Movie Queen Development Plan

"A-choo~"

Shion sneezed in the background.

"You have a cold?"

Nanaya, who was adjusting his tie, quickly hid aside.

"No, it must be someone who is saying bad things about me." Shion said depressedly, rubbing his nose.

Shion felt that her intuition must be very accurate in matters like this.

"Oh."

Nanaya nodded, he didn't care about it and started reading his speech.

"You're actually nervous? This isn't a premiere."

Shion found it somewhat amusing to see Nanaya silently reciting his speech.

Nanaya snorted coldly: "I am trying to be as well prepared as possible."

"Okay, great director. Go on stage."

Shion patted Nanaya on the back.

Nanaya was pushed out from the backstage by Shion. He looked at the lecture hall full of reporters and media people and couldn't help swallowing.

[Come on, this is your chance to succeed! ]

Nanaya clenched his fists, took a deep breath and walked towards the podium.

Below the lecture hall, many reporters were whispering to each other.

Many of these reporters are quite interested in the new IP launched by Washimine this time.

Of course, although they are interested, they still remain skeptical as to whether Washimine can succeed in the end.

This is true even for Washimine's own people.

Ed and William hid in the corner after finishing their work. They looked at Nanaya and Washimine's spokesperson who came on stage with worry in their eyes.

"I really don't think this would be a good choice. Instead of developing a new IP, it would be safer to start filming a sequel to "Goblin Slayer". What do you think, Ed?"

"That's about right, but I think Nanaya Kiryu will give us a surprise. As the director who gave us a surprise with "Goblin Slayer", I think he will definitely not disappoint us this time."

Katsushika Eiji, a reporter from the famous Japanese film magazine "Eight Hidden Treasure", couldn't help but nodded after hearing the conversation between the two people.

As a reporter for a Japanese film magazine, although she is the magazine's reporter based in the United States, she also pays attention to the Japanese film industry.

So she knew the name Nanaya Kiryu much earlier than her other North American counterparts.

She has watched the previous "Kara no Kyoukai" series and "Goblin Slayer" by Katsushika Eiji, and she gave them good reviews.

A director like Nanaya Kiryu who dared to go against the current when the Japanese live-action film industry was already declining has now become a world-class commercial director.

This made Katsushika Eiji have a very favorable impression of this young director.

Earlier, there was news in Hollywood that Washimine was going to start shooting a high-budget special effects movie, and the director was Nanaya Kiryu, with whom he had worked before.

This is actually not a secret at all. After all, Nanaya did not hide too much when recruiting Mark Ruffalo.

But when Hokusai saw Nanaya put the title "Fate Stay Night" on the big screen and gave the settings of the Master and the Servant, she was still a little surprised.

For Washimine and Kiryu Nanaya, is there a safer option?

Hokusai believes that there must be. Apart from anything else, the success rate of the sequel to "Goblin Slayer" is definitely higher than that of this new IP.

Sequels and adapted films both have a natural fan base, and with them as a foundation, the films can at least break even.

Don't underestimate the importance of breaking even. Countless movies are produced around the world every year, but less than 30% of them can break even, and even fewer can make a profit.

However, even though there are so many options, Nanaya Kiryu chose the most difficult option of creating a new IP.

After entering the year 2000, special effects movies became popular and people became more and more fond of high-cost productions on the big screen.

Many people even regard going to the cinema to watch a movie with exaggerated special effects as a lifestyle habit.

Especially after "Titanic", the production level of computer special effects has become increasingly mature.

What limits the level of picture quality and special effects is no longer technology, but the director's imagination and the cost of the film.

For commercial film directors and special effects films themselves, this can be said to be an unprecedented good era.

However, while these special effects movies made people all over the world exclaim "incredible", they also made many people feel a little regretful.

Because these movies are all from Hollywood without exception.

This made Hokusai a little discouraged, because Japanese special effects movies had their heyday.

From the perspective of special effects, "Godzilla" directed by Eiji Tsuburaya at that time was not inferior to any North American movie.

While Hollywood was still using stop-motion animation frame-by-frame technology, Japan had already ushered in the era of special effects using leather suits and miniature models.

However, this glory was short-lived. While Japanese filmmakers were still immersed in the glory of the era of special effects technology, Hollywood film companies had already entered the era of computer special effects.

The two classics, "Jurassic Park" and "Titanic", allowed Japanese filmmakers to see what a real special effects movie is.

