Tokyo Sound

In this kind of drama where the old and the young are paired, the general situation is to take care of the children. There is no way, the difference in strength exists, and the performance of the youngsters is mostly hovering between the poor and the passing line, and it takes several rounds of polishing to achieve results. As for whether the old actors will be influenced by the young actors and integrate into the segment? I can only say that it does not exist, because the masters will perform without props, and they can cry loudly to the void, let alone to a wooden man that can breathe.

And now, the youngsters can actually be said to be able to handle the situation with ease, and it seems that there is still a limit to their potential.

It's really unbelievable.

"So steady, has this guy really only done dubbing? Is dubbing so hot now?" The crew's real assistant director was a little shocked by the voice actor and asked in a low voice, "Is he really a voice actor? Not a drama actor?"

"That's not important. What's important is that I'm really good at judging people." Okita Shuji put his hands on his hips proudly.

Master Yin was forced to accept the ineffective makeup touch-ups by the makeup artist sister while begging for food. This male second role is not like a minor role, who can just stand there for a few minutes and die beautifully. After a whole day, the corridor of life was overclocked and closed with the click of the clapperboard, and the energy was consumed quickly. It’s not good to save, you are all exerting yourself, how can you have the nerve to be the shortest board of the barrel?

However, the brothers in the crew easily accepted the fact that this job was easy, and happily drove to the river to shoot the play within the play.

In "Woodpecker and Rain", Tanabe Koichi is shooting a zombie film, or a zombie film. This part is actually the easiest to make. Because it is set as a novice director and the film quality is poor, the actors can be casual, and it is best to deliberately make the performance too heavy and read the words like a stick. The zombies don't need special effects costumes, just make their faces black and blue. Save money, save righteous words, be faithful to the script, and even the staff can appear on the screen... Start nesting dolls to play the staff of the play within the play.

Everyone came to the flat riverside, set up their equipment and worked normally as usual, while another group of people pointed their cameras at this side.

Kanji Yakusho's face was also painted blue, but the makeup artist had professional ethics. She used red to draw a line of blood and tears around the actor's eyes to demonstrate her professional ethics.

Yin Ze had nothing to do for the time being, so he just watched from the sidelines while eating some biscuits he bought from the village supermarket.

The zombies' movements must be anti-human to be interesting. Aspiring crews will invite professional action designers to provide guidance. But here, they have to be unprofessional. Yakusho Kanji and others raised their hands and walked slowly towards the survivors. The hunters took silent toy guns to fight back. The zombies were knocked down according to their moods, and then they got up. Some of them even patted the dust on their palms with humanity.

"Cut." Okita Shuji said easily, "Let's eat first."

Woohoo~!

Yin Ze had been hungry for a long time, and he burst out with a speed that surpassed the makeup artist sister's flash. Relying on the fact that he didn't have to remove makeup and was physically close to her, he was the first one in line to get the meal. When the makeup artist finally came back with the plate and wanted to have a meal together, someone had already queued for the second time, and they passed each other perfectly.

In the evening, the crew returned to the base for the last show of the day.

After playing a zombie role as an extra by chance, Katsuhiko Kishi was invited by the assistant director in a baseball cap to watch a sample film.

……

The room was curtained and the lights were turned off, leaving only darkness. The machine hummed and the unpolished, plain sample image was instantly projected onto the small screen.

Okita Shuji, the assistant director, Yin Ze and others were all standing in front of the director's monitor, observing the superb acting skills in close-up shots.

The faint reflected light from the sample film shines on the weathered and story-filled face of Yakusho Kanji. He can't be called beautiful, but with thick eyebrows and big eyes, he has a very neutral appearance. This face can play both good and bad guys. The so-called performance limitations only exist in technology, not appearance.

When the sample film was shown, Yakusho Kanji's eyes moved. For more than ten years, life in this small village has remained unchanged. The traditional and old-fashioned Kishi Katsuhiko has seen movies, but has never seen a behind-the-scenes sample film. At first glance, he was curious and even moved forward slightly.

A dozen zombies slowly walked up from the edge of the screen. He clearly saw a figure in work clothes among them. It was himself. He saw that person clumsily pretending to be shot, then bowed, squatted, and lay on his side. When he got up, he shook the dust off his hands, squatted again, and slowly rolled sideways.

