Shingo Yoshizaki's surprise is not without reason. Although he has been working with Rinto Chihara for more than a day or two, he admits that he is indeed a rare good screenwriter, but screenwriters and directors are two different things.
It is difficult for screenwriters to create scripts. There is a saying in the industry called "picking cakes from the road." This is specifically used to describe screenwriters-imagine a twists and turns and touching stories, characters with souls, and you can pick out a character from the road out of thin air.
The difficulty of the cakes is basically the same, they are all made out of nothing.
But it is equally difficult for a director to draw a storyboard, and the difficulty direction of the two is completely different - the director needs to go one step further on this basis. To transform a single text into a tangible picture and sound, the knowledge must be very broad.
Including but not limited to professional knowledge such as crew coordination, scene scheduling, artistry, audio-visual language, art design, action performance, photography, and post-editing.
For example, when the screenwriter writes a line and the director draws the scene script, the shots related to this line often need to consider many things:
Is the scene type panoramic, medium shot, close-up or close-up?
Is photography push, pull, pan, move or follow?
Should linked shots fade in and out, switch or dissolve?
Is it better to have warmer tones or cooler tones? Should we use different tones to distinguish different characters and different scenes?
In terms of composition, how can you make the audience feel comfortable?
How to use dubbing effects to enhance the audience's immersive feeling?
Do you want to add background music to enhance the atmosphere? If so, what type? Where to cut in and where to fade out?
How many seconds does this shot length take? Is 1 second too long? Is 0.5 seconds too short?
How do actors need to perform here to fit the overall tone?
Even if the script only says that the actors walked out of the grocery store, the director has to consider the style of the grocery store - whether it is an old Showa-style grocery store or a new-style grocery store today.
Make the scene more in line with the main tone of the show?
In short, the screenwriter imagined the story out of thin air, which is regarded as the ingredients, and the director reprocesses it. He is also regarded as the chef. If he does not do a good job when making the storyboard and is unwilling to rack his brains with many "seasonings", no matter how good he is,
Ingredients can also be spoiled for you, so in the TV program production industry, young talented screenwriters are rare, and young talented directors are even rarer. This is because there are too many things to consider when being a "chef", and they are all complicated.
Young people often don't have the experience to accumulate details, so just relying on flashes of inspiration is not enough.
What is most needed to produce a storyboard script is not just a flash of inspiration, which is enough for the screenwriter, but more importantly, solid basic skills and rich practical experience.
Now that Chihara Rinto is trying to draw the storyboard script, Yoshizaki Shingo has not thought about stealing the work and seizing power, but he is indeed mentally prepared to help him make major changes. After reading a few pages, he feels... he can't make too many changes.
There are many places that Rinto Chihara has considered very carefully, almost everything that can be considered is taken into consideration, and the storyboard thinking is very mature, and the key points of the action and the turning points of the plot are very accurate. It is as if he has been trained in countless movies.
Just like it came out.
He confirmed the strength of Chihara Rinto, and in any profession, strength has always been respected. His attitude changed involuntarily. He no longer dared to have the mentality of major changes and special changes, and changed it to the way he treated Fujii Arima.
With an attitude similar to that of a creative director, he began to focus on checking for gaps, especially on the complexities of multiple frames for one shot, to determine whether there would be conflicting points that would cause confusion for the audience, and then write down his own suggestions.
, so that everyone can discuss it later - even gods can't make mistakes in creation. There will always be some glitches, which is normal.
Keima Shiraki was still there polishing the literary script over and over again, and was occasionally called over by Chihara Rinto to help check things. Chihara Rinto gradually became completely immersed in the complex thinking of script creation, and was highly focused.
The production of TV programs, especially the production of TV series, is really like making a precision instrument by hand, or it is like solving a difficult set of equations with a large number of unknown numbers. Even if he has the original version for reference, he still cannot
It feels very confusing - you can't find the process just by looking at the answer to some things. You still need to try again and again and simulate the combination over and over again in your mind. Otherwise, you don't know how others achieved this effect, and you don't know yourself.
Can we get better results?
With all his heart and soul, he forgot what he had eaten for lunch, and his mind was filled with "time expansion", "character movement creation", "multi-camera changes", "human-machine simultaneous movement", and "sound effects change"
, "scene setting" and other things were almost squeezed into a ball of paste. When his stomach growled again, he remembered that there were other things to do. He suddenly looked up at his watch and found that it was already seven in the evening.
It's 25:00, and I almost feel depressed...
It’s over, it’s too late to go to the restaurant for dinner. Last night I was still thinking about grabbing it with both hands and getting hard with both hands. As a result, I was so busy at work on the first day, and the work hasn’t come to an end yet, so it’s hard to leave now.
suitable.
He hesitated for a moment with the pen in his hand, deciding in his mind whether to put his work aside and find Ningzi Hakuba or stay and continue working overtime. After all, everyone is in good condition now and very efficient. It would be a pity to leave. And Shingo Yoshizaki noticed
He stopped, looked over, and asked tiredly: "Qianyuan, are you stuck?"
He took the opportunity to stretch and stopped working. He was a little impressed by Qianhara Rinto's "sitting skills" - this young man sat for a whole day and never left the chair except to go to the toilet once, which made him also
I'm embarrassed to be running around and being lazy, and I just got a sore back. I can only say that it's good to be young, and at least there's nothing wrong with my prostate.
