After Iwahashi Shinichi returned to work, the first big thing was to contact the person in charge of the production company and urge him to confirm the production of the Yakuza movie as soon as possible.
Previously, when he proposed this plan at a meeting, it was not approved immediately. This was expected by Shinichi Iwahashi. He does not have the same say in the production company as he does in GENZO. Such a big matter will naturally go through several rounds of bargaining.
.
And in itself, the reason why he put this movie on the stage was to create a reason for him to approach the Inagawa Society in an honest and open manner.
Now, the big deal has been decided. The more so, this Yakuza movie has to be produced. Only when this movie is completed and it serves as an introduction to the Inakawa Society, can the task be considered completely over.
We had just suffered a big event like an attack. As a result, as soon as we resumed work, we immediately focused on that Yakuza movie. Such an act made the executives at the production company see Iwahashi in it.
Shen Yi’s determination is imperative.
In fact, after the news of Shinichi Iwahashi's attack, the executives of the production company were whispering about a possibility: the person who attacked Shinichi Iwahashi might be someone from the Inagawa Society. As for the reason for attacking him——
Shinichi Iwahashi wanted to make such a movie and went to the Inakawa Society to source materials. This approach angered the Yakuza.
There are such speculations, not just random guesses by the production company executives. Because just about a month ago, director Juzo Itami was attacked by members of the Yakuza organization Goto-gumi because he was filming a Yakuza movie.
, was seriously injured and was hospitalized, and is still recuperating.
The Goto-gumi were very dissatisfied with Itami Juzo's portrayal of the Yakuza as bullying villains in "The Violent Girl", so they retaliated against him and used practical actions to prove that Itami Juzo's movie was not deliberately smearing.
There is such a recent precedent that forces people to consider this aspect.
Although compared with Itami Juzo who was attacked by five people and seriously injured, Iwahashi Shinichi, who had a near-miss in the incident, his attack did not seem so cruel, but other than that, there was nothing more serious.
Reasonable explanation——
Perhaps the reason why this time was just a near miss is because the film has not yet started production, and this attack was just a warning from the Inagawa Society.
After Iwahashi Shinichi was attacked, the first thing he did when he returned to work was to finalize the production of this movie. This attitude of fighting to the end with this movie seemed to make him attacked by people from the Inagawa Society.
The argument is more convincing.
And if everyone was still secretly thinking that producing such a movie was due to Shinichi Iwahashi's sudden narcissism, but after he almost had his head knocked off, he still insisted on making this movie.
In the movie, Shinichi Iwahashi at this moment, in the eyes of everyone, is a person who will never bow his head when confronting the Yakuza.
Not only that, after the attack, he returned to work as if nothing had happened. The first job he thought of was to produce a Yakuza movie. This style of work also made everyone feel that Shinichi Iwahashi's heart might be as hardcore as his appearance.
Besides, he is a big shot in the industry. It would be too embarrassing for him to admit defeat because he was threatened because he planned to make a Yakuza movie. Even if it is to save face, Iwahashi Shinichi will definitely take this matter to the next level.
Carry it out to the end.
Now that the matter has become a foregone conclusion, there is no point in bargaining anymore. It would be better to just pass it and everyone will be happy.
This time, Shinichi Iwahashi met with the production company for a meeting, and the plan for this Yakuza movie was approved immediately without further delay.
However, for the production of a movie, the approval of the production plan can only be regarded as digging a hole in place, and nothing else.
This movie will be produced based on the script written by Mitani Yuki. Now, Mitani Yuki is a screenwriter who has signed an exclusive contract with Fuji TV. Therefore, the distribution matters after the film production can also be entrusted to Fuji.
TV station.
Japanese TV stations have whatever they want.
The screenwriter has decided to cast Yuki Mitani, and the director still needs to be considered.
Now that a new screenwriter has been hired, perhaps it would be better to pair it with a fresh director. Those directors who made more than a dozen Ren Xia films a year during the heyday of Ren Xia movies, no matter how famous they are at the moment, in Iwahashi Shinichi's opinion
None of them are suitable.
