My daily life with the original diva

However, the production team couldn't bring themselves to criticize him, because Hiroshi Kimura was not only the male lead but also the film's sole investor. Who would dare to criticize the investor? If they withdrew their investment, everyone would starve. Investors are always right and never wrong.

In addition, the main actors are all artists under Ken-On Entertainment. Kimura Hiroshi was called back to promote the album, which was the agency's decision. They dared not say anything, otherwise it would be going against the agency, and they didn't have that guts.

But Hiroshi Kimura wasn't going to put on airs or take things for granted. As an investor, he said that after the film was completed, the main actors would receive an extra 500,000 yen, the minor actors would receive 300,000 yen, and each extra would receive an extra 50,000 yen.

This move of handing out money immediately dispelled all the resentment of the actors on set, but there was one exception: Takeshi Kitano, who was the director hired by Hiroshi Kimura, not Ken-On.

"Oh my god, look who's back! It's our leading man! You've been on an interstellar tour for two whole months, haven't you?" Takeshi Kitano, who had been called back, couldn't help but start being sarcastic. If he was unhappy, he wouldn't give anyone face.

In later years, this guy went so far as to criticize the Olympics hosted by Japan on television, saying that it made him feel ashamed as a Japanese person, and that he was embarrassed to say that he was Japanese when he went out. He was very sharp-tongued and had a lot of courage, not afraid of offending anyone.

"Eight million yen, Mr. Kitano. Once filming is complete, the money will be deposited into your account." It was still a lavish payment, increasing the original four million yen to eight million yen, a high reward that even renowned directors couldn't obtain.

Although he was starting to gain popularity in the stand-up comedy world, Takeshi Kitano's salary was still quite limited. Upon hearing this figure, he immediately stopped making sarcastic remarks and instead asked, "The male lead is back, when will the female lead be back?"

"It will probably take another half month. Her new single has just been released, and her leg is injured and hasn't fully recovered yet. Don't worry, filming will stop after half a month, and all the necessary shots will be filmed before April," Kimura Hiroshi assured Kitano Takeshi.

This timeframe finally satisfied Takeshi Kitano. He nodded and said, "It couldn't be better. If it had been delayed any longer, I really wouldn't have made it. We're all idol singers, so why can others make movies so quickly, while I have to endure this kind of torture?"

"Which idol singer is also making a movie?" Hiroshi Kimura asked with some curiosity. If movies made by idol singers were released at the same time, they would be considered competitors.

Fiddled with the camera in front of him, Takeshi Kitano said nonchalantly, "A male idol like you, Masahiko Kondo from Johnny's, I heard he invited Hiroko Yakushimaru to star in some romance movie called 'Love Trip'. Ah, really, Hiroko Yakushimaru is actually going to act in a melodramatic romance movie, what a waste of her talent. I wonder how much Johnny's paid her."

With a slight frown, Kimura Hiroshi heard some news that really annoyed him. He had thought that Kondo Masahiko had given up and was just waiting to be eliminated, but he didn't expect that this guy was still struggling.

No, it's very likely that it wasn't him struggling, but rather the old woman behind him who made him struggle. After all, this kid didn't have that kind of perseverance and ability. Almost all of his outrageous actions in later generations were planned by that old woman.

They previously approached Akina Nakamori to film this "Love Trip," but she ruined it. Unexpectedly, Johnny's Entertainment found Hiroko Yakushimaru to film it. I wonder if Johnny's Entertainment will let them create scandals?

Hiroko Yakushimaru is not an idol, but a proper actress who went to film school. She made her big screen debut in 1978 at the age of thirteen. In 1981, she starred in the action film Sailor Suit and Machine Gun, adapted from a best-selling novel. The film was a huge hit and received rave reviews. Her single "Sailor Suit and Machine Gun" also reached number two on the annual singles sales chart after the film's release. She is definitely a popular figure in both film and music.

However, at the height of her popularity, Hiroko Yakushimaru focused on her studies and did not continue to develop in the entertainment industry. Unexpectedly, only a year later, she was found by Johnny & Associates to act alongside Masahiko Kondo.

