Tokyo Literary Godfather

"Fujiwara, please help me contact the copyright owners of these songs. We plan to use these songs in the background music of our next program, and we need a written permission."

"Please leave it to me." Fujiwara Kei quickly took the song list.

Producer Kobayashi patted Kei Fujiwara on the shoulder with satisfaction and left.

Just over a week after the training period, a boss has already started assigning tasks to Kei Fujiwara.

This makes other interns at the same time more or less envious.

Is this kid being taken seriously?

After all, Kei Fujiwara is a veteran of the crew. He is somewhat fundamentally different from these young people who are just starting to enter the society, and he is even better in terms of experience.

The producer's name is Kobayashi Shuzo. He is in his fifties, but his hair is already gray. He is considered a veteran producer.

Although Kei Fujiwara has learned about it privately, this veteran manager does not seem to have any particularly eye-catching works. He is already old and he is also the kind of producer who has gained experience over time. But for Kei Fujiwara now, Being able to get the attention of this senior producer may provide a lot of convenience in the future.

The reason why Kobayashi Shuzo had an impression of Fujiwara Kei was also a coincidence. Two days ago, Fujiwara Kei saw Kobayashi Shuzo walking in front from a distance. He seemed to be in something wrong and subconsciously held on to the wall.

Kei Fujiwara heard his colleagues chatting and knew that the producer seemed to have hypoglycemia. Without saying anything, he quickly took two fruit candies from the pantry next to him, rushed up, supported Shuzo Kobayashi, and handed the candies to him. He then helped him to the rest room.

Kobayashi Shuzo expressed his gratitude to Fujiwara Kei, which can be regarded as leaving a good first impression.

In the following days, Kobayashi Shuzo, as a senior producer, asked Fujiwara Kei a few small questions related to filming to test his professionalism.

In fact, these questions are more or less over the top. As a newcomer with no actual shooting experience, Kei Fujiwara should not be able to answer them.

This can be regarded as a small "making things difficult" for Kobayashi Shuzao as a senior in the workplace, but it is indeed out of good intentions to teach something.

But what I didn't expect was that Fujiwara Kei answered perfectly, which was beyond Kobayashi Shuzo's expectations. A newly graduated student who can answer these somewhat over-the-top questions has obviously worked hard in this area.

In order to satisfy Kobayashi Shuzo a little, Kei Fujiwara pretended not to be able to answer the last two questions and asked the other party humbly. Kobayashi Shuzo answered Fujiwara Kei as a senior and felt even more satisfied with the young man.

Later, Kobayashi Shuzo would assign some simple tasks to Fujiwara Kei from time to time, but Fujiwara Kei completed them perfectly, which made producer Kobayashi very satisfied.

Several days passed like this, and after the training period, Kei Fujiwara also got a new job assignment.

His working place has changed, and his new working place is the production base of Fukuyama TV headquarters.

There are only six most influential TV stations in Japan. NHK is a state-owned enterprise, benchmarking CCTV and CCTV, and there are five major private TV stations, which are the five private TV stations with the largest influence and broadcasting scope.

In Keihara Fujiwara's world, the five major private broadcasters are: Fujifilm, TBS Broadcasting, Nihon TV, TV Asahi and TV Tokyo.

Among them, TV Tokyo cannot compare with the other four in terms of scale, financial strength, or broadcast scope. However, it is slightly less than the above, but more than enough than the below, so it is also recognized by the Japanese as one of the other four equally famous civilian broadcasting TV stations.

In Kei Fujiwara's current world, except for the name of the state-owned NHK which has not changed, the five major private broadcasters have become: Fukuyama TV, TV Tokyo Broadcasting Company TTV, RB Broadcasting Company NBC, Fanxing TV and Higashishima United TV.

And Fukuyama TV should be the otherworldly version of Fuji TV.

Kei Fujiwara arrived at Fukuyama TV Station early in the morning, and soon his colleagues arrived one after another. Colleagues from the human resources department said that an executive director would come and take them to the filming site.

After a while, a young man with a stooped back came over and whispered: "You are the employees who are dispatched for high-skilled production, right?"

The group of people stood up, and then Kei Fujiwara noticed that this person was exactly the person he met on the subway that day.

