ガリベンチャーV 2025年1月22日 新企画「裏方インタビュー」
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
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TVTranscript
00:00This program is brought to you by Gari Venture V, a venture company led by Kotoge CEO.
00:13Gari Venture V!
00:16Let's dig into the charm of the movie from the backstory-oriented scenes.
00:28Let's start the backstory interview.
00:32Think about it! Think about it!
00:34It's so twisted!
00:35It's not twisted!
00:37The movie that is currently being released is not an ordinary word.
00:43It is based on a true story that happened in the film industry.
00:47What is the story about?
00:52Takuya, the main character, spent his days writing narration scripts all night long.
01:00Look at me properly!
01:03At the end of his hard work, he grasps the dream of making his debut as a screenwriter.
01:09I'm a screenwriter.
01:12Takuya visited a cabaret club with excitement and met Rie there.
01:28I've always wanted to be a screenwriter.
01:33I don't think so.
01:36A few days later...
01:38You said you were forced to do it. What do you mean?
01:41Hey!
01:42Are you doing this because you're playing hard to get, you idiot?
01:45He is confused by the high-priced scholarship, but he accepts the request without fear of scandals.
01:56Will you get off? This movie.
01:59What will happen to my debut?
02:01Stop talking about other things and focus on this!
02:04What are you talking about?
02:06You have a huge responsibility to write your own name.
02:16Takuya is in despair.
02:18However, he is encouraged by his family and grasps Rie's whereabouts.
02:25You have a job you chose.
02:30I'm a little scared.
02:34What happened that night?
02:38It has something to do with a man or a woman.
02:42And Rie's true feelings.
02:47I was forced to kneel.
02:51In fact, this is the first feature film made by the staff who usually appear on TV programs.
03:00This time, we will interview the four of them and find out what they are particular about.
03:07First of all, Nakazaki, a cameraman in his 23rd year.
03:13Morning show, good morning, wide scramble, and walking in order.
03:21At the end of the year, I was also in charge of sports.
03:31Nakazaki is in charge of a wide range of programs from information programs to filming programs.
03:37Usually, there is an image of shooting with a large camera in a movie.
03:42What kind of camera did you use for this movie?
03:46There is a camera that is similar to a single-lens reflex camera.
03:51The camera itself is compact.
03:53It is the size that everyone really uses.
03:56In addition, this rugged part is a system called Steadicam.
04:04I made it a little simpler.
04:07There is also an experimental part.
04:10I was able to make a movie.
04:14It was a form that I could use anything.
04:18I feel like I've packed what I want to do.
04:26There are things I want to use.
04:29What are the characteristics of this shooting system?
04:32If you have a tripod, you can take only one angle.
04:37You can move flexibly anywhere.
04:40You can move in a good position according to your movement.
04:45In that sense, it was a very good set.
04:52There is a filter on the tip.
04:55This filter changes the concentration.
04:59If the concentration is high, the effect is like a grating glass.
05:04If the concentration is low, the effect is clear.
05:06The effect of the grating glass is reduced.
05:09This person is thin.
05:11I didn't like the sharpness of the movie.
05:19I wanted to add a filter to make it less digital.
05:25That's why I added a filter this time.
05:28What kind of scene would you like the cameraman to see in the movie?
05:33There is a scene of a Chinese restaurant.
05:37The Chinese restaurant is small.
05:40There are only a few places to shoot.
05:43The angle of the camera and the angle of the camera are the same.
05:48By using this, you can move the camera to a place where you can't put it on a tripod.
05:54You can shoot a Chinese restaurant scene from various angles.
06:00I think this is a good choice.
06:05Please pay attention to the soft image expression using the camera angle and filter.
06:16I'm back.
06:17Welcome back.
06:21What's wrong?
06:25Do you know her?
06:31She is a student at the workshop.
06:33You should have told me from the beginning.
06:37I was hiding it from you because I thought you would notice it.
06:41I'm sorry.
06:42I noticed it.
06:45The cameraman was particular about the camera.
06:48I was able to shoot a scene that was retro and nostalgic.