"That's really something. That old woman is really willing to go to great lengths for her Yan Yan. I just wonder if this gigolo is any good. The old woman has given so much, she must be going to squeeze him dry. No wonder she can't even have a child in the end. Heh, she must have been squeezed dry by the juicer these past few years." Kimura Hiroshi couldn't help but say wistfully.

This guy actually wants to make a comeback, which Kimura Hiroshi absolutely cannot allow. Kondo Masahiko can only fade into obscurity instead of making a comeback and frequently appearing in front of him. For the sake of his own eye health, he must be suppressed.

"Does Mr. Kitano know when their movie will be released?" Kimura asked casually.

As a well-connected guy, Takeshi Kitano was very well-informed and replied casually, "Ah, I know. I heard they're in a real hurry and want it released in August or September this year. I don't know why they're in such a rush. With such a short time, they'll only produce some shoddy stuff."

Why? Because it's about to flop and desperately needs something to boost its popularity. A movie is obviously a good choice, but this is something that absolutely cannot be allowed to happen.

"Since they're releasing their films in August, then we should also release ours in August. Can Mr. Kitano do that?" Since both of them are movies starring idol singers, if they can be released at the same time, it will definitely suppress their box office and attention, and ruin his idea of ​​making a comeback.

Hiroshi Kimura's confidence is not without reason. First and foremost is the quality of the film. How could a movie that includes action, gunfights, and a young girl be inferior to a melodramatic romance?

Just look at sailor suits and machine guns; girls and action movies not only have high box office returns, but even movie singles sell like hotcakes, which shows the Japanese people's obsession with this kind of thing.

Masahiko Kondo's latest melodramatic romance film is the kind that most idols would take on, offering nothing new. It tells the story of a young man and woman on a remote island who are both terminally ill and about to die, making it even more melodramatic than the Korean dramas where the female lead dies all the time.

These kinds of films have two advantages. First, they satisfy young men and women's yearning for love. Second, they are cheap and have low production costs. If they are starring popular male and female idols, the profits will be very high.

But Hiroshi Kimura's advantage is not only the quality of his films, but also the large distribution channel of Toho. As long as the quality of his films satisfies Toho, there will be no problem with scheduling. This is extremely important for a film. Countless good films have gone unnoticed because of scheduling issues.

Upon hearing Kimura Hiroshi mention that his film would be released at the same time as Kondo Masahiko's, Kitano Takeshi's gossip fire ignited instantly. Anyone who wanted a simultaneous release instead of avoiding it was definitely at odds. He glanced around to make sure no one was near them, then whispered, "You have a grudge against that kid?"

"There's a little grudge between us. This guy tried to intimidate me when I first started out, so now I'm going to show him what I'm capable of," Kimura Hiroshi said, half-jokingly.

It's all too common for seniors to bully juniors in the Japanese entertainment industry. Upon hearing this gossip, Takeshi Kitano immediately lost interest and said indifferently, "Oh, as long as you hurry up, there's no problem with an August release. If you work hard, the editing and post-production special effects can be completed in two months."

"Then what are we waiting for? Let's get started! I can't wait!" Kimura Hiroshi was full of energy at this moment, determined to completely crush Kondo Masahiko and leave him no chance to turn the tables.

Chapter Ninety-Two: Heat Control and New Single Selection

For the next two weeks, Hiroshi Kimura seemed to disappear from television programs. His single "Gaining Through Losing," released last November, continued to sell well, with around 20,000 copies sold every week and ranking in the top ten on various charts. However, he did not appear on any of those music show programs.

However, Hiroshi Kimura did not truly disappear. It would be very dangerous for an idol singer to truly disappear from the public eye, because the idol singer scene changes too quickly and the competition is extremely fierce. So, if he disappears from television, he must reappear elsewhere to ensure that he does not fade from the public's view.

This requires some skill. Kimura Hiroshi first gave interviews to some major media outlets, then informed them of his recent activities, and frequently appeared on radio programs.

In this way, he reduced his exposure without actually disappearing from the public eye, effectively cooling down the previous hype and preventing himself from appearing too much in front of the public, thus avoiding causing aesthetic fatigue.

However, this decrease in popularity cannot last too long; you must release some topical news from time to time to regain people's attention.

Recently, the most talked-about thing about Hiroshi Kimura is his movie film. After being silent for more than half a month, some stills from his movie film have started to appear in major entertainment media, showing him as a middle-aged assassin.

