I'm Not A Master, I'm A Director (Creating Fate Movie In Nasuverse)

Though he desperately wanted to skin these three fools alive, the movie still needed to be filmed. 

So, after the set was prepared, Shinji released Cu Chulainn and EMIYA. 

Poor Gilgamesh, however, was still left hanging up there, as he didn't need to appear in "Super 8." Shinji decided to let him dangle a bit longer to sober up.

Of course, EMIYA wasn't off the hook either. 

Not only did he have to perform as a suit actor, but he was also responsible for setting up the set.

"Shinji, isn't the realism of your shoot a bit too much?"

Cloris, the representative observer from the investing side, was shocked when she saw the Yokohama battle stage Shinji had set up. 

As the representative of the Times Group, Cloris had been on quite a few film sets. 

However, even with movies or TV shows that featured incredibly realistic scenes after release, the sets during filming were typically chaotic, with no sense of realism at all.

That's why they say movies are the art of deception. 

Every movie set has the problem of limited angles—except for the angles filmed by the camera, any other angle would look like a complete mess. 

This is true even for the Tsuburaya Productions, known for their efforts to recreate realistic scenes; what they can achieve is simply providing as many angles as possible for the director and cameraman.

Even so, the director and cameraman's skills greatly influence the final product.

While Koichi Sakamoto's dramatic scenes are indeed lacking, his action scenes are truly impressive. 

Whether it's the staging or camera work, he can deliver a sense of realism to the audience. 

In contrast, although Taguchi is leagues ahead of Sakamoto in dramatic scenes, his action scenes can be a bit inconsistent. 

In the "Ultraman Trigger" episode featuring Zett's return, Taguchi exposed his weaknesses, making the action scenes feel overly theatrical. 

The appearance of Barossa aliens would make the scene comical, which is part of the setting, but that doesn't justify making the scene look out of place.

In this aspect, you have to admit that Sakamoto, with his technical background, is stronger. 

However, even Sakamoto rarely uses overhead shots unless it's a post-production special effects set. 

This isn't because of any particular dislike for overhead shots due to his "down below perspective" persona, but because an overhead shot would expose the flaws in the stage set—the empty spaces left for the suit actors to stand in.

Moreover, Ultraman is a giant special effects show, and using overhead shots would make these supposedly tens of meters tall giants look small. 

The models on the set also need to give space for the suit actors, as no matter how skilled they are, the suit actors are still human and can't destroy those model buildings. 

The buildings that get destroyed in action scenes are specially treated and take a long time to make, but they're incredibly flimsy, to the point where they could be blown over by the wind.

Therefore, most of the buildings on the set are made of hard-to-destroy materials and are positioned far from the suit actors to prevent damage. 

Cloris might not fully understand the filming process of giant special effects shows, but she could tell that the "Super 8" set was unusual. 

On the surface, the "Super 8" set didn't look much different from other movie sets—it's still filmed under the gaze of a group of behind-the-scenes staff, and the scenery still had some fake elements.

However, the set gave Cloris a completely different feeling from other movies. 

First, the Yokohama stage set had an incredible atmosphere. 

Even though it was clearly a scaled-down "Port of Yokohama," it still felt authentic. 

Walking on this "Port of Yokohama" street, Cloris genuinely felt like a giant, towering over the city.

—Cloris had visited the actual 221B Baker Street, which was later turned into a Sherlock Holmes museum, but the feeling wasn't as strong as this.

Secondly, the "characters" in the shoot were incredibly realistic. 

Even though she knew they were just suits, she still felt like these creatures could really exist.

"Shinji, did you use magecraft?" Cloris guessed.

"Something like that," Shinji nodded slightly. "I never expected the slime to be so effective as a suit."

Slime is highly sensitive to magic, and this sensitivity doesn't just affect its shape—different magical properties can make it soft or hard. 

As long as the actor in the suit has precise control over their magecraft, the suit can genuinely seem like a living creature.

Thinking back to how he originally made slime just for fake breasts, Shinji felt that his past self really lacked vision.

Thanks to the excellent material from the slime, Shinji redesigned the Ultraman and kaiju suits, making them look more biological. 

