"You don't need to hire famous actors to shoot a few commercials. Besides, the agency not only has its own contracted artists, but also has actor training classes." Shinichi Iwahashi said.
When the time comes, you can choose people from actor training classes, even amateur actors, there is no expense in this aspect.
However, Watanabe Manyumi was obedient and noticed one more thing, "a few." She remained calm and did not interrupt Iwahashi Shinichi until he finished talking about the current topic.
"Then there are the rental fees for various equipment and venues, labor costs, and the remuneration to be paid to the director." Shinichi Iwahashi paused and suddenly asked her, "How is the progress of the investment in filming a movie that I mentioned before?
Already?"
As long as Iwahashi Shinichi intervenes in u-miz's matter, it will definitely be related to his plan.
Watanabe Manyumi knew him very well, so when faced with the question he suddenly threw her, she responded briefly and replied generously, "The adaptation copyright has been negotiated. Although there are still some contractual issues, but ten
It should be completed before January passes."
"Now that the adaptation copyright is confirmed, we can now start preparing the production team and finalizing related matters."
Watanabe Manyumi guessed his intention, "You mean, you want to borrow the team that made this movie?"
"That's right." Iwahashi Shinichi replied, "If the production of the movie and the shooting of the advertisement are almost parallel, then most of the shooting expenses for the advertisement can be saved...right?"
"..."
Watanabe Manyumi suspected that this kind of logic was something he had already calculated in his mind. He was calculating the progress of the film production and was confident that he would be so bold as to ask to shoot the commercial as a music video.
Although Iwahashi Shinichi didn't ask about u-miz's affairs, he knew everything she mentioned. Otherwise, he wouldn't often have his ongoing projects connected with u-miz.
At this point, Watanabe Manyumi had a pretty good idea of what Iwahashi Shinichi meant, so the conversation changed and went back to the "few branches" just now.
"Do you want to shoot more than one commercial?"
She threw this question at the increasingly "expanded" Iwahashi Shinichi.
Iwahashi Shinichi took the move and replied with ease, "Don't worry, I won't just shoot twelve shots."
Twelve is the number of songs scheduled to be included in the album. If faces could really write, the words written on Watanabe Wan Yumi's face right now would be "You don't have to say it."
At times like this, it's no good to be clever.
Iwahashi Shinichi gave up the idea of writing on her face and explained seriously, "However, I really don't plan to take just one shot." He said his thoughts, "About three shots, except for "Future Vision II"
, in addition, we will select two hit songs from the album to shoot commercials at the same time.”
"As I said before, this idea was born after omitting the mv. Omitting the mv, let the advertisement become an mv, and let the mv also serve as an advertisement, instead of just being broadcast on pay channels and the like.
Song Extras.”
"You can shoot more than one music video, and the same goes for advertisements." Shinichi Iwahashi said, "Manyomi-san, there is no doubt about the importance of advertising, but the industry is still not aware of the importance of TV advertisements in music promotion."
In Japan, since 1977, two cosmetics companies, Shiseido and Kanebo, have launched an advertising war on television.
In this advertising war, both sides used popular celebrities of the year as models, selected high-quality songs as the background music of the advertisements, and added creativity to the advertisements. You came and I went back and forth, and launched an alternative war on TV.
Because there is an advertising war going on by default, during this period of competition, the quality of advertisements launched by both sides has increased steadily, and the attention from the audience has also increased significantly, which actually proves the necessity of television advertising after the advent of the television era.
.
Shiseido vs. Kanebo can be regarded as a project that can leave its name in the history of Japanese TV advertising.
From 1977 to the present era, Shiseido and Kanebo still engage in this kind of advertising showdown every year. However, at first it was a "showdown", but now, it is better to say it is a win-win understanding.
"Nowadays, nothing can be done without advertising. The demand for advertising will only get stronger in the future."
"However, the current advertising in music is not rich enough. To do these things now is to start paying attention in advance and start looking for more and wider roads in advance." Shinichi Iwahashi told her.
What they have to do is to pay attention to the role of TV advertising in music promotion from now on, and use their brains to explore more promotion methods.