The performance quality of this zombie is in stark contrast to that of others in the sample film.

Therefore, Yakusho Kanji's second glance was guilty, and he quietly looked around to see other people's reactions, as if he was embarrassed. Only when he found that no one was paying attention to him did he turn his eyes away. Then, the corners of his mouth rose because of the novelty and joy, and the third glance had quietly changed to praise the movie and the crew.

There are no lines, the lighting is dim, and in close-up, even the slightest shaking of the face is easily exaggerated. However, Yakusho Kanji completed the characterization with ease. At this moment, Uncle Kishi Katsuhiko even added a bit of cuteness.

Many Japanese dramas have too much tension and are a bit like the style of a play. But acting is ultimately a technique that leads to the same result.

Yin Ze kept observing the corridor of life, his eyes flickering, and he nodded slightly, full of respect. The other party relied on his own strength to firmly control his facial features and muscles. And because of the ordinary nature of the role, he was probably holding back and not using his full strength. This time, he finally met a master.

"Cut." Okita Shuji was also impeccable.

Then it was the second male lead's turn. Same scene, same close-up, this is probably the most troublesome shot for an old man to teach a young child. If the transition is not good, then the forehand and backhand teaching will definitely be an awkward scene.

Yin Ze closed his eyes and thought for a while before making an OK gesture and walked forward.

Different from the individual close-up of Yakusho Kanji.

Although Yin Ze is also in a close-up, there are crew members around him. The focus has been adjusted, so their figures are blurry, and only their clothes can be roughly seen. Behind him is the projector. In the darkness, a beam of light connects the machine and the screen. The white light is the image, which is the hard work of the crew.

This composition was made after careful consideration by the director and the photographer.

Katsuhiko Kishi was a group actor by chance, so he was the only one in the close-up. However, Koichi Tanabe was the director, so there were a lot of crew members and cameras in the background.

This lens language expresses the differences in identities and mental states of the two people.

For the lumberjack, being an extra was a rare and first experience. But for the director, watching his bad shots was like self-punishment.

The set was extremely quiet, with only the machines busy transcribing the tape.

In the monitor, the young man was sitting with his knees crossed in a defensive position. The image light projected from behind clearly showed his messy hair. His expression was just distressed at first. Although his face was not wrinkled, it conveyed a sense of pain. He also glanced around quietly, very quickly, like a child who had done something wrong, secretly glancing at an angry parent.

The pain diluted into confusion, which gradually engulfed the entire body until it seeped out of the screen.

The young man lowered his head suddenly, and when he raised his head again, his eyes were clearly red in the weak reflected light. Tears welled up in his eyes. His ten fingers were tightly entangled.

Just like that, all the emotions and expressions were tensed like a spring for 2 seconds.

The young man lowered his head again, but instead of burying his face in his arms, he kept it lowered.

A director should not not watch what he shoots, but he really doesn't want to watch it, so he can only simply lower his head and look away to escape. Those tearful eyes are so tempting in close-up, but from beginning to end, the tears did not fall, but just kept accumulating in the eye sockets. It's like a useless child, with the last dignity and stubbornness.

The assistant director nodded.

When it comes to crying scenes, the most common ones are probably those in sad dramas, especially for actresses, who often have to cry with their faces covered. Whether you can cry, how you cry, whether you cry beautifully, and the emotional power of your tears are all subject to discussion. The standards for some dramas are extremely high, and the director will even set rules for which eye of the actor should shed tears first, when the tears should fall, and so on.

The assistant director has seen a lot of them, but he has never seen a Heisei boy who cries so well in the industry. If this skill were to be put into an idol drama, wouldn't it make the innocent girls heartbroken instantly?

In fact, the makeup artist next to her was already showing empathy with red eyes.

Yakusho Kanji also stood behind and observed. This should not be an impromptu behavior following emotions, because this kind of layered changes was too perfect and rich, and it was obviously designed. He even felt that his performance also gave some hints, such as the details of quietly looking around.

This is really a case of learning and applying what you have learned.

A good actor can play a role very well without making any mistakes.

And the absolute actors can give life to the characters and leave the film with an ambiguity that can be pondered.

At this young age, he already deserves the word "excellent". He has completed the exchange of potential, and this talent can have a place even in a nameless school full of strong people.