In the still, he is wearing a black trench coat and sunglasses, holding a silenced pistol, pointing it directly at his target. The movie title is also revealed: Léon: The Professional.

As expected, the release of stills and the movie title sparked a lot of discussion. A popular idol playing a middle-aged assassin is really contrary to the image of an idol, since the roles of an assassin and an idol are not very compatible.

Another issue is that some people question whether an idol can portray a killer well, since there are many idol singers who can't sing, let alone act.

And then there's the movie title, which is really strange. What does "The Killer Is Not Cold" mean? Does it mean he's actually quite warm-hearted?

In short, Hiroshi Kimura rarely appears on screen, but he is featured in newspapers and magazines. Sometimes, he doesn't even have a picture of his face, yet he still manages to generate endless discussion, which is quite unique.

This uniqueness sets him apart from other male idols; in the hearts of fans and ordinary people alike, Hiroshi Kimura is the most special one.

He likes to write and sing his own songs, and he's not afraid of trouble. He's also quick to criticize reporters and the media. In addition, he writes his own scripts and acts in them. In short, it seems like he does everything himself, which is quite unconventional.

People didn't dislike him because of this; on the contrary, they liked this unique idol singer. After all, they had seen enough of the same male idols who flaunted their youthful charm and good looks.

Using his work to generate buzz while minimizing hype surrounding his personal life creates the best public opinion environment for Hiroshi Kimura, who previously enjoyed immense popularity.

Although he doesn't frequently appear on various programs, Hiroshi Kimura doesn't have much time to rest. He needs to film movies, do magazine shoots, and appear on radio programs. Now he's about to start recording a new single.

In order to avoid overlapping with the promotion period of Akina Nakamori's single, Hiroshi Kimura's new single will be officially released at the end of February. By then, Akina Nakamori's single will be in the later stages of its sales and will not require much promotion, so the focus can be concentrated on Hiroshi Kimura.

Moreover, this kind of continuous sales is what Yanyin likes the most, because there is no downtime, and the staff can be rotated continuously to maximize profits. That really exposes the capitalist nature.

"Kimura-san, will you be writing the new single yourself?" President Hanami asked at the new single selection meeting.

"President, if I didn't write the new single myself, is someone else going to write it for me?" Kimura Hiroshi felt that this question was a bit redundant.

Unexpectedly, Hanami Hyuk actually had his assistant bring over a bunch of sheet music, all of which were new songs. He proudly said, "These are all songs that I want Kimura-san to sing. Many of them are composed by great artists."

As he flipped through the sheet music one by one, Kimura Hiroshi was somewhat dumbfounded. They were indeed all composed by masters, and some of them were of very high quality. He hadn't expected so many people to want him to sing their songs.

Actually, it makes sense when you think about it. Creators and singers complement each other. They write good songs and naturally hope that singers can sing them well. Of course, it would be best if the songs could sell a lot, since they can earn money for every record they sell, and it's not a small amount.

Hiroshi Kimura, who is currently very popular, is naturally the best choice. He has excellent singing skills, and he is also very popular. Akina Nakamori is the same. She can choose songs from almost all songwriters. However, she is very picky and usually chooses songs according to her own preferences.

However, after watching them, Hiroshi Kimura put all the new songs aside and said, "These songs are all very good, but I have decided to sing my own songs. I have two songs here now, as the A-side and B-side of the new album."

At that time, vinyl records and cassette tapes were still the mainstream. Although CDs had appeared, they had not become the mainstream. Both vinyl records and cassette tapes required playback; once a song finished playing, you had to rewind to listen to it again.

However, simply rewinding the song would make buyers feel cheated and not worth it, thus reducing their desire to buy. So, record companies created A-side and B-side tracks. The main track is the title track, and when you rewind, you play another song of lower quality or a harmony from the A-side track, making buyers feel like they're getting a good deal. Previously, Kimura Hiroshi's singles B-sides always featured harmony tracks.

This time, he plans to record the song on both sides. The reason for the change is because he has a personal reason. However, putting it on the front side might cause some unnecessary disputes, so he will put the song on the B side. He believes that those who are interested will be able to hear what he wants to express.

