becoming famous.

And it was quite unexpected for him to be able to receive the director job of Yokohama shopping trip.

At this age, Yasuda can still be a director again, and Yasuda has no desire to dictate. Facing Jiang Bai, a young man who can always come up with new ideas, Yasuda just smiled and waved, indicating that she would come by herself.

Of course, there is another point because the boss above vented in advance, expressly telling him not to make things difficult for some people in the crew, for example, starring Hoshino Makoto and Miyano Ebai.

Ha, I am an old man, why make things difficult.

Yasuda Takashi's large-scale letting go allowed Jiang Bai to shoot freely and boldly according to his own ideas, and under Jiang Bai's lens, the beauty of Makoto's appearance was fully released.

It is also the first time for Makoto to try such a role. After getting the script of the role of Alpha, she specially completed the manga of Yokohama shopping trip. is quite heterogeneous.

After all, Makoto started as a literary film under the hands of her grandmother. As a director, even if the role may be simple, it will never be simple. She plays very few simple characters, and Alpha is definitely the most simple one among them.

So much so that after receiving this role, Makoto couldn't even hold back a role analysis, analysis what?This optimistic and pure girl has almost nothing to analyze in terms of character, she can be summed up in a few paragraphs, and her psychological activities are not complicated.

In the original work, Alpha's psychological activities are clearly written out with narration, and Makoto doesn't even need to figure it out.

However, it is such a seemingly simple character that Makoto feels inexplicably challenged, because adult characters are very complicated, so complicated that it is difficult to see oneself clearly, and it is even more difficult to become pure when admitting such complexity.

Children may be pure, but it is a pity that Makoto is not. Therefore, facing this pure alpha, Makoto even finds it more troublesome than making literary films before.

Alpha is not difficult to figure out, but she is not easy to present.

Moreover, during the shooting process this time, Jiang Bai was also a photographer, and he kept the camera on his face all the time, which made Zhenqin feel a lot of pressure.

Therefore, during the initial filming process, Makoto was not very active.

Jiang Bai also noticed that Zhenqin was unable to do what he wanted, and asked with concern during the break: "What's wrong? Zhenqin, I feel that you can't relax in the previous paragraphs. The role of Alpha should not be difficult, right?"

Zhenqin responded with a look of embarrassment: "Well... oh. Although the character is indeed quite simple, it is really not easy to perform... Moreover, Jiang Bai, you have been shooting me at the side..."

Zhenqin still hasn't finished a sentence. This feeling of being chased by Jiang Bai with a camera is like the invigilator standing beside you all the time and staring at you as you write the test paper!

"Well..." Jiang Bai didn't know that he could put such a lot of pressure on Zhenqin as a studio, and the corner of his mouth twitched slightly, and said: "You can't do this, you still said you want me to help you make a movie, If I become a director in the future, wouldn't it be impossible for you to act when you meet me?"

"Well……"

Makoto was said to have lost her temper, and muttered: "Well, I just haven't gotten used to you being a photographer yet, next time, you can stand in a place where I can't see, so I won't be so nervous !"

"...Then I can't shoot your back?"

"Forehead……"

"Hey, take it easy, you'll get used to seeing my face more. As for the difficulty in acting, what do you think is the difficulty in acting?"

"Well... Alpha has a very simple personality, but... I always feel that there is a feeling that I can't be simple. I want to be happy and simple, but there are always many distracting thoughts that prevent me from being simple..."

Zhenqin talked about her feeling of being unable to do what she wanted when playing Alpha, while Jiang Bai listened silently. When she heard the back, she couldn't help but raise the corners of her mouth and asked: "Le Tian and purity... Ha, I think, you It’s not that it’s not easy, it’s that I didn’t find the right mentality.”

"Mentality?"

"Hmm, you always want to act, but this kind of simple character is not expressed by 'acting'. I will teach you a way to perform this kind of simple but pure emotional character."

"Oh?"

Jiang Bai's words made Zhenqin couldn't help listening closely, only to hear Jiang Bai whispering: "Don't think about how to act, you first think about something that makes you happy, and keep yourself in a good mood, then Alpha should have You have that cheerful disposition of yours."

"For example... if you can grasp the energy and motivation that come to me every day for pornography, that kind of optimism and purity will really be your true self."

"..."

As soon as Jiang Bai's words fell, Zhenqin couldn't help but blushed, and retorted in an atmosphere: "What you said, why do you feel like I am a womanizer!"