Chihara Rinto secretly sighed. The storyboard for the first episode also has the meaning of setting the style and tone of the entire season. He finished the first draft early and revised it several times. Once it was completely finalized, it was determined not to change anymore.
So...work first, then live after work. It doesn't matter if you wait for Hakuma Ningzi for a day.
He immediately returned his attention to the script and said with a smile: "No, I'm just a little hungry. Baimu-kun went to get some food and came back. Yoshizaki-kun, let's continue - for this part, I feel that multiple cameras are used for multiple shots.
It's better to shoot in one shot, which saves time and effort and produces better results, but the position of the actors and the movement of the camera are a bit uncertain. The effect I want is like this..." He drew a simple diagram on the paper, with arrows flying all over the sky.
It's almost like preparing to attack a certain position. He directly asked for advice, "Yoshizaki-kun, please help me figure out how to design it optimally."
Shingo Yoshizaki immediately came over. He has been working on the set for more than ten years, and his experience is still rich enough. With the design, the specific operations are not difficult for him. He immediately started to give advice, "Simple, three cameras are almost enough."
Yes, just be safe and use four. Camera No. 1 moves in parallel from here to here, using wide angle, and Camera No. 2..."
The three of them worked until 12:30 at night, and finally had a rough idea of how to shoot the first episode. Keima Shiraki didn't hesitate, didn't care about washing, and directly found the sleeping bag and got in.
After a day of intense mental work, he was very sleepy and needed to sleep. Shingo Yoshizaki also called his wife to ask for leave. He also asked Rinto Chihara to testify for him that he did not go drinking or fooling around. Then he also found a sleeping bag and lay down directly.
Already.
Qianhara Rinto looked at the time, sighed, and decided to go to a restaurant for dinner tomorrow, and then went to sleep directly - it would take more than half an hour to go home, and another half an hour to come here tomorrow. It was not cost-effective, so just go to bed
Forget about sleeping in the office.
It was Iori Murakami who called them up the next day, and then discussed with Chihara Rinto alone about separating the "Human Observation" working group.
The working team of "Human Observation" itself is super bloated. The original plan was to allocate more than half of the capable staff to "Hansawa Naoki". It is almost time now. Murakami Iori has already preliminary determined the list, and
Qianhara Rin was so familiar with her that he didn't treat her as a woman at all. He rubbed his eyes while looking at the list, and then made a request: "For ordinary staff, you can make your own decisions, but I still need an experienced person."
The executive director of 11.com, you should look for this as soon as possible."
According to the preliminary shooting plan, he planned for the three directors of "Naoki Hansawa" to share a script and start filming at the same time. He counted as one, and Naogo Yoshizaki counted as one, so there was still one missing. Unfortunately, Fujii Arima refused to come, otherwise there would be no need.
Add more people to the team.
Murakami Iori nodded, ready to go back to inspect the directors in the production bureau, and then asked with concern: "Should we start preparing the theme song?"
She is already declaring her budget, and she probably won't be short of money. It's easy to get things done if you have money in this circle. She is no longer as poor as "Shiqi" - she is ready to show her ability, and she will press the button no matter what this time.
The singers, songwriters and composers released a classic, ensuring that big productions would have a "120-point" theme song according to tradition.
She was full of confidence, but Qianhara Rinto refused to cooperate with her. He lowered his head and thought for a while, then said directly: "No, I don't want the theme song this time."
"What do you mean?" Murakami Iori was surprised, "Qianhara, now we are not short of money. Although we can't waste it, we don't need to save on the appearance of the TV series."
In Japan, the theme song of any popular TV series will be sung for a long time. This is a good gimmick that can help increase the ratings. It is really a money squeeze and it has to be done, let alone there is no shortage of money now - this
It was almost traditional, and she really couldn't understand it.
Chihara Rinto laughed directly and said: "The situation is different. We want to make this drama a 'legendary TV drama'. The audience we face are adult professionals. They don't need a theme song to help heighten the atmosphere and make people cry, so...
…We don’t want that anymore, just let the audience focus on the plot, and it will be more effective to let them be spontaneously moved by the protagonist’s experience.”
Iori Murakami didn't mention this, he had completely forgotten that the original version of "Naoki Hansawa" did not have a theme song, but started with solemn pure music, which instead increased the thickness and attraction of the original drama, and significantly accelerated the play.
It improved the overall rhythm of the series and increased the level of attraction. Chihara Rinto felt that he could copy it - most American dramas in later generations have also given up on things like theme songs that drag the rhythm, and he has confidence in the script and filming.
There is no need for any gimmicks, just rely on plot and character creation to win!
Use the most unsophisticated and pure punch to give the audience a fatal blow!
Murakami Iori didn't agree very much, but Chihara Rinto was the general person in charge of "Hansawa Naoki", and his decision was the final decision. She had no way to object, so she could only acquiesce, and handed over a stack of information to Chihara Rinto.
, sighed and said: "This is a partial list of actors that I selected based on my requirements. You can take a quick look at it first to see if there is anything you like."
Qianhara Rinto nodded and immediately started to look through it.
Super-excellent actors like Masato Sakai are not easy to find, and for a TV series to be successful, the villain must complement the protagonist and be of the same level. Don't overpower the drama, which is also difficult to find.
This was actually the biggest difficulty of the show, but it was a hundred times more important than whether or not there was a theme song. He took it very seriously for a while.