He took out the two songs he had selected and handed them to Hanami He, but Hanami He didn't look at them because his appreciation level was very limited. He handed them to Kimura Hiroshi's manager, Tomioka Yukio, who came from Warner Pioneer Records and had the ability to appreciate new songs. He was the one who looked at Kimura Hiroshi's new song last time.

Upon receiving the sheet music with the lyrics already filled in, Yukio Tomioka saw that the first song was called "Until the End of the World." The style was very similar to Hiroshi Kimura's first single, combining rock and pop, and the lyrics were the same, teaching people not to give up hope in adversity.

If there's any difference, it's that the lyrics of this song are more mature and express the loneliness of urban dwellers. It resonates with people his age, and he kept glancing at Hiroshi Kimura while reading the song.

Sometimes he really wondered if Hiroshi Kimura was really a teenager. Many of his writings were very profound, something only a middle-aged person with a lot of experience could write. Shouldn't teenagers write about love and romance or things about youth?

After watching the first song, he watched the second B-side track, but he was stumped as soon as he started watching because he didn't know how to pronounce the song title. Although it was a combination of letters that looked like English, it wasn't English at all. aLIEz, he had never seen this combination of letters before, and it was definitely not any English word.

Chapter Ninety-Three: Why Don't You Go to Heaven?

Hiroshi Kimura put a lot of thought into choosing these two singles. The song "Until the End of the World" was used as the second ending theme for the later Slam Dunk series, and listening to it makes you want to shout, "Coach, I want to play basketball!"

Of course, Hiroshi Kimura didn't choose it for that reason. Rather, this song and one of his singles, The Most Important Thing, have almost the same musical style and are both best-selling singles with sales exceeding one million. If there is any difference, it is that this song is more profound and has a stronger sense of loneliness.

However, its strengths are equally prominent. The rhythmic bass and drumbeats at the beginning give the listener a broad sense of space, and the lyrics are emotional and highly evocative. Just look at the concerts of this song in later generations to see how powerful its appeal is.

In fact, it's not just middle-aged people; even young people in the city can feel its charm. It's definitely better than the most important thing. As for sales, it may not be as good, so he chose aLIEz as the B-side track.

Actually, aLIEz is not a word from any country, but was coined by its creator, Hiroyuki Sawano. This guy is an absolute genius. He has helped write theme songs for many famous anime, including Guilty Crown, Attack on Titan, Seraph of the End, Mobile Suit Gundam, and so on.

The song aLIEz was created as an insert song for the mecha anime ALDNOAH.ZERO. However, compared to a certain anime insert song, it has a more resounding name, namely the nuclear explosion anthem or the descent anthem. Almost every time there is an explosion or a big scene, it is definitely the most dazzling presence.

The song depicts war, where hypocritical rulers deceive young people into becoming cannon fodder, and the young protagonist must break through the darkness in this hypocritical war to find the light.

This song can be described as an anti-war song, or as a song of young people resisting the oppression of those in power. It mixes Japanese, German, and English, and the melody is extremely passionate, with many high notes. It is so exciting that it is explosive, which is why it has become a hit song.

Kimura Hiroshi chose this song primarily to allude to the previous attempts by certain major agencies and media outlets to bring him down with lies. Although he chose to reconcile with the media, he was still unhappy, so writing a song to express his feelings is perfectly acceptable.

Moreover, in order to avoid an overreaction from the media, he deliberately placed it on the B side, a limited protest. I don't think the media would have any objections.

Side A is a mature and profound adult voice, while Side B is the voice of rebellion that he wanted to express as a teenager. Taken together, this album will sell well, because anyone with a little understanding can hear what he means.

He is mature and composed, and full of hope for the world because the world needs such strength. However, this cannot extinguish the youthful passion in his heart. He protests against the world where those in power control everything, and this is the sentiment shared by almost all Japanese people.

However, Yukio Tomioka was having a bit of a headache as he looked at the new song. He had read the sheet music and knew that it was a song with a very high pitch. The lyrics mixed war and anti-war themes, but he had never seen many of the words before, making it seem very messy and leaving him with only a general idea.