Seven years... No, maybe five years at most. As long as he encounters the right opportunity, he will definitely win the award.

"Which firm is this newcomer from?" Yakusho Kanji couldn't help but murmur.

Upon hearing this, Okita Shuji was silent for a moment, not knowing how to respond.

Chapter 12 You Have Considered It Well

Thanks to the actors' strong abilities, the filming progressed very smoothly. High efficiency also means saving money, and the venues and equipment are rented on a day-by-day basis. Seeing this, the director flexibly arranged all the venues and sets to be used in the front, eating the hard ones first, and then slowly enjoying the rest.

"The next scene is a hot spring scene. Would it be okay for Makoto to appear on camera?" said Okita Shuji.

"Very good." Yin Ze has always supported the public funding aspect.

"Then please take off your clothes." Okita Shuji said with his hands spread out.

"Pants too?" Yin Ze was surprised. He had been in the industry for so many years and had missed out on harem shows many times. He never thought that after entering the live-action film and television industry, he would be exposed to large-scale works so soon and devote himself to art.

"Huhu, don't worry, I will always be on standby to ensure that the mist does not affect your makeup." The makeup artist sister had a serious expression, holding a makeup box, like a swordsman, and her professional ethics were shining.

"Is this a bit..." Yin Ze hesitated. The chief took pity on him, he just wanted to go to the second dimension sea.

"What are you thinking about? Only the upper body is exposed, just like when you go to the bathhouse." Okita Shuji felt strange.

"Alright." The makeup artist happily accepted. It was a win-win situation anyway.

"Let me confirm, do you need to get wet?" Yin Ze asked seriously.

"Is there a hot spring that doesn't require getting wet?" Okita Shuji was stunned.

This is troublesome. Master Yin frowned. If he soaked it all in, the passive ability of turning into a dragon when in contact with water would be triggered to the maximum effect. How could he maintain his sloppy personality? After a few seconds of thinking, he decided to design a small action, covering his head with a bath towel. This way of wearing Voldemort's clothes, which could cover the back of his head, would probably also neutralize some of the dragon's power.

Since it's a water play, we have to go to a hot spring shop, and since there are so many people, we have to book the place. So the crew members have to work harder. Today is the night shift, there are fewer guests at night, and the cost is cheaper.

Yakusho Kanji and Yin Ze both dressed in a bold bathhouse style. If they tied a red towel, they could sing rock music. Except for these two people, everyone else wore T-shirts and slippers. A camera was facing the pool. The director seemed to like long shots. Here is another 2-minute long shot that is relatively static. The characters move little and just keep speaking their lines.

In fact, long shots also depend on the situation, and are not necessarily difficult. Japan has no shortage of people who can draw, and the advertising industry is also full of talents who are very good at playing. They also have long shots in reverse. Anyway, in the animation industry next door, a purple long-legged robot pinching a person's stream of consciousness for 64 seconds is also a long shot - what era is it now, and we are still using the traditional one-shot three-shot, let's take a look at Anno brother's one-shot eight hundred-shot.

There is nothing much to say about the figures of Kanji Yakusho and Yin Ze. As a professional actor, the former's figure is mainly for the role, and weight gain and weight loss are based on the film project. Here, he is just an ordinary uncle's figure. Not to mention Yin Ze, although he has the Life Corridor to help consume energy and has no excess fat, he can be called well-proportioned, but there is no evidence of hard work on his body, everything is pure natural, without any traces of training.

Alas, it is nothing but delusion. If the soul body has the concept of bodybuilding, then the master-level soul body of the Tauren Chieftain must be able to stand three barrels of water on his chest and walk with a fat, hairy horse in his arms. He must be a super big guy with a cloak as his background!

Okita Shuji looked at the monitor in confusion.

Why does the male lead look even more handsome despite the same makeup and styling, and even shirtlessness? Where does this enchanting charm come from?

At this time, Master Yin relied on his knowledge of the human body and the power of the corridor to suppress the passiveness.

……

"Hey, crew members." Kishi Katsuhiko greeted the young man who suddenly joined the hot spring. "Hey, don't you live in Kurizawa? You came so far."

"I saw it on the map... and wanted to give it a try." Tanabe Koichi answered in a low voice, tilting his head slightly. Drops of water flowed down his fair skin.