06:54I was able to shoot a scene where I was particular about the details.
07:00That's what I thought for a moment.
07:03The behind-the-scenes interview of the movie continues.
07:08Mr. Seki, who is in charge of the director of the TV program.
07:14What is his job?
07:18After hearing the script, I found out the director and the location of the scene.
07:26I also look at the budget, content, and size of the movie.
07:31I also look at the budget, content, and size of the movie.
07:35I also look at the budget, content, and size of the movie.
07:42I think that's the most important job.
07:47What scene would you like to see in the movie, Mr. Seki, who is particular about stinginess?
07:52There's a scene where I'm using the bridge of Harumi.
07:55It's a car scene.
07:57The bridge of Harumi is where Harumi and Toyosu live.
08:00The car runs over there.
08:02I chose that bridge because I'm a little particular about it.
08:07There's no artist in this movie.
08:10It's based on using what's on site as much as possible.
08:18There's a scene where Toyosu's Raraport is reflected on the outside of the window.
08:22There's a scene where Harumi's tower man is reflected.
08:26When I read the book, I thought,
08:28If I were you, I'd like this kind of movie.
08:30That's where I proposed it.
08:33I don't think anyone knows that's the bridge of Toyosu.
08:36It's a scene that ends in an instant.
08:38To be honest, I feel like I'm stuck in that scene.
08:43A scene where Mr. Seki, the producer, crosses the bridge of Harumi.
08:48Please pay attention to the sparkling night view from the car window.
08:58That scenario...
09:01I thought it was pretty interesting.
09:05It's not like I didn't like it.
09:10It's not like I didn't like it.
09:15The background is very particular about the night view.
09:20If you look at it that way,
09:22It's a scene that flows.
09:24It's that moment.
09:26I have feelings.
09:28It's just that the background looks different.
09:33The back story of the movie.
09:38Tomoya Kurita, 28 years of broadcasting history.
09:42This movie is based on Kurita's real experience.
09:47What do you think about the movie?
09:50Actually, I wanted to do it in non-fiction.
09:53There's a lot of resentment.
09:56At first, I just wanted to spit it out.
09:59In my real experience,
10:01I thought there was something that could be used in the movie.
10:04The producer, the director, and the staff helped me.
10:09That's how it came to be.
10:11How do you make what you've experienced into fiction?
10:15I think it's more than me.
10:17I think it's thanks to the people who worked with me.
10:21As for the remaining emotions,
10:23It's really embarrassing.
10:25Thank you, Dad and Mom.
10:28At that time, I was an amateur.
10:30I think I'm still an amateur.
10:32I hope that kind of feeling will remain in the movie.
10:38This movie is full of his own experience.
10:43What kind of scene do you want to see?
10:49A hidden interview that digs into the charm of the movie from a particular scene.
10:54Kurita, who wrote the script,
10:57What kind of scene do you want to see?
10:59As for me,
11:01It's a scene where Dad and the main character drink alcohol.
11:05The main character, Takuya, is in a lot of trouble.
11:09I want to look back.
11:10It's like drinking alcohol.
11:12Dad said,
11:13Don't drink water.
11:14Let's drink alcohol.
11:15That's what he said.
11:17It takes time.
11:18Try to solve it right in front of you.
11:21There was a line in the play.
11:23It's a line that my father actually said to me.
11:29I want to put that in.
11:31I asked the director.
11:33The fact that my father is holding me so big.
11:36It was a great encouragement and support for me.
11:41The words that Kurita, the screenwriter, was actually encouraged by his father.
11:47Please see how it is expressed.
11:53Hey.
11:55Come here and have a beer.
11:58No, I don't drink alcohol.
12:02Why do you drink water?
12:23I don't drink alcohol.
12:53Try to solve it right in front of you.
13:04It doesn't matter if it takes time.
13:23It's a line that my father actually said to me.
13:42It's a line that my father actually said to me.
13:49I was a little annoyed that my father was satisfied with that scene.
13:52I see.
13:57It's a line that my father actually said to me.