"Kimura-san, there's nothing wrong with the first single, it can be used as an A-side track, but what exactly does this second single mean? I'm talking about its name. What country is 'aLIEz' from? And those words mixed with English in the song seem to be German, right?" Yukio Tomioka, as expected of someone from Warner Music, is very knowledgeable and even knows German.

He had absolutely no idea what the song title meant; he had absolutely no clue about it.

It would be strange if someone knew this, since the word doesn't actually exist in the world. Kimura Hiroshi didn't show off too much, explaining, "It is indeed a mix of German and English. As for aLIEz, it's a word I created. LIE means lie, and aLIEz means that everything from the English letters A to Z is a lie. You can also understand it as a lie from beginning to end."

His explanation left everyone present speechless. Goodness, it's one thing for you to write songs, but now you're even playing tricks and creating your own word. You're really amazing, so why don't you just fly to the sky?

"Kimura-san, this isn't a good idea. I doubt many people will accept this newly coined term; it might even cause unnecessary misunderstandings." Hanami Kaku strongly objected, determined to eliminate any unexpected factors that could affect record sales.

Last year, thanks to the record sales of Hiroshi Kimura and Akina Nakamori, Ken-On made a fortune. The conglomerate boss was very happy, and Hanami Kagami also received a generous reward. He has stated that this year's record sales will definitely not be worse than last year's.

The year started off perfectly. Although the promotion of Akina Nakamori's new single "Kita no Tsubasa" was not as strong as before due to injury and illness, Akina Nakamori's performance in the song was excellent, and the market response was very good. Sales were heading towards 700,000 to 800,000 copies, and there was no sign of a shrinking market.

So for the second release this year, with Hiroshi Kimura, Hanami Kaku absolutely could not allow any problems to occur. This song, which even Yukio Tomioka found strange, he instinctively wanted to kill it.

Having anticipated this possibility, Hiroshi Kimura did not place it on the A-side, but rather as a supplementary B-side track. Hanami Kaku wanted to reject it, but Hiroshi Kimura did not rush to react. Instead, he calmly said, "President, this is a B-side track. I don't think it will affect the record sales. At worst, we will reduce its promotion to a minimum."

This statement is irrefutable; it is indeed true. B-side tracks have always been considered freebies, and their impact on record sales is minimal. If they are bad, they won't lower sales, but if they are of good quality, they can boost record sales, which is what later became known as the so-called "masterpieces" found on B-sides.

"Then, Mr. Tomioka, do you think this song can be placed on side B?" Hanami Kaku had no reason to refute it, nor could he do anything to Kimura Hiroshi, so he could only seek support and try to persuade Kimura Hiroshi to give up this idea.

Now it was Yukio Tomioka's turn to be caught off guard. This song, from its melody to its lyrics, was almost entirely a denunciation of this world of lies, accusing certain people of using lies to wage wars that should not have been waged. Compared to the previous song, which was full of youthful energy, he couldn't help but think of the press conference he had attended earlier.

This song isn't bad; it can balance out the maturity of the A-side track and perhaps create a different feel. However, it might cause some controversy, especially since Kimura Hiroshi and the media haven't reconciled for long.

“This song can be released as a B-side, but it must be done discreetly. Kimura-san, you can’t promote it in any public place, okay?” Yukio Tomioka chose to support Hiroshi Kimura, but he also had to take precautions and handle it discreetly to avoid giving the media any ammunition against Kimura for being too high-profile.

As long as it's released, that's fine. Kimura Hiroshi doesn't have any requirements for promotion. He believes that those who can tell the difference will naturally understand. So he nodded and said, "Okay, Mr. Tomioka, I promise that I will not promote this B-side track in any public setting."

Having failed to gain support, Hua Jianhe was once again rebuffed, feeling increasingly annoyed but helpless. He wondered how a seasoned middle-aged man like himself could always be restrained by this young man. Should he be more assertive?

But after thinking about it, he decided against it. After all, Kimura Hiroshi had almost never had any major problems with his song choices. If he rashly started singing and caused a sharp drop in sales, then the problem would be his.

Everyone makes mistakes. It's not too late to find an opportunity when Kimura Hiroshi's record planning runs into problems. As a middle-aged man who has been in the workplace for many years, he has this much patience, and it's not weak either. The fact that he can tolerate two somewhat lawless idol artists, a man and a woman, in his agency is quite telling.