"This is a good place, with few people and good water." Kishi Katsuhiko poured hot water on his chest and sighed, "Speaking of which, it's really difficult to make a movie. Like that, you shoot one scene at a time, bit by bit."

The old man slowly swayed his body, laughed kindly, and swam towards the young man with his hairy legs floating on the water. The young man covered himself with a bath towel, crossed his hands over his chest, and quietly moved to the side to avoid being hit.

"Have you seen that thing called sample film?" Kishi Katsuhiko said as he moved closer.

"Huh?" Tanabe Yukikazu recalled the rough quality of the results and immediately turned his head, his reaction being unusually intense.

"I did act in it." Kishi Katsuhiko said with a chuckle, "But it's a bit embarrassing to see the scenes of myself acting, hehe."

Tanabe Koichi gave an awkward but polite smile.

Not long after soaking in the hot spring, the two of them came out wrapped in bath towels. The uncle was still driving the small truck. His view of young people had changed. It was a small matter, so he decided to drive them a ride. It was late at night in the countryside, dark and quiet. The small truck turned on the lights and drove slowly along the way.

"Is it enough to just go to the station? But where are we going at this time?" Kishi Katsuhiko asked while steering.

"I'm going back to Tokyo tomorrow." After a pause, Tanabe Yukichi's face showed obvious fatigue. He looked at the silent darkness outside the car window, and the light in his eyes gradually faded.

"That's really hard work. By the way, what kind of movie are you shooting and what's the story?" Kishi Katsuhiko was very interested.

“It’s a zombie movie.”

"Hmm, what next?"

"You... don't know? Zombies?" Tanabe Koichi was a little confused, and then said calmly, "It's a movie where zombies crawl out in large numbers and scare people."

"Of course I know, what is the plot?" Kishi Katsuhiko urged.

"Isn't a zombie movie just a plot?" Tanabe Koichi muttered, but he noticed that the uncle's eyes were bright and he continued to narrate weakly, "In the near future, civilization will be destroyed and the country's population will be reduced to 2/1 of the current level..."

"Oh, it's about the future. One in 2, how many people is that?" Katsuhiko Kishi listened to the lecture while driving.

"About six thousand people."

"Amazing."

"…Well, that." Tanabe Koichi couldn't help but glance at the driver who was concentrating, "Do you find it interesting?"

"Of course, what's next?" Kishi Katsuhiko nodded repeatedly.

"Well, the surviving humans face a problem. The children they give birth to are sometimes zombies." Tanabe Yukikazu had to continue.

"Is that so?" Kishi Katsuhiko's expression became serious.

"These abnormal children have to be dealt with."

"How to do it?"

"Destroy them and throw them into the river or something. Because zombies eat people and are contagious." Tanabe Yukikazu said simply.

"It's too cruel." Kishi Katsuhiko said with a sad face, "It's simply a crisis for humanity. Is there any way to deal with it? What happens next?"

"...Um." Tanabe Koichi's expression also became a little depressed. He asked again tentatively, "Do you really think this kind of story is interesting?"

"Of course, keep talking," Kishi Katsuhiko said quickly.

"The protagonist is a woman named Lin Zi. One day, her fiancé was eaten by zombies. So in order to get revenge, she joined the village's women's bamboo spear team."

"The Bamboo Spear Team, sounds awesome, what is it?"

"It's a defense team formed by the survivors who lost their loved ones to zombies."

"Oh, now it's time to show some human backbone, what about the rest?"

The young man looked at the driver for the third time, who seemed to be following the drama. He finally confirmed one thing. The driver really found it interesting... But this was probably because he had not been exposed to any film or TV works, so he found this blank script fresh. The young man smiled bitterly at himself when he thought of this.

The pickup truck drove into Iwamura Station. At this time, there was no one else waiting for the train.

"We're here too early." Kishi Katsuhiko looked at the empty station.

"It's okay, I'll be fine in a minute." Tanabe Yukichi unbuckled his seat belt and got out of the car.

"Then don't oversleep, or you'll be in trouble if you miss the 50-minute bus," Kishi Katsuhiko warned.

"Yes, thank you very much." Tanabe Yukichi thought for a moment, lowered his head and took out a crumpled script from his bag, and said softly, "Here you go, I also..."

"Hey, can I take it?"