During this period, countless Japanese filmmakers attempted to resist, but all failed without exception.

Their films may be liked by local Japanese audiences, but rarely achieve high commercial success internationally.

Even "Spirited Away," which grossed a record 30.8 billion yen in Japan, only earned 250 million U.S. dollars overseas.

But there is one exception among them, and that is Nanaya Kiryu, who earned 600 million in global box office through "Goblin Slayer".

Although everyone knows that the movie "Goblin Slayer" has many tricks, the dazzling box office results are enough to make everyone shut up.

Don't talk about tricks. Commercial value is the only criterion for measuring a commercial film.

In fact, although professional film critics do not think highly of Kiryu Nanaya, they think he is too flattering to the audience.

But in the eyes of Japanese entertainment reporters, Nanaya Kiryu is a monument of Japanese commercial films.

At least they feel that although Nanaya Kiryu may not be able to leave a shining name in film history, she will definitely not be an unknown person.

So, when Hokusai saw that familiar face walking up to the podium, she believed that the other person would definitely succeed.

Nanaya Kiryu must succeed.

This is Hokusai's truest thought at the moment.

Because so far, the young director has never failed.

Well, Miss Hokusai's thinking was actually biased. After all, if Nanaya failed, she wouldn't be able to see him here.

This press conference was no different from any other traditional Hollywood press conference, nor was it any different from the press conferences Nanaya had attended before.

After going through the routine formalities, I memorized the speech I had prepared previously.

The press conference has come to the final and most important session of questions from reporters.

Hokusai raised his hand at the first moment.

Her oriental face gave her an advantage, allowing Washimine's press officer to pick her out immediately.

Hokusai stood up and asked, "Director Kiryu, can you reveal the general plot or theme of the Fate project?"

The press officer and Nanaya exchanged glances, and Nanaya nodded slightly.

He picked up the microphone and said, "The theme of the movie is just like the title I just typed, which is destiny. This is a story about heroes. The protagonist accidentally enters a modern war between ancient heroes. For the protagonist, this is his growth story; and the audience will see a passionate war. I believe it will not disappoint everyone."

"From what perspective will Director Kiryu describe those ancient heroes? Will it be able to meet everyone's expectations of those heroes?"

Another white reporter asked.

Nanaya replied: "I will try my best to keep the heroes' past and add some modern people's views. You know, the stories of these heroes have been circulating in the world for hundreds and thousands of years, and every era has its own evaluation and views on them."

"I believe it will be very interesting to look at these ancient heroes from a modern perspective."

Nanaya added one more sentence before putting down the microphone.

Another reporter from The New York Times asked, "Director Kiryu, where would you choose the city where the main stage of the story is set? San Francisco?"

"I set the story in Fuyuki City, a fictional city, a modern international port city."

Nanaya began to introduce his own movie stage.

"You will see familiar cities around the world in this city, such as the Golden Gate Bridge in San Francisco, the Empire State Building in New York, and even the Tokyo Tower in Tokyo, which will make the audience feel both unfamiliar and familiar."

Nanaya thought about it, and then emphasized: "This design is adopted because the heroes in the story come from ancient legends and history from all over the world, so the stage for their battle should also be a complex of modern cities. Only in this way can it be worthy of the identities of these heroes."

What Nanaya said was not a lie. Although most of the real-life shooting scenes will be set in Kobe City, he did add a lot of international elements.

For example, replacing the Fuyuki City Bridge with the Golden Gate Bridge, and adding landmark buildings from other cities.

After all, this is a movie that aims to enter the European and American entertainment circles. If it uses a purely Japanese stage like the original FSN, it will probably make many European and American audiences feel unfamiliar.

Therefore, this kind of necessary flattery is still necessary. Anyway, it is just adding a few buildings using CG synthesis technology, which does not increase the cost of the film much.

It can be regarded as a very cost-effective and time-saving method.

After all, this time FSN's investment in special effects is higher than the previous "Goblin Slayer", so this little extra content doesn't matter.

The final question was given to a reporter from The Washington Post.

"Director Kiryu, which actors will you use for this movie?"

"I have already confirmed some actors, such as Mr. Gavern, who I worked with before in Goblin Slayer, and Mark Ruffalo, who performed well in You Can Trust Me."

Nanaya's words caused quite a stir among the reporters, but he didn't pay any attention to it. Instead, he continued, "There are still many other roles that are looking for actors. We welcome all interested actors to apply to the Fate crew."