Daily entertainment uses love to generate electricity

As mentioned before, in the golden age of Japanese films before the 1970s, film companies basically made production, distribution and release.

But later, after being impacted by TV, Japanese movies that were trapped in the quagmire were no longer as glorious as they were at the time.

In order to avoid risks, film companies have abandoned their production businesses and slimmed down to adapt to the current situation of shrinking film market.

But no matter how streamlining it, I even threw away the production and release of the three processes of a movie, but the function of distribution is still firmly in my own hands.

Logically speaking, after a studio produces a movie, the distribution company should pay for the distribution rights of the movie, just like before the 1970s, they bought it from their own production houses.

But in fact, the distribution company not only does not need to pay for the distribution rights of the movie, but also charges an additional distribution fee when it is released.

Due to changes in the market environment and sharing structure, it is more appropriate to describe it as a contract between the current distribution company and the producer rather than buying a movie.

Since it is a contract, it is natural to agree on all distribution matters. It would be fine if it is a large-scale production movie with a large number of members of the production committee. Perhaps there may be film companies in the production committee participating, so it is natural to sign the contract.

But movies like "Fireworks" that Takagi, which has no resources owned by the members of the production committee, are not simple to sign a satisfactory distribution contract with those large film companies.

Of course, if you find an unknown agency distribution company to help you issue it, it will not be difficult to show it in a small scale in dozens of cinemas in Tokyo, but let alone make a profit, it is all about whether you can recover the cost.

Therefore, in order to successfully get involved in the relationship between Toho, Takuki Takagi had to put himself on the weak side. After all, he is not as strong as an equal company in such a giant entertainment industry.

Keiji Ota did not expect that he would simply come over to discuss the transfer of the production rights of "White Night Tour" with Takumi Takagi, and there would be such unexpected gains. Although he did not directly decide whether to introduce a new movie, he could still recommend such things as a recommendation company.

Thinking of this, he stood up from the chair with a smile: "Since Takamusang said so, it would be a bit unreasonable if I didn't understand it. However, it's time for dinner, so we might as well talk about it in another place. After all, Guishansang's wallet is already ready to move."

"I had known that Takagi Kwan had brought such a surprise to Otasang this time, so I asked Otasang to invite this meal." Chihiro Kameyama also stood up as if he had a pity. He turned to Keiji Ota and said, "Otasang, based on my understanding of Takagi Kwan, this kid's vision is not ordinary. Since he chose to invest in this movie independently, the box office potential of this movie should be very great."

"Is that right? If the movie has huge box office potential as Kameyama Sang said, then I really can't miss it." Keiji Ota said as he looked at Takuki Taku on the side, "Let's go, Takaki Sang, I'm still waiting for your movie plot."

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When I walked out of the Japanese restaurant, it was already 8 o'clock in the evening. The restaurant chosen by Chihiro Kameyama is indeed good. Although it does not have a three-star brand with Michelin, it is not much different from the Kanda hotel that Akina Nakamori took him to before.

However, food is second to the next. What made Takuki the most happy today was that he not only made "White Night Tour" sell at a high price, but also made Keiji Ota have a great interest in "Fireworks". Including the unexpected announcement of the male protagonist of "Love White Paper", this trip was really worth it.

After drinking a little wine, Takuki, who became a little excited, bid farewell to Chihiro Kameyama and Keiji Ota, and returned to Roppongi habitually on the tram.

It is logical that it is time to go home, but when encountering such a happy thing, Takuki naturally wanted to share it with his sister as soon as possible.

The birdman studio still had the lights on as usual. It was obvious that even though he had just returned from Shonan yesterday, Sakai Izumizu immediately got into work.

After saying hello to the staff at the door, Taku Takagi walked to the Sakai Insumi Recording Studio. The only one in the control room was Shimada Katsuhiro. Looking at the iconic curtains on the glass, my sister should have started to record the official sound.

Takuki, who was not ready to disturb his sister, quietly retreated and came to his recording studio, wanting to take advantage of this time to write the song for Matsu Takako.

Since you already know that the new Yuejiu drama is "Love White Paper", it becomes easier to find a more suitable song.

As an unchanging theme in the TV series, there are naturally countless love songs produced for the TV series. Considering Matsu Takako's own quality conditions, the song that Takuki thought of was Otsuka Ai's classic "Astrology". As the most familiar work by Otsuka Ai, this "Astrology" is very popular in China, and even has its own special Chinese version of the lyrics.

However, since it is in Japan, the lyrics of the songs are naturally in Japanese. Takuki summoned Xiao Ai in his heart and spent 180 energy points to exchange for the original lyrics of "Astrology". Next, the arrangement process was the familiar one he was in.

The Japanese sake is not actually very high, but Takumi Takagi, who was already unable to drink, was still a little drunk at this time. He had already made a rough arrangement of the original "Astrology" compared to the original version, but he always felt a little overwhelmed.

It took about 2 hours to arrange the composition before Takumi Takagi, who finally had some prototypes, was about to try to record it into a simple demo, but the door of the control room was knocked.

"Kun Takagi, are you creating a new song again?" Maybe it was because he stayed in the recording studio for a day. The sound of Sakai Insumi sounded a little tired, but the tone was still as clear as the deep valley spring.

"Ah, sister. Has the recording on your side been completed?" Takuro Takagi raised his head and looked at Sakai Izumi who was standing at the door with a pretty face.

Since it was summer and in the airtight recording studio, Sakai Izumi was wearing only a white slim sleeve on her upper body, and her two white and tender arms were exposed. At this moment, she was leaning against the door frame, holding her hands in her chest and smiling at Takumi Takagi.