Japanese Entertainment: From special effects actor to action superstar

Chapter 602 The Completely Disrupted Perspective Relationship
The crew spent the entire day doing only one thing.

Lay the floor!
Keep laying flooring!

There's no need to lay out the floor properly; as long as the filming can be completed, that's fine.

A striking problem emerged in the re-laid-out scene: what appeared to be a raised platform for entertaining guests actually appeared slightly lower, while the newly raised floor, although visually unified, was actually higher.

This shot achieves the following effect.

The camera zooms in from behind Ayako, using a side-view shot to focus on Team Leader Muto.

Based on conventional perspective, where objects appear larger when closer and smaller when farther away, this should present a massive image of Akira Furuya.

However, due to the difference in elevation, this overhead angle actually presents a complete view of Tani Akira. If the camera is then moved, a different result will occur: Tani Akira, who is sitting above, will appear smaller, while Yakushimaru Hiroko, who is sitting below, will appear larger.

After all, even if the perspective is disrupted, the rule of things appearing larger when closer and smaller when farther away remains unchanged, so Hiroko Yakushimaru, who is closer to the camera, naturally appears larger.

In this way, the symbolic effect in the shot can be achieved.

Despite appearing casual and constantly eating, drinking heavily and eating pastries, Muto, the team leader, is actually in a passive position in this relationship.

Ayako, who appears tense with her arches taut, is actually quite relaxed and at ease. For example, her fingers are casually tapping the floor, and her gaze isn't on Team Leader Muto but on the swaying wind chimes. She is the one who is in control of this dynamic.

This doesn't need any narration to explain; everything can be explained simply from the dialogue between the two characters and the tension presented in this shot.

Takeshi Kitano completed the installation and led the film crew to resume shooting.

The two began a brief conversation.

Team Leader Muto: "Going to make movies is your mother's wish."

Ayako: "I don't want to film it. I'm not interested in that kind of thing."

Team Leader Muto paused slightly while kneading the pastry, but still put the pastry with the fingerprint on it into his mouth.

He had certainly considered that his daughter wouldn't agree so easily, but he never expected her to reject him so decisively.

What shocked him even more was Ayako's next sentence.

"I have a boyfriend."

brush!
click!
The tea tray was crushed at the right price.

What does having a boyfriend have to do with making movies? Nothing. But it's not important.

The important thing is that Team Leader Muto's emotions have now been completely stirred up; Team Leader Muto is furious.

What he couldn't accept was that things were getting out of his control, and what he couldn't accept even more was that his daughter was so resistant and defiant towards his orders.

When the camera pans to Ayako, she wears a triumphant smile.

……

……

Just like what Gu Ming had discussed with Kadokawa Haruki before.

True blockbuster films, while featuring car chases, gunfights, and action sequences, also contain a sense of humanity.

Taking Fast and Furious as an example again, even though everyone knows that the bald guys are not doing anything good, these guys don't deserve to call themselves great heroes.

But when the two cars parted ways and the "See You Again" song played, the concept of "family" presented in the plot was still enough to resonate with the audience.

Without this core element, if it's just about pure, exhilarating car chases, then no matter how thrilling it is, it won't reach the level of other movies.

This is why the Fast & Furious series reached its peak with the 7th installment, and then declined after the 7th.

All that's left is the pleasure, the emotion is gone.

Even if it were Vin Diesel who died, even if Vin Diesel was riddled with bullets the moment he stepped outside, or Vin Diesel was hit by a car, or Vin Diesel drowned himself in the toilet while drunk, or...

If you replaced it with a song by Paul Walker in remembrance of him, the result would be the same. When the core that sustains the entire film series is stripped away, no matter how exciting the car chases are, they can't fully engage the audience's emotions.

Therefore, in addition to the various exhilarating action scenes, car chases, gunfights, etc., Gu Ming requested that the script include an emotional element of patricide.

It has been said that everyone harbors a patricide complex, which may not necessarily involve actually killing someone, but rather is an emotion to prove that one has become stronger.

When the father who once supported the family nags incessantly because he doesn't understand how to use a mobile phone, and the child who was once oppressed explains how to use the phone in a slightly impatient tone, this is a form of emotional patricide.

Because as a father, his status has been reversed at this moment, while as a son, his status is on a higher level.

When Chief Muto begins to lose control of everything, and when Ayako starts trying to control him instead, the emotional patricide that lies beneath the countless exhilarating scenes of filmmaking has already begun.

However, it is understandable that, as a commercial film, this process cannot be completely successful.

In the end, both parties will reach a settlement, the filming will be completed, Team Leader Muto will step down, and everything will be fine.

If the emotional act of patricide succeeds, then it's not a commercial film, but a typical art film.

After filming wrapped up for the day, Gu Ming changed his clothes and had only taken a few steps outside when he saw Takeshi Kitano waiting for him at the door.

"Kitano-kun, what's wrong?"

"Uh, Kogoro, it's like this." Takeshi Kitano scratched his head for a while before managing a rare expression on his fierce face. "How did you come up with this filming technique?"

Gu Ming bluntly stated: "It was copied."

"Ugh?!"

"What do you mean, 'it's copied'? Do you think I could come up with a way to film it? Just like how you used this shot to pay homage to the three-person confrontation in 'Kagemusha,' I only came up with this idea after watching other works."

Takeshi Kitano was relieved.

Oh, so that's a tribute! He thought it was plagiarism.

"Hasn't Gugu ever thought about becoming a director himself?"

"I never thought that kind of thing wasn't suitable for me." Gu Ming tapped his temple with his hand.

"I'm not suited to taking charge of everything; making a film is not an easy task. I might have some ideas occasionally, but I'm better suited to inspiring directors."

Gu Ming added: "As the director."

Don't make any films that are completely obscure, and don't try to create content like Yasuke hyping up Oda Nobunaga.

Judging solely from his directing career and acting abilities, Takeshi Kitano's status in Japan is absolutely worthy of extensive discussion.

Takeshi Kitano touched the back of his neck, a rare smile appearing on his fierce face.

Right? I told you he was really good at this!

Being a comedian is the most boring career; being a director is the life he's looking for!

"Keep making it! Unlike videotape movies, this is a theatrical release. If you do a good job, you'll get a lot of offers after the movie ends. Then you'll be a great director."

Gu Ming counted on his fingers: "Twenty years from now, when people talk about Japanese directors, look at who they are. Ah, Kinji Fukasaku, Akira Kurosawa, and you, Takeshi Kitano."

Just a few words from him gave Takeshi Kitano goosebumps.

I can't possibly accept that!

Its face, which used to look quite fierce, now looks like a Chihuahua, both fierce and cute.

Great director.

Takeshi Kitano repeated it to himself twice.

The great director Takeshi Kitano! That's so exciting!
(End of this chapter)