For this kind of script, Yanyin and U-MIZ, the two agencies that have priority, currently do not have suitable actors. When the time comes, they will definitely exchange resources with other agencies.
Shinichi Iwahashi, the nominal chief producer, has very important opinions on the selection of actors.
But other than that, he has no involvement in the actual production of the film, following the true truth he learned when watching the adaptation of "Kitchen" led by Watanabe Mayumi: A layman should not interfere with an expert. In the matter of film production
This is especially true above.
The film, which might have been negotiated until July, was finalized in late June. From the preliminary preparations to the intermediate shooting, the entire cycle only lasted about three months. Iwahashi Shinichi was listed as the chief producer.
But in terms of specific implementation, there are naturally people who will do the errands for him, screen them in advance, and then send him the options to be decided.
Iwahashi Shinichi wanted to meet with Mitani Yuki as soon as possible, but after thinking about it, he decided to wait until the director was finalized before contacting Mitani Yuuki, and the three parties met to discuss and make more detailed supplements to the script.
Although Iwahashi Shinichi is an outsider, in a sense, he has a considerable say in the script.
…
After getting rid of the atmosphere of bargaining, I quickly settled on this important matter. As soon as the meeting ended, Iwahashi Shinichi felt physically and mentally comfortable and in a good mood.
This is not only because I feel refreshed after the content of my plan is passed, but also because I feel at ease physically and mentally that I am back on track.
Back on track, his work schedule began to turn around again.
On the same day, there was a meeting for the production of the movie, and a meeting with the producer of the record company to hear about the work arrangements of its singers for the second half of the year. In the evening, GENZO held a reception, and Shinichi Iwahashi also made an appearance.
The reception for this evening had been finalized a week ago. The receptionists were TV Asahi, Toei Animation, and several officials from Shueisha. The purpose of the reception was to win the music production rights for the "Slam Dunk" animation.
Nowadays, the record industry has emerged from the recession of the 1980s and is making a lot of money in this era of bubble bursting. Therefore, the entertainment from record companies is also quite luxurious.
After receiving the information from Watanabe Manyumi that the manga would be animated, Shinichi Iwahashi immediately started preparations and finalized the music production for the animation as soon as possible.
During this period, the two parties have had several contacts. The relationship between GENZO and TV Asahi has been good for many years, and they have been paying close attention to the animation of this comic. They are the fastest among all record companies to take action.
The animation is produced by Toei Animation. Unlike animations produced by Sony, which must choose Sony singers to sing the theme songs, no one else can interfere. TV Asahi is willing to nod, and the music production rights are also smooth, so it is not a difficult thing.
GENZO also has experience in producing animation music for "Chibi Maruko-chan" and successfully released "Let's Dance", so it does not mean that GENZO has no experience in animation music production.
Although that famous song was composed after Tetsuro Oda, the person responsible for the specific production was Nagato Daiyuki, who was the head of BEING at the time. However, the people responsible for distribution, packaging and marketing were all Shinichi Iwahashi's GENZO.
The outside world thinks that Tetsuro Oda is a genius composer, but this piece of music written by a genius composer has indeed reached a higher level under the promotion strategy of Shinichi Iwahashi.
As long as Fuji TV recognizes GENZO's contribution to "Chibi Maruko-chan", then this is GENZO's performance that can be used externally.
Iwahashi Shinichi and Oda Tetsuro still maintain occasional contact. Previously, at Iwahashi Shinichi's birthday party, Oda Tetsuro, a person who doesn't like to join in the fun, showed up at his birthday party for the first time.
Nowadays, Oda Tetsuro is focused on the girl named Misa Saeki, fully expecting her to debut as a singer.
That girl was discovered at an audition hosted by GENZO. In order to persuade her to keep in touch with Oda Tetsuro, Shinichi Iwahashi personally went to Osaka to meet Misa Saeki's family.
With such a relationship, Oda Tetsuro would occasionally talk to Shinichi Iwahashi on the phone, meet him for a drink, talk to him about Misa Saeki's recent movements, and show him a new song written by Misa Saeki.
Oda Tetsuro's creative power is very strong, and this is undoubtedly the peak period of his creation.