The dark circles under his eyes were still thick, and he looked at everyone present and said: "Hello, my name is Nishimura Taro, and I am the executive director of "In the Name of Love". Please come with me."

Suddenly, he looked at Kei Fujiwara and tilted his head: "We seem to have met before?"

Kei Fujiwara nodded: "Yes, on the subway."

Nishimura Taro yawned and said nothing more. He took them around the TV station headquarters like a tour guide and gave a brief introduction to each unit.

There are many studios in the production base in Tokyo, as well as a group of buildings imitating the Edo period. They are mainly used for filming costume dramas, similar to film and television bases such as Hengdian.

The larger costume drama production base is in Kyoto. The scale here cannot be compared with the base in Kyoto, so it can only be regarded as makeshift.

Kei Fujiwara and others passed by a shooting scene. Everyone couldn't help but stretched their heads to look over there, Kei Fujiwara was no exception.

Although it was not his first time to see the filming scene, the way Japan made TV in the 1990s was definitely different from that of later generations, so he turned around to look.

In front of the camera, a man hugged a woman in a white nightgown and said, "Mrs. Kurosawa, your husband's company's finances are very tight recently, and the president has decided to fire a group of older ordinary employees with no special skills. What should we do?" , Mr. Kurosawa may lose his job. There is still a thirty-year mortgage on this house that has not been paid off, right? You don’t want him to lose his job, right?”

"No, no! Mr. Yamamoto, it is immoral for you to do this!"

"My wife's mouth is really tough. What I feel and what you say are two completely different things."

"No, no, ah~"

Fujiwara Kei opened his mouth wide subconsciously, Nishimura Taro glanced at the place, and said in a neutral tone: "Oh, they are filming night dramas, and the taste must be stronger. If you like it, you can watch it for a while."

Nishimura Taro is actually serious. Newcomers are always a little curious about the shooting scene. Anyway, their own crew has not turned on, so it is normal for them to watch other crews work for a while.

But to the newcomers who had just entered the workplace, Nishimura-senpai seemed to be mocking them, and he quickly looked away and stood firm.

Taro Nishimura looked at them at this time and said with some envy in his tone: "I really envy them. They can shoot whatever they want. Unlike us, we have to pay attention to the content at all times, otherwise we will be censored by the supervision department. Looking for trouble..."

There is no government-level censorship of Japanese TV programs. They are all internal censorship. As long as there are no problems in the internal review, they can be broadcast.

But after all, the power of review is in one's own hands, so standards must be loosened appropriately. The prime time and afternoon time slots will be seen by teenagers, who naturally dare not film three-way content, but the late night time slot is different.

Adhering to the principle that anything can be done without prohibition by law, in order to attract viewers, the content is often more exciting. As long as you don't make it into a reed, the censorship department will not prohibit you from broadcasting such things as XX ward, the parade of eight-foot adults, and karaoke while having sex.

In fact, strictly speaking, if these adult-oriented contents are broadcast in the late-night period, minors cannot be completely prohibited from watching. Teenagers can also watch it if they want to. In this regard, the attitude of the broadcasting industry is-

Then take a look. You know, pornographic magazines can be sold openly in convenience stores, so why can't adult-oriented programs be broadcast on TV stations?

If the TV is in your living room and your family can't control it, don't expect a TV station hundreds of miles away to have any omnipotent way to block the children's eyes. No grading measure can perfectly differentiate between children and adults.

Don't depend on society for everything! Take care of your own children!

Taro Nishimura brought everyone to the set, and then a nice voice came from not far away: "Thank you for your hard work, everyone, when will we start shooting."

When she turned around, she saw that Arima Guixiang had already put on makeup. Her agent asked the director who was sitting in front of the monitor.

"Wow, it's Miss Arima..."

"She's even more beautiful than she looks on TV, and she's even thinner."

"Because the TV screen stretches people out."

Fujiwara Kei looked at Arima Guixiang with a calm smile on her face. She was beautiful, but this woman gave her a very cold feeling, like a cold jade Guanyin enshrined in an ancestral hall. It was easy for people to stay away from her. The complete opposite of her sweet and sweet persona in front of the camera.