"Huh?" Jiang Bai looked surprised, and asked: "Aren't you?"

"..."

Chapter 290 Eight Friends Meet Friends!

The shooting of the Yokohama shopping trip was quite smooth. There was no dispute over the positioning of the work, no disagreement among decision-makers, no difficulty in shooting due to lack of funds, and no mutual torture between investors and producers.

Being a screw in such a smooth crew feels that the needle does not poke, and now Jiang Bai has a lot of time to do something he wants to do every day.

Of course, in most cases, Jiang Bai went to Jin Min's office to learn some experience in storyboarding and editing. At the same time, she also asked a lot about Jin Min's working experience in this world.

It's amazing, it seems to be a natural fate, this time it is still Katsuhiro Otomo who brought Kon Min into the industry.

Kon Totoshi was a little-known cartoonist before he entered the film and television industry, but Katsuhiro Otomo was very interested in Kon Toshi's comics, so he hired him to work as an original artist in his studio.

Of course, the animation industry in this world is weaker than in the previous life, so Katsuhiro Otomo prepared to enter the live-action film industry after producing some famous works.

Otomo Katsuhiro's decision was 15 years earlier than in his previous life.Katsuhiro Otomo's entry into live-action is a live-action film of Osamu Tezuka's classic manga "Black Jack".

Katsuhiro Otomo has a lot of Osamu Tezuka plots. Rather, the entire Dongying animation industry basically has Osamu Tezuka plots...except for Mr. Hayao Miyazaki who hates Osamu Tezuka's ideas in animation.

Otomo Katsuhiro of Jiang Bai's previous life adapted Osamu Tezuka's manga and produced the animated film "Metropolis". In this world, he directly took the classic "Doctor Black Jack" as a touchstone for entering the live-action film industry.

But Katsuhiro Otomo is obviously not good at live-action filming. Just like the live-action version of "The Insect Master" he directed in his previous life, his live-action "Black Jack" hit the street without accident, and Katsuhiro Otomo was silent for a long time because of this.

Of course, the success of "Black Jack" was not fruitless. At least, he allowed Kon, who worked under Otomo Katsuhiro, to participate in the film industry.

Totoshi Kon himself is an animator who loves movies very much. Whether it is storyboarding style, editing, screenwriting, or details, Totoshi Kon's works have a strong sense of cinema.

Therefore, Kon entered the live-action film and television industry during Katsuhiro Otomo's filming of Black Jack.When Katsuhiro Otomo fell into a downturn after his works hit the market, Totoshi Kon came out on his own, and soon gained a firm foothold in the film and television industry because of his outstanding ability.

At the same time, he has not forgotten his work in the animation industry, and occasionally he will be asked by his old boss Katsuhiro Otomo to do some animations, but basically he has no chance to contact the position of an animation director.

In terms of live-action film and television, Kon Min has not been able to meet the big job of being a director. After all, live-action films are not like animated films. It is the basic practice of the industry to have Kon Min, the original artist, be the director of animated films.

However, it is really whimsical for a live-action movie to have a storyboard editor as the director.Therefore, Jin Min has been working as a script, storyboard, and editor in the film and television industry.

Kon Min did not wait for the opportunity to make himself famous in the film and television industry like "The Room of Weima", but he did wait for the announcement of his pancreatic cancer.

However, it is a blessing in disguise.

Due to the significant reduction in work intensity, Kon Min was able to find out his own illnesses in advance, and had more rest time to fight against the illness.

In this way, Totoshi Kon, who was only 47 years old in his previous life and died with his posthumous work, survived in this world.Now he is still holding the teacup in front of Jiang Bai and occasionally taking a sip, smiling and drawing the storyboard.

Of course, although he has no chance to show his talent as a director, Kon Min is still a filmmaker who is full of enthusiasm for creation and love for art.

Jiang Bai watched with his own eyes Jin Min pondering more than a dozen original paintings in a storyboard, and changed them again and again, adding various details and reasonable adaptations.

Compared with the improved storyboard drawing method based on the original manga when I made the storyboard for the parasitic beast before, although Toshi Kon also has references to the original work, most of them are basically completely different from the original manga.

Although he refers to the original manga, when creating storyboards, he is basically separated from the original manga, either adding content or changing the orientation of the characters to make it more suitable for a live-action film.

In comparison, Jiang Bai's storyboard production can be described as lazy.

