Kyoko Fukada left the crew with the expectations of Mizumi Hayato, but Mizumi Hayato did not become a loner because of this, and could only accompany those rough men to shoot action scenes.

Masami Nagasawa has to shoot until the end as the heroine, and Mai Shiraishi, who was called by the eldest lady, also joined the group.

Mai Shiraishi plays the role of Yumi Komagata, the woman next to Shishio, as the former No. 1 Oiran in Shinyoshiwara, beauty is its biggest feature, that is to say, when Mizumi Hayato is not interested in adding drama to her, this role is a complete vase.

As I said before, among the stargaze actresses, Yoshioka Riho has the right temperament, or Nanao and Miyoshi Sayaka can also be on top by their figures, but letting them play this trick may be a bit lower-level.

Mizumi Hayato has a heart for water, and gives him another canary, Hinatako Sano, to play the role of a female anchor in the first place, but his long-trained desire to survive tells him that he must not do this.

So when the casting power was handed over to the eldest lady, this inconsequential but face-revealing vase role slipped down Nogizaka's idols.

Mizumi Hayato thinks that from the perspective of temperament, Misai Edo may be more suitable, but of course, the eldest lady of Yan Kong chose Mai Shiraishi, who she thinks is the most beautiful.

There is nothing wrong with Mai Shiraishi, the appearance is high enough, and the important thing is that the skin is white enough.

Mizumi Hayato has always felt that the film version of his previous life is too dark, and except for the snow daiba, who gives the camera a lot, the female characters don't show much beauty.

Oiran, of course, the skin is good enough to be white, the face is beautiful enough, the figure is also good, the upper body, everyone is equal under the kimono, and the figure is of course dependent on the demeanor and body proportions, and Shiraishi Mai has everything.

Since it's a dragon set.,It's not a big deal to give a few more.,There are also a few female ninjas in the original work of the partner of the roll town exercise-Imperial Court Fanzhong.,Mizumi Hayato handed it all over to Nogizaka's little idols.,That is, show your face.。

These few days are filming a few scenes of them.

Do you think that in this way, Mizuyato will be able to have several beautiful girls around to spend a happy time these days?

Mizumi Hayato thinks so too.

It's a pity that the little idols who came here didn't have time to play with Mizumi Hayato because they still had the task of preparing for a concert tour, and their roles were like cameos, so they could only shoot for one day.

A day is not too short, nor is it enough... But the important thing is!

Mizumi Hayato's little assistant Nanami Hashimoto also ran over, saying that Mai Shiraishi was an important figure in the concert tour as Xia Dan's C position, and she wanted to ensure that Mai Shiraishi could coordinate the work of both sides during the period of joining the group.

So in the past few days, Mizumi Hayato can see that Nana Hashimoto is obviously his assistant, but he follows Mai Shiraishi every day, shushing the cold and asking for warmth, and arranging the schedule...

Even when he walked over to talk to Mai Shiraishi, she would be like a calf protector's agent, staring at him with warning and vigilant eyes, never leaving an inch.

This makes the water Hayato inexplicably have the illusion of horns on his head.

Obviously I came first...

So in the end, even if there are so many flowers coming and going in the crew, Mizumi Hayato can only stay by Masami Nagasawa's side.

Of course, Masami Nagasawa is the best in the world.

...

As the saying goes, "There is no woman in my heart, and I draw a sword from God." Without interference, the water falcon can pull the "rough guys" to "fencing".

The two plots of "Kyoto Fire Chapter" and "The End of the Legend" are connected, and there is only one big boss, Zhi Zhixiong, which is equivalent to the upper and lower parts of a movie.

Then it is obvious that the Armageddon that finally defeats the big boss cannot be completed in advance, and many people will think that the previous part is just a foreshadowing and will not have any exciting scenes, but in fact, it is not.

Sometimes the excitement of fighting elite monsters and small bosses is not much worse than that of big bosses.

In the "Kyoto Fire Chapter", there are two extremely exciting one-on-one scenes in which Mizumi Hayato has put a lot of effort into it.

What is about to be filmed is the first duel between Kenshin and Sojiro.

In the movie version of Mizumi Hayato's previous life, this section was filmed quite excitingly, Takeru Sato and Ryunosuke Kamiki obviously put a lot of effort into practice, the knife skills were sharp and fast, and the whole fight scene seemed hearty.

This paragraph is often edited in the remix of many action movies, and this paragraph is often mentioned when the excellent action scenes of "Rogue Kenshin" are exampleed, which shows how good it is.

Of course, Mizumi Hayato didn't want his version to be worse than that version, and when he was designing the action, in addition to referring to the original version in his mind, he also watched a lot of action movies, studied samurai killing formations, and also went to see some explanations of swordsmanship genres.

In the mind of Mizumi Hayato, in 2014, there was a movie called "Tsubaki Flower Scattered", Okada Junichi has the true transmission of "Nakato Katori Shinto Flow", and several fight scenes are amazing.

Then again, since this movie hasn't come out yet, the water Hayato, the stitching monster, will naturally not let go, and while carrying forward his own action style, he also sewed a little bit of the fight scene of "Tsubaki Scattered".

So Mizumi Hayato's version of Kenshin vs Sojiro, they didn't follow a gorgeous and wonderful action style like the original or like the original manga, but like a sword halberd piece, from the stalemate of the sword, to the tentative attack, the switching of the upper and lower sections, and the swift transition between attack and defense.

The design of the first half is not like a comic film, but like watching two real samurai fight, each sword seems to test each other, but each knife attacks the weak point, as if the killing machine is hidden in the quiet confrontation, and then instantly revealed.

In the second half, it began to show the characteristics of "manga".

Sojiro, the "Heavenly Sword" in the original work, is extremely talented, and is characterized by "divine speed" like Kenshin, and can accelerate to the maximum speed in a short period of time during the attack, and the super god speed that even the human eye can't catch is called "shrinking the ground".

The confrontation between the two "god speeds" began with a sudden sprint after opening up the distance.

In the original movie, because the action design is very "comic", some people often complain about this paragraph, and the lower the samurai's body, the more terrifying it is.

Mizumi Hayato complements each other's strengths, adds a large section of realistic fights, and at the same time finds a way to show the stunts and characteristics of the two in the comics, the whole action design is complex and requires extremely high speed and movement proficiency.

Let Brother Shenmu practice hard.