After the two of them finished filming today, they ran to a quiet tavern to drink and talk.

"I'm going to participate in this year's PEER Film Festival." Nagaharu Ohno said, "The purpose of filming the commercial is to raise funds for filming, and I have almost saved up, and I plan to start shooting next week."

"Won't your father support you?" Kei Fujiwara asked.

Ohno Nagaji is actually a rich second generation, he doesn't have to worry about food and clothing, and his family's industry is not only Ohno Bookstore, but the bookstore is the most leisurely, so he chose to work here.

"I didn't mention it to him, I'm going to save some money for myself." Ohno Choji Road.

Kei Fujiwara was silent for a moment and asked, "Is there a movie script?"

"I wrote one myself." Ohno Nagaji said, "What, do you want to see it?"

"Yes." Kei Fujiwara nodded.

Nagaharu Ohno took out a few pieces of paper from his backpack behind him, handed them to Kei Fujiwara, and looked at them in the dim light of the tavern.

Kei Fujiwara read the script seriously, and then sighed, "Ohno, you're not good at screenwriting."

This script is almost the same as the script of the first two films of Nagaharu Ohno, the script is full of various metaphors, but there is no smooth story, and it is not up to standard as a movie script.

Kei Fujiwara had seen Nagaharu Ohno's work and realized that as a director, he was not without talent. His lens language is very good, and he often has some very interesting ideas that come to mind.

But he also has a significant drawback, which is that he does not have the talent for screenwriting.

His previous two films were self-written and directed, and the scripts he wrote himself were terrible.

In fact, it's not so much that it's bad, but that Nagaharu Ohno didn't think about the audience other than him at all. His film is like a creation for himself, like an absurd and bizarre dream that only the person concerned can understand, and every word of the character is like a dream, and the dreamer knows what it means, but outsiders have no way of knowing.

If Nagaharu Ohno were an accomplished director, his two works would probably be constantly interpreted and deconstructed to analyze the meaning behind every shot and line he makes, but unfortunately, he is just a nobody, and when the audience sees those incomprehensible plots, there is only one thought: What is this?

When I watched Nagaharu Ohno's movie for the first time, Kei Fujiwara saw a familiar feeling in it, and only later did he realize that Nagaharu Ohno's film was somewhat similar to the style of a writer's work.

Haruki Murakami......

Speaking of Haruki Murakami, most people can only think of the work "Norwegian Wood". The sales of this work in the local area have exceeded 10 million, and Fujiwara Kei also thought about copying this book at first, but first, he did not have a celebrity effect like Haruki Murakami at that time, and second, this book was a work of the 80s, which may not be compatible with the times, so he gave up.

But in reality, the reason why this book is so popular is because it is the most secular of all his works. "Norwegian Wood" is said to be Haruki Murakami's autobiographical (envy), and the story told in this book is more complete and more in line with the reader's reading habits than others.

Many of Murakami's works are full of political metaphors and obscure, such as Kafka by the Sea, one of his masterpieces of magical realism.

When Kei Fujiwara first read this book, I saw it very much, with all kinds of paradoxical plots and strange narrative rhythms, it was like a illogical dream, which was a headache to watch.

For most readers, it is also difficult to be aroused. When Kei Fujiwara first read it, he only read some of the driving scenes in the book, and it wasn't until he was a little older that he finished reading the whole book piecemeal.

Kei Fujiwara thinks that the reason why people buy this book and some people read it is 90% because the author of this book is Haruki Murakami.

If you want to be unruly in your work, and someone can pay for it, you have to be a celebrity first.

And Ohno Nagaharu didn't seem to understand this truth before, and the works he made completely ignored the audience

Feel.

And he seems to have realized a little recently, so the newly written script has become a lot more popular, but it is still ...... It's not very pretty.

"I know." Nagaharu Ohno drained the wine in his glass, "That's why I haven't taken the shot for a long time, but I can't seem to write a better ...... Looking back at my work now, I realize how bad and self-righteous my thoughts were at that time."

The sign of a person's progress is to overthrow his past self, and from this point of view, Ohno Nagaji has indeed grown.

After this period of time, Fujiwara Kei has almost seen Ohno Nagaji's skill panel and various ability values clearly. You say he has directing talent, his films are really bad; You say he doesn't, some audiovisual language and some innovative designs in the film seem to tell you that this director is quite spiritual.

It's very tangled.

After thinking about it, Fujiwara Kei gave Nagaharu Ohno a definition, this guy is a pure director, the kind who can't write scripts. Give him a good script, and he might be able to make a good film; But if you write it yourself, you won't be able to read what you shoot.

In fact, there are many such directors, and China has one.

The screenwriters are Li Bihua and Lu Wei, and they can shoot "Farewell My Concubine"; If the screenwriter is himself, he can only make "Wuji".

By the way, one more thing, later "Wuji" came out and was rewritten by Guo Jingming. As far as the film "Wu Ji" is concerned, the two directors are estimated to be confidants.

Suddenly, the air froze for a moment, and Nagaharu Ohno turned his head to look at Kei Fujiwara.

Kei Fujiwara: "...... I'll think about it."

Ohno Nagaji stretched out his hand to hold Kei Fujiwara's hands: "Then I'll trouble you, Fujiwara."

"Ohno, are you considering coming to work on my crew?" At this time, Kei Fujiwara suddenly asked.

「…… I have no experience in filming TV shows."

"You have experience in making independent films, and most of the crew members don't have that experience before you join the crew." Kei Fujiwara said, "But after all, you haven't been exposed to photography for a while, and to be honest, video technology is changing very quickly, and new technologies appear almost every once in a while, so if you want to make good works, you can't do it without studying."

Nagaharu Ohno looked at him and asked, "Won't it cause you trouble?"

Fujiwara Kei smiled: "I have a little power in the crew now, and it's still easy to use it personally."

"Thank you." Nagaharu Ohno raised his glass.

Originally, when Kei Fujiwara left Ono Bookstore, the money that Nagaharu Ono gave Kei Fujiwara allowed him to spend the most difficult period since he came to this world. Later, he always asked Kei Fujiwara out to eat at every turn, so Kei Fujiwara has always been grateful to him.

Of course, later Fujiwara Kei became rich, and this guy began to run away from orders at every turn.

On the second day, Fujiwara Kei brought Ohno Nagaji into the crew, and before Ohno Nagaji came, he deliberately made a fuss, pressed his unruly hair with hair oil, and specially brought a black-framed glasses, probably hoping to look more gentle.

After working on the crew for a few days, Kei Fujiwara ran into a producer from the film department of Mizuba Productions, who was recently working on a romantic literary film.

After chatting for a while, Kei Fujiwara suddenly thought of Nagaharu Ohno, so he recommended Nagaharu Ohno to the producer and showed him those two works of Nagaharu Ohno.

After reading it, the producer was silent for nearly half a minute, and after half a minute, he smiled frankly at Kei Fujiwara: "The story is really bad."

"Who's to say it isn't?" Kei Fujiwara sighed.

"But ......," the producer touched his chin, "and in addition to the story itself, there seems to be a lot of merit in terms of the cinematic images and shots. Maybe you can cultivate it. How about coming to my crew as a second assistant director?"

There are still some differences between the film crew and the TV drama crew, and the second assistant director is mainly responsible for serving the United States, which can be regarded as an important position in the crew.

Fujiwara Kei directly agreed for Ohno Nagaji, and when he told him the next day, he also ran over in a hurry, and I heard that it didn't take long for the crew to mix like a fish in water, and he went out with the main camera to play small steel balls when he had nothing to do.