It is an ideal that the aroma of wine is not afraid of the depth of the alley. It is expected to be discovered by the audience and spread by word of mouth. There is no problem in thinking this way. However, we cannot place our hope on being discovered, but must find more ways to take the initiative.
Shinichi Iwahashi proposed a different perspective on the problem.
Watanabe Mayumi has seen too many of his whimsical ideas. In contrast, the MV-style commercial shooting he mentioned this time has little to do with "whimsical ideas" and is a quite satisfactory idea.
What really matters to her is this kind of imagination about the "future".
What she has always felt about Iwahashi Shinichi is that he looks at things from a very long-term perspective, as if he is always "looking ahead". However, such Iwahashi Shinichi is not a daydreamer who only looks to the future;
After looking forward to the future, I lower my gaze, look at the "now", and do things down-to-earth.
Watanabe Manyumi was persuaded by him again and said: "It seems that a new round of adventure has begun."
How effective are mv-style advertisements? Omitting a single and using the Red and White Song Festival stage to perform songs? Whether this set of publicity plans can achieve the desired effect? These are all answers to questions.
Iwahashi Shinichi smiled and replied to her, "Fortunately, I am not going on an adventure alone."
Watanabe Wan Yumi smiled after hearing this.
…
"By the way," Shinichi Iwahashi thought of something, "As for the director and screenwriter of the movie, have you decided who to use?"
Back to business again.
Watanabe Manyumi said "wait a moment" and went back to her desk to get the documents.
"Yoshimoto Banana's original work is not suitable for film adaptation," she sat down and handed the folder to Shinichi Iwahashi, "so more work needs to be done on the adaptation, and the screenwriter should be hired with a solid foundation... As for the director, I
I am interested in these three people."
One is Ichikawa Jun, one is Morita Yoshimitsu, and the other is Nagasaki Shunichi.
Shinichi Iwahashi looked through the resumes of the three directors. Among these three, Yoshimitsu Morita is already a famous director. The film "Family Game" was the big winner of the Japanese Film Academy Award that year. He is quite good at making youth films.
.
As for the other Jun Ichikawa, he is an advertising director and a famous celebrity in advertising. He once won a gold medal at the Cannes International Advertising Film Festival. However, as a film director, he only entered the film industry last year, and his debut film was "Ugly Girl"
》.
The movie "Ugly Girl" was originally scheduled to be shot by Nobuhiko Obayashi, a well-known and experienced director. However, due to a schedule conflict with Nobuhiko Obayashi, Ichikawa Jun took over the film. This is how he became the director.
Movie opportunities.
Ichikawa Jun's "Ugly Girl" won the eighth place at the Film Festival Awards that year and made a splash.
Finally at the bottom is Nagasaki Shunichi. This is a new director who has not yet had a masterpiece. However, he has filmed and participated in the filming of several youth films. Watanabe Wan Yumi chose this one, and Iwahashi Shinichi felt a bit unprepared.
The schedules of the two directors didn't match up, so I used it as a final safety card.
"Not only is Morita-san rich in experience, but she also has her own way of making youth films." Watanabe Wan Yumi said her thoughts, "Inviting Morita-san is a safe bet."
"Then Ichikawa-san."
"I watched "Ugly Girl"." Watanabe Manyumi told Shinichi Iwahashi, "After watching it, I was deeply impressed by Ichikawa-san's shooting techniques and processing methods. In addition, the movie "Ugly Girl"
, reminds me of the 'unreliability' I felt in "Kitchen", so I have full confidence in Ichikawa-san."
It seems that this is her favorite one.
"Nagasaki-san has the least experience among the three. In his current works, he has not shown such impressive talent." Watanabe Manyumi said this and couldn't help but smile.
Iwahashi Shinichi knew the meaning of this kind of smile. It was his embarrassment after he bluntly stated his "lack of talent." Although Watanabe Manyumi was clear-headed when she spoke, when she said something that was too straightforward,
, will occasionally show such a reaction.
"However, I have seen his works, and they are remarkable, and I have expectations for him." Watanabe Manyumi said. Therefore, the reason why newcomer director Nagasaki Shunichi appears here is to use it as a base.
.