In the face of Jiang Bai, a junior who is full of desire and love for learning, Kon Min will naturally not be self-absorbed.He shared with Jiang Bai all kinds of work experience in storyboarding and editing in detail. The two often sat in a corner of the crew holding the script and chatting for an afternoon. The evaluation and mutual Amway of this kind of classic movie.

When two top cinephiles hit the airwaves with each other, they can't stop!

"Well, I still don't understand Fellini. After all, his films are too artistic. Compared with the same period, I prefer Billy Wilder, and Hitchcock's attitude of excellence in details. It had a huge impact on me too…”

"They are all very early film directors. Mr. Jin Min, who do you admire more among the current film directors?"

"The current ones... are basically the same ones, Spielberg, Martin Scorsese, Ridley Scott... I like their movies very much, and their production philosophy of appealing to both refined and popular tastes is also what I like. I love it. Miss Jiang Bai, who do you like?"

"Well... it's actually similar to those you mentioned, but if I had to choose one to study, I would choose to learn from David Fincher."

"David Fincher?"

"Well, because his style is very stable, he seldom shows those film and television shots that can be called ghosts, or anything stylized. He just uses the most basic techniques to tell the plot very purely. That kind of Speaking straight, I like the rhythm of the straightforward narrative."

"That's right, it's true, but David Fincher is not so much stylized, I think it's his use of basic film techniques that has reached a level of proficiency, which in my opinion is better than showing some Stylized stuff is even more stunning."

"Indeed, I'm not the kind of genius who can come up with some ghostly designs in a flash of inspiration. For me, David Fincher's movie style is a very worthy reference type."

"Well, but me... um... hahaha, I can't say who I will learn from, after all, my own style is found out by myself little by little."

Jin Min's professionalism and humor have benefited Jiang Bai a lot, but Jiang Bai's behavior of getting together with Jin Min, a half-century-old man every day, made Zhenqin very upset. Maybe she is not as attractive as an old man! ?

Zhenqin, who was very unconvinced, always wanted to find an opportunity to have a good talk with Jin Min. She wanted to see what aspect of this old man attracted Jiang Bai, and Jiang Bai had been talking about him since a long time ago.

"かたくなに夜は来てはるか道の上,

The night is indistinguishable from the distant road,

キミがまた歌うときchestは急いでゆく,

When you sang again, your heart was burning,

変わらないものをたずね tomorrow は生きる日と,

Looking for something that won't change as long as tomorrow is alive,

あの日から见えていたキミルサクロータスよ,

那天开始我看加//1>>0>1依/$灵<&一||气<死$%四~<五+=酒%*斯$=久{@巴@記&号{/一~n~}J灵7*4>５>9|4~9/&8到为五%*已@|期}+八~=把}&零}七%记Ｎ/~J==号>@就<$把+瘤~<一你盛开的莲花哟，

とめどなく梦に见るまだ见えぬ地方へ,

Watching the never-ending dreamland go to places that have never been seen..."

This melody is not very pleasant, and the style becomes more and more peculiar as it goes on, but Makoto can't help but be amazed for a while, because this is not a pleasant melody, it is her favorite musician Susumu Hirasawa The song "LOUTS"!

She has repeated this song countless times, and she can sing it backwards!

Ahahaha, just kidding, but Makoto was really surprised that Kontoshi's office was filled with her idol's song, so it's possible... Kontoshi suddenly has a crush on her! ?

Holding this suspicion, Makoto pushed open the door of the office, and saw Kon Min playing the stereo outside, listening to the music while drawing storyboards, the music was so loud that Kon Min didn't even notice when Makoto came in.

However, he soon discovered that there was an extra person in the office. When he saw Makoto standing at the door, Jin Min couldn't help being surprised, and then smiled apologetically and turned off the stereo.

"Oh, no, I actually like "LOUTS"."

"Huh!?" Makoto's words made Jin Min slightly taken aback, and immediately, the eyes behind the eyes that seemed a little cloudy due to advanced age suddenly lit up, as if a child found a good friend to talk about a common topic.

"You are also a fan of Master!?"

Shijiang, Hirasawa Susumu's fans call him, it's hard to imagine that Kon Min, an old guy over half a hundred years old, would actually call someone Shijiang, but this word is in the ears of Makoto, who is also a fan. That's... the code is matched!It's one of our own!

"That's right! I grew up listening to Master's songs!"

"Oh! My favorite is "LOUTS"! How about you!?"

"My favorite is the song "Sign" he gave in the Sword of Legend game!"

"Oh! That song is quite majestic and heroic!"

"sodayo!"