14:03Don't run away.
14:05Try to solve it right in front of you.
14:09It's a line that my father actually said to me.
14:16I thought it was a good line.
14:20At the end of the behind-the-scenes interview,
14:25Mr. Takashi Watanabe, who directed the screenplay,
14:30I've been a director of Wide Scramble for more than 10 years.
14:35After that, I've been a director of a lot of documentary programs.
14:40I've also been a director of Life's Paradise.
14:43This is the first time that the director of a short fiction film has devised a way to shoot.
14:51I thought it would be completely different.
14:57But I felt like I was going to fail because the field was too different.
15:02So I shot it with the idea that I could shoot the movie in my own way.
15:08I'm not used to putting on makeup.
15:13I had a long meeting with the main cast in advance.
15:21Before shooting, I had to complete the role in my own way.
15:27When the shooting started, I didn't have to say,
15:31I didn't have to say,
15:36I thought I could shoot it like a documentary I usually shoot.
15:43That's how I shot it.
15:46What is the first point that Mr. Watanabe wants to see?
15:51I want to see what the TV industry is like.
15:56I want to see what the staff and I are experiencing.
16:00I want to see what the staff and I are experiencing.
16:04Hey, I don't have time to talk to you.
16:06I know.
16:09Oh, no.
16:10Oh, no. The cheering has started.
16:12Hey, Takuya, are you okay?
16:14Why are you still cheering?
16:16Hey, look at me.
16:18I didn't know it was this close.
16:20What are you doing?
16:21Hurry up and open it, you idiot.
16:23There's only one block left.
16:24Wow, there's still a place that hasn't been opened.
16:26Yes, yes, yes.
16:27In the cheering room.
16:28Are you shooting?
16:29Yes, yes, yes.
16:30Yes, it's done.
16:31How about this?
16:33You made a mistake, so hurry up and put it out.
16:35Yes, yes, yes.
16:36It's done.
16:38Wow, it's this close.
16:42I'm afraid that it's common.
16:45It happens a little bit.
16:47It's so close.
16:48I didn't know that.
16:50I've never felt this close to each other in this program.
16:57I'm doing it loosely.
17:00I'm doing it loosely.
17:04What is the scene that you want the director to see the most in the movie?
17:09The scene that I want the director to see the most is the scene on the roof of the climax.
17:14It's a scene where the main character, Takuya, and Rie fight fiercely.
17:22I really wanted to make it realistic.
17:27I'm thinking so much that my brain is twisted.
17:32There's a scene where they argue that they're not twisted.
17:37That's when Konishi, Mayahara, and I were having a meeting.
17:42I was wondering how to argue.
17:45Konishi said,
17:47If you're not twisted, you might get stuck.
17:52I thought it might be a good idea.
17:54That's how I put it in my lines.
17:58I wanted to show how the main character changes as he plays while shooting.
18:08I had a meeting with Konishi, Mayahara, and Sakurako until just before the shoot.
18:18Director Watanabe's Climax Scene
18:22Please pay attention to the words that were born after the meeting.
18:29I know it's hard.
18:31I know.
18:32But...
18:33That's why!
18:36That's how imaginative you are.
18:39That's why you can easily get rejected.
18:42What?
18:43You don't know how I feel.
18:49You're not as imaginative as you are.
18:52I always think about it.
18:57I think about it and think about it.
18:59My brain is twisted.
19:00It's not twisted!
19:03You don't know how I feel.
19:06That's why you hurt me.
19:10I think this movie is a movie for people who want to express something.
19:16I think it's a movie for people who are struggling in their dreams.
19:26There are a lot of scenes that warm your heart.
19:31I think it's a movie that anyone can feel.
19:37I hope you enjoy it.
19:39It's not a common word for a feature film directed by a TV program staff.
19:44Please watch it.
19:50Gulliventure V Headquarters, Elevator
19:54Gulliventure V Headquarters, Elevator
20:00Good evening.
20:02I'm Rumi Watanabe.
20:03I'm Takashi Watanabe.