Misa Saeki, who dropped out of school and now works part-time at a gas station, was not so repelled by the idea of becoming a singer at first, but he did not show any clear interest.
However, most of the songs composed for her by Tetsuro Oda are excellent works.
Perhaps it was because Saeki Misa was not moved that inspired Oda Tetsuro's strong inspiration.
However, through his communication with Oda Tetsuro, Iwahashi Shinichi believes that the biggest change that Saeki Misa's appearance brought to Oda Tetsuro is that it made Oda Tetsuro firm in his new way of doing things.
This talented composer focused on composing in the past few years, and then became interested in being a producer. Now, after meeting Misa Saeki, he has decided not only to be a music producer, but to be the chief producer
.
When Tetsuro Oda had such an idea, Shinichi Iwahashi was convinced that he would definitely leave VERMILLION. As long as his idea could be realized, he would rather pay some price.
Iwahashi Shinichi planned in his heart that at the right time, he would help Oda Tetsuro and let him draw a clear line with VERMILLION.
However, he had no intention of poaching Tetsuro Oda to GENZO.
This is not because the BURNING department is behind VERMILLION records, but because it is unreasonable for such an artist, who has his own way of doing things, to want to keep him by his side.
If you treat him too closely and obey him, sooner or later, GENZO will become a stumbling block that prevents Oda Tetsuro from realizing his ideas. When dealing with such an artist, if you want to respect his ideas, you must respect them all the way.
After all, otherwise, one day, it will become difficult to get together and part ways with him.
Iwahashi Shinichi thought that instead of recruiting him to be his subordinate, it would be better to help him become independent.
Let Tetsuro Oda be independent and have his own personal agency in the industry. After that, Shinichi Iwahashi can go to him to invite him to sing and invite his agency for cooperation through the record company.
Anyway, Tetsuro Oda is an artist with a lot of personality. Even if his contract is with GENZO, if he refuses to provide music, Shinichi Iwahashi has nothing to do. It is better to maintain cooperation in this way. Everything is clear and the relationship between the two parties can be
Well maintained.
And let Tetsuro Oda be independent - in this way, the resistance to let him leave VERMILLION Records will become even smaller.
However, for VERMILLION, whether Oda Tetsuro will provide music to VERMILLION's singers in the future depends on Oda Tetsuro's own wishes.
But for GENZO, Tetsuro Oda is independent, and Shinichi Iwahashi can justifiably ask him to invite him to sing. From now on, GENZO singers will have an additional source of songs.
In this attack, Ikuo Subo's BURNING took action to suppress the news. Since Ikuo Suho helped him such a big favor, Iwahashi Shinichi must thank him in person after he passed away.
When the time comes, as a reward for Ikuo Subo's generous help this time, Shinichi Iwahashi is willing to advise him on how to handle the relationship between Oda Tetsuro and VERMILLION Records.
…
This time, there was no other competitor in the fight for the music production rights of "Slam Dunk". As a newcomer, Takehiko Inoue, the author of the comic, still had no say in the animation adaptation of this comic.
The terms Iwahashi Shinichi negotiated with the producers and the TV station were that after winning the music production rights for "Slam Dunk", at least three groups of popular singers from the company would be assigned to be responsible for the production of the opening and ending songs.
One of them.
But for the selection of singers other than these, it is up to GENZO to decide. Perhaps Shinichi Iwahashi will promote its newcomers through the opening and ending songs of this animation.
Of course, as usual, he still transferred the original copyright of the opening and ending songs to TV Asahi, ensuring that cooperation with GENZO and using GENZO singers would be a sure profit for the TV station.
It was precisely because the cooperation was almost finalized that this solemn reception was held, with everyone from the TV station to the animation producer to the publishing house present.
In the past ten years, the intensive promotion model for singers has gone forever. The shadow of the recession has been reflected in advertisers' investment in TV stations. Opportunities have become fewer, and the importance of TIE-UP has also been reduced.
Unprecedented.
Although the theme songs of animations adapted from popular comics are not as good as the theme songs of prime-time TV series, there is no doubt that they are also a resource worth fighting for.