After all, Morita Yoshimitsu is a famous director who can make movies whenever he wants to. Although Jun Ichikawa is still a novice, he just won the eighth place in the Film Festival Awards last year. It is much easier to attract investment now than in the past.
Having said that, whether it is a well-established backbone director like Yoshimitsu Morita or a promising new director in the industry like Jun Ichikawa on the candidate list, Watanabe Manyumi does not feel that it is difficult to hire or get the job.
After all, in this era, the Japanese film market can release more than 500 films a year.
There are new movies released in cinemas every day, and anyone can be a director. Movie directors are not as valuable as they think. Famous directors also say that ordinary hard-core directors have to beg their grandfather and grandma to attract sponsorship, let alone newbie directors.
"but."
Iwahashi Shinichi looked at these three names and pondered for a moment, "We already have 'Shunichi', how about we also consider 'Shunji'?"
"What?" Watanabe Wan Yumi was a little confused.
Iwahashi Shinichi explained, "It means Iwai Shunji." After observing Watanabe Manyumi's reaction, she had no reaction to the name.
Previously, when Watanabe Manyumi mentioned that she wanted to adapt "Kitchen", Iwahashi Shinichi mentioned Iwai Shunji to her once. He said it casually at the time, but now seeing Watanabe Manyumi's reaction, she didn't take it to heart.
"He shot music videos for Mori Takasan before, and now he shoots short films and commercials for Fuji TV. He probably has no experience in shooting feature films," said Shinichi Iwahashi.
"Ah." Watanabe Manyumi remembered that Shinichi Iwahashi once mentioned such a person.
"In terms of shooting experience, Iwai Shunji-san can't compare to Nagasaki Shunichi-san." Shinichi Iwahashi said, "But if we all have to keep a safety card, I think it's better to do it for this 'Shunji-san'."
'This sentence."
This kind of deep confidence in Iwai Shunji is not only because the name is familiar to Shinichi Iwai, but another important reason is that he knows a little about Iwai Shunji's works and style and thinks that he should handle this film.
"Kitchen" may be able to accurately capture the "unreliability" that Watanabe Mayumi emphasizes between the lines in the book.
"Shinichi-kun seems to be quite optimistic about Iwai-san." Watanabe Manyumi said thoughtfully.
Iwahashi Shinichi replied, "That's right... If you plan to make other movies, then I wouldn't recommend him specifically. However, if it's a movie like "Kitchen", I think you might as well give it some attention.
Iwai-san."
"I was born as an advertising director..." Jun Ichikawa was also born as an advertising director.
Watanabe Manyumi thought about it and said, "I'm going to get to know this Iwai-san."
Iwai Shunji is now working for Fuji TV, and Watanabe Manyumi only needs to ask her brother-in-law Yoshida Masaki for help, and she can get the commercials and short films he has shot.
Having said that, I stopped.
Iwahashi Shinichi doesn’t understand film shooting, and as an outsider, he has no intention of getting involved in production. It would be self-defeating to point fingers when he doesn’t even have a little knowledge.
After seeing the resumes of Yoshimitsu Morita and Jun Ichikawa, Shinichi Iwahashi had nothing to say. The appointment of either of these two directors is worthy of the trust of laymen.
However, if the inexperienced Nagasaki Shunichi could serve as a substitute, he couldn't help but want to recommend the equally inexperienced Iwai Shunji.
At least, Shinichi Iwahashi felt that when Shunji Iwai was asked to handle "Kitchen", he should have some expectations.
Before that, the first thing Watanabe Manyumi had to do was to put the promotion plan for "Future Vision II" on the table at Monday's office meeting.
After we have a rough plan here, we will contact CBS and Sony and reach a consensus with them.
Fortunately, the printing factory has not started work yet, otherwise, if it were suddenly decided to change the release date, all the record sleeves produced in advance would have to be destroyed and remade.
…
On Thursday night of the next week, Shinichi Iwahashi went to a coffee shop in the Jiyugaoka area for an appointment.
The person he agreed with was none other than Taopusida, who said over the phone that he would teach him how to make an origami giraffe.
The store was designated by her, and the time was arranged in advance. Iwahashi Shinichi arrived early in the morning.
However, he didn't wait too long. Not long after he sat down, Akina Nakamori also appeared in the store.