Of course, the changes were minor—mostly aimed at improving the skin texture and removing the seams on the suits without altering the overall design.

Although Shinji was obsessed with special effects movies from Hollywood in his past life, he was quite disdainful of their art style. 

He wasn't sure if it was because of Alien that the entire industry was led astray, but Hollywood's art style had become quite bizarre. 

From the live-action Transformers to Avatar, Detective Pikachu, and even the American superhero movies—Hollywood always seems obsessed with pursuing realism. 

The problem is, no one really likes this art style, not even Western audiences known for their heavier tastes. 

Otherwise, the Sonic redesign wouldn't have happened.

People always say Japanese creators have terrible taste, but in reality, it's Hollywood that's the real culprit forcing bad aesthetics on the world. 

Now that Shinji could make his own decisions, he had no intention of following those ugly designs. 

He would stick to what he liked. 

If someone didn't like his designs, it didn't matter—Shinji was bold enough to declare, "I'm here to force my aesthetics on you!"

"Where did this tyrant come from?" Cloris delivered a karate chop to Shinji's head.

Feeling the light, ineffective tap, Shinji proudly lifted his nose. "Heh, Lissy, I love watching the audience scorn my aesthetics, but still have to buy tickets to see my movies."

"You..."

Cloris rubbed her temples, not knowing what to say to him.

Boom!

Just then, there was a loud noise on set. 

Shinji quickly looked up to see what had happened. 

It turned out that during practice, Diarmuid had jumped up and knocked off the drill from the deep-sea monster Gubila.

"Oh, sorry," Diarmuid quickly apologized.

"Neigh~"

The one inside the Gubila suit wasn't a person but Pegasus, Medusa's horse. 

It rubbed its head against Diarmuid's hand to show it was fine, then nudged the ground a couple of times, and the drill automatically reattached itself.

"Neigh~"

Pegasus proudly raised its head, seemingly wanting to show off its unicorn mode. 

Unfortunately, with a shark suit on, its movements looked rather comical.

"This scene is really weird," Cloris remarked. "Can't you use some normal kaiju? Like Godzilla or something..."

Shinji rolled his eyes, "Godzilla belongs to Toho; where would I get the rights? I only have the rights to Guilala."

"What's that?"

Cloris wasn't familiar with Japanese tokusatsu monsters, and Godzilla was the limit of her knowledge. 

Shinji didn't feel like explaining the monster encyclopedia to her—it would take three days and nights to go through it, and he still had work to do.

"Diarmuid, Pegasus, get ready. We're about to start filming."

"Got it."

Diarmuid nodded and quickly donned the Mebius slime suit, standing at one side of the set with Pegasus on the other. 

Since Shirou was still in Yokohama "rubbing" landmark buildings, Shinji's action scenes were limited to smaller sets for now. 

This scene was naturally the first battle in the movie where Mebius appears. 

Originally, in Super 8, the monster in this scene should have been the sea beast Gezora, but Shinji swapped it out for the deep-sea monster Gubila. 

This was a blatant display of personal preference. 

For Shinji, the Gubila from the original manga he read as a child had much more nostalgia value than Gezora.

Since the enemies in Super 8 were mostly random monsters, Shinji chose his favorites for the movie. 

It wasn't just Gubila—he replaced most of the monsters in the movie. 

His reasoning was simple: if he had to compromise on the Ultraman scenes for commercial reasons, the monster scenes were his chance to indulge his personal tastes. 

"I chose the most famous monsters from the Ultraman series for the sake of the film's popularity," Shinji explained to Cloris after the day's shooting ended.

"Say that with a straight face first," Cloris teased.

"Was it that obvious?"

"Totally, you're grinning like a five-year-old," Cloris chided. "I never knew you had such a childish side."

"I call it staying true to myself."

Despite his words, Shinji toned down his smile a bit. "Lissy, you didn't come to Japan just to watch me film, did you? What's up?"

"There is something," Cloris said, her mood turning sour. "Should we register your new movie as an American film?"

"Did the tax bureau come to see you?" 

The smile on Shinji's face disappeared immediately.

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