Chapter 183 Dancing in the Rain

The crew drove to Kanagawa Prefecture.

Kei Fujiwara and Nagaharu Ohno drove out of Tokyo in their own cars, taking the crew and equipment with them.

Today's weather is very good, although it is a bit cloudy, but the wind is very comfortable on the body, the whole sky can't see the sun, but it has bright colors like a movie screen.

Today I mainly filmed the scene of Singing in the Rain. Tokyo is a highly modern city, and it was difficult to find a field path that fit the scene of the script, so the group came to Kanagawa Prefecture, which is very close to Tokyo.

Kanagawa is very close to Tokyo, but the rent here is cheap, so many young people working in Tokyo live here to save money. Just like the relationship between Yanjiao and Beijing.

[Except for Tokyo, Japan is all rural.] There has always been a saying in Japan that Tokyo is called Tokyo, and places outside Tokyo are called places.

Tokyo is an international metropolis full of technology and modernity, but many cities outside Tokyo still have a rural scene.

For example, there are many fields in Shizuoka and Kanagawa, not far from Tokyo.

Nagaharu Ono knew where Tokyo and its surrounding areas were suitable for filming, and where there were scenes full of stories. After understanding the content of the script, he quickly decided on this place.

In order to create the rain scene, they rented a sprinkler truck in advance. The water outlet pipe sprays water to the sky and then falls down. After adjusting the water output, the official shooting begins.

As for the dance in the rain in the script, Ohno Nagaharu and Fujiwara Kei have never decided on what to dance and how to dance it. It would not be very safe if everything was left to Mei Sato to improvise. What if you don’t dance well?

At this moment, Keixiang Arima suddenly called Kei Fujiwara and told Kei Fujiwara that someone from Dongzhen Pictures had contacted her and hoped that she could play the role of Yukiho Karasawa.

The two made an appointment for dinner, and during the meal they chatted for a while about the movie version of "White Night Journey". The director Dongzhen Pictures initially selected was a commercial film director with great achievements.

Kei Fujiwara has seen that director's work. Although the work is indeed pretty good, Kei Fujiwara has a bit of a bad feeling. Because this director seems to have never filmed suspense themes before, he may not be able to handle the story of "White Night Journey".

The story of "White Night Walk" itself is difficult to remake, and there are so many versions of film and television works that almost no one has finished it. Because the original work of "White Night Journey" itself is a two-line parallel model, the male and female protagonists are relatively independent, and there are almost no direct intersections between the two in the original text.

The past between the male and female protagonists only appeared in the mouth of the old policeman Sasahara.

However, almost all film and television versions directly film the interaction between Yukiho and Ryoji, which more or less destroys the charm of the original work.

Another point is that many film and television versions seem to have a tendency to whitewash the role of "Yukiho". The work focuses on the pain that Yukisu has suffered, and presents the relationship between Ryoji and Yukiho in a pure and poignant way.

In fact, this also weakens the charm of "White Night Walk". Keigo Higashino actually left a lot of blank space in "White Night Journey", and the characters' personalities are also very complex.

Taking the character of Karasawa Yukiho, does her evil really stem from her childhood experiences? Not necessarily.

When a person who has been sexually assaulted encounters trouble, the first thing he thinks of is to have someone rape or take nude photos of the woman who caused him trouble. People who have been victims of sexual violence are obsessed with using sexual violence to harm other people.

It's hard to say whether Karasawa Yukiho was traumatized and turned into a villain, or whether she was originally a villain, but her childhood experience catalyzed the fruit of evil and made her obsessed with the identity of the perpetrator.

In addition, there is also the relationship between Yukiho and Ryoji. Keigo Higashino didn't make it clear whether the two relied on each other or whether Yukiho had unilateral control over Ryoji.

The whole story ends in confusion, but leaves the reader very satisfied. I have to say that Keigo Higashino's skill in writing the book "White Night Journey" is impressive.

While eating, Keika Arima asked about the character of Yukiho Karasawa, and Kei Fujiwara told her his thoughts.

Arima Guixiang quickly took out her notebook to record, nodding her head: "I see..."

Fujiwara Kei looked at her serious look and said with a smile: "That boy from Masai is as attentive as you are."

"Yes, if I were a boy, [White Crane House] would be mine." Arima Guixiang sounded quite resentful.

"By the way, do you two get along well?"

"Um?"

"I heard from my mother that Jian Zhai always wanted to visit your crew, but my father forced me to practice at home."

Kei Fujiwara almost spit the drink in his mouth back into the cup. Seeing Keika Arima's strange look, Kei Fujiwara couldn't help laughing and told her about Arima Masai's crush on Inoue Morimata.

After hearing this, Arima Guixiang's eyes were full of gossip, "Is this the kid who played Suzu in "The Homeless Child"?"

"Yes, she is also a little beauty."

Arima Guixiang touched her chin and said with a bad smile: "This boy... finally has a handle in my hand, hahahaha..."

"You smile like a middle-aged uncle..."

"Go away." Katsura Arima said, raising her glass: "I heard that the ratings of "Homeless Children" have surpassed "Gemini Detectives"? Congratulations."

Fujiwaratani smiled and clinked glasses with her: "You are very concerned about my affairs."

"Yes." Arima Keixiang admitted generously, "After all, I am my benefactor. Thanks to you, my current advertising endorsements have increased a lot..."

"Oh, it turns out it's because of this." Kei Fujiwara sighed.

Arima Keixiang was obviously panicked, the drink in the glass shook slightly, and she quickly changed the subject: "By the way, I heard that you are filming a movie recently."

"Microfilm." Kei Fujiwara said, "I plan to participate in the Peer Film Festival in the near future."

"Do you want me to make a cameo?"

"No, because most of the participating films are newcomers. Therefore, this film does not even use professional actors. The film has no commercial intention and does not require big stars."

"Hmph, don't use it if you don't need it. You don't even want free door-to-door delivery." Arima Guixiang stuffed a large piece of barbecue into her mouth angrily.

"By the way, what kind of story are you shooting?" Arima Guixiang asked.

"A love letter to creators." Kei Fujiwara said.

Arima Guixiang raised her head: "I want to see, when will the filming be completed?"

"It's been a month since the finished product was released... just in time for the peer film festival's review deadline."

"It just so happens that I'm free tomorrow, so I'll go visit the class." Arima Guixiang said.

"Well, good." Fujiwara Kei responded, and suddenly thought of something: "By the way, Guixiang, you were born as a dancer, that's right."

"That's right." Arima Guixiang nodded. As the daughter of [White Crane House], Arima Guixiang was exposed to dance since she was a child, and she performed on stage when she was seven or eight years old.

"Creating a dance party?"

"I'm not very good at hip-hop. Ballet and classical dance are okay..."

"It doesn't have to be too professional, it has to be natural, but it has to show the character's emotions..." Kei Fujiwara told her about the plot of "Dancing Alone in the Rain" in the script.

After hearing this, Arima Guixiang thought for a moment and said, "No problem, I will choreograph the dance today, and I will go find you tomorrow."