Kazuhiko Itagaki was skeptical at first, but the more he watched, the more immersed he became, and when he saw the protagonist Kaiji find the loophole in the gambling game, he couldn't help but feel excited, and at this time, there was no one behind.

Itagaki Kazuhiko glanced up at Kei Fujiwara, who shrugged his shoulders and said, "The rest hasn't been written yet, and I'm not sure if it will be approved, so I haven't written much."

"Are you still worried about this ......" Itagaki Kazuhiko was speechless, in the entire Spring and Autumn Society, whoever is worried about the manuscript problem, he doesn't have to worry, even if he steps on a shoe print on the manuscript paper, the president is willing to use the highest grade manuscript fee to collect it.

"I'll go back and sort out your manuscript, and besides, I'll get you a new royalty percentage." Itagaki Kazuhiko had a smug tone in his tone, and drew a number on the table.

「16.5？」 Fujiwara raised his eyebrows, Fujiwara Kei did want to increase his royalties, but he only planned to add half a percentage point to the original 14%, which would be fine. I didn't expect Kazuhiko Itagaki to add so much directly in one go.

The 16.5% royalty is already at the famous level, and in Fujiwara Kei's impression, there are only two people who enjoy this proportion among the living writers, one is the famous literary writer Sakuradabe I, and the other is the president of the Reasoning Association, Junyama Hattori.

Both of them are giants, and Kei Fujiwara's qualifications are not as good as theirs, but they can get a share of the royalties of the same level as the two, and to a certain extent, in the minds of those in the publishing industry, Kei Fujiwara and them are already a level of famous artists.

"Yes, and I can promise you that if this Confession and Gambling Apocalypse still achieve the sales results of the previous works, I will do my best to add to that...... Half a point."

Kazuhiko Itagaki gritted his teeth and said.

Although he is now a vice minister, he is not completely in charge of the royalty sharing of his authors, especially an author of Fujiwara's level.

His current royalties are often in the hundreds of millions, and for every percentage point increase in his royalty contract, the publishing house will have to come up with tens of millions more. The publishing house is a little painful from top to bottom, but if the royalties are not increased, other publishing houses will stare at Kei Fujiwara with fierce eyes, trying to poach people.

It is said that some publishing houses have even taken out shares as a condition for signing a contract, and Kazuhiko Itagaki also asked Kei Fujiwara if this was true, but Kei Fujiwara did not answer positively, but looking at the attitude, Kazuhiko Itagaki felt that this matter was inseparable.

No matter how good his relationship with Kei Fujiwara is, it is impossible to keep Kei Fujiwara without increasing his remuneration. Fujiwara Kei is not the kind of innocent big boy who is willing to sacrifice his interests because of his feelings, he has been in the broadcasting circle for two years, and he is more shrewd than anyone else.

"Then please." Kei Fujiwara said, "I don't think it's surprising that the sales of these two books will not be low."

Fujiwara's tone was still breezy but full of confidence. Kazuhiko Itagaki put the manuscript in his briefcase and stood up, "Okay, I'll go first."

Kei Fujiwara said goodbye to Kazuhiko Itagaki and went to the editing room to participate in the editing work.

There are two main stages of filmmaking: shooting and editing. In fact, in the film industry, especially commercial films, it is the producer, not the director, who can really decide the final broadcast version. In some cases, the director is not even qualified to enter the editing room, and this situation abounds in Hollywood.

….

Because Hollywood's film crew is producer-centered, the producer decides everything, and the director and actors are the producers. It is also common for directors and producers to clash with each other due to conflicting production philosophies, and in most cases the producer has the upper hand and "politely" invites the director out of the editing room during the editing phase.

Even Cameron, the king of movies, was invited out, so later the old man was so angry that he became the producer of his own movie.

However, Kei Fujiwara is a director with a dominant position, so he is the biggest in both the set and the editing studio. After all, even the producer was personally hired by him, not assigned by Matsuri Pictures, which is why he insisted on letting himself be the producer in the first place.

Kei Fujiwara had to make sure that the big scissors were in his hands

, you must know that editing is also a decisive part of film production, and even a part that directly produces the original film, Kei Fujiwara worries no less in the editing room than on the shooting site.

A female editor is concentrating on editing and showing Kei Fujiwara a clip from the previous clip.

Kei Fujiwara looked at it for a while and said, "Miss Tanaka, what about the scenes I asked to keep before?"

Editor Tanaka listened to rock music with headphones on, subconsciously shook his head while editing, saw what Kei Fujiwara seemed to be saying, and took off his headphones.

"What did you say?"

"What about the scenes I asked to keep?"

"You didn't say you had to keep it, you said you wanted to keep it as much as possible."

"So you deleted everything?"

"yes, you don't have to stay." The female editor said, "Director Fujiwara, there are so many things you want to keep that much, and if you don't kill the killer, you won't be able to fit that much into the original 110-minute duration."

[At present, it is the most complete and best sound for listening to books, integrating 4 major speech synthesis engines, over 100 kinds of timbres, and it is an artifact that supports offline reading, huann.]

"No, you can delete the rest, you must keep it for me for these three minutes."

"Alas, I'm embarrassed if you stuff it here for three minutes and you stuff it there for two minutes." The editor waved his hand, "I can't plug it, I really can't stuff it, I'm going to be blown up."

"It won't be stuffed, how do you know if you don't try." Fujiwara Kei followed the temptation, "It's a big deal that the final film is out of the time limit, so just delete it."

After a tug-of-war discussion, the editor finally agreed.

And this kind of thing happens almost every day, where is the editing room, it is clearly the confrontation between the director and the editor. Kei Fujiwara and the female editor have a harmonious relationship, and it is not certain that the director and the editor will quarrel directly.

The director feels that the editor is a cut plum, and he always wants to delete the essence of the scenes he painstakingly filmed, and the editor also feels that the director is a big ***, and he has no pressure at all, he wants to keep everything, and he is not allowed to exceed the duration, which is simply a dream.

After staying in the editing room for more than an hour, Nagaharu Ohno also came over and said that it was related to the cooperation with the special effects company.

Although the movie "Confession" is a drama film, not a special effects blockbuster, there are also a few minutes of special effects scenes, especially the final explosion scene, which is definitely not a real shot, but it also needs to make special effects with a stronger sense of reality.

The money is burning little by little, and the project funds that were injected into the crew before are about to bottom out, and Nagaharu Ohno has been in contact with some media recently, hoping to get their investment. If you get their investment, you will not only get money, but also their publicity resources.

But when it was cold for a while, it only brought in more than 30 million, and there was a budget gap of about 50 million, and if it couldn't attract new investment, Fujiwara Kei decided to fill the rest of the money himself.

At this time, NHK suddenly expressed its willingness to become one of the investors of the film.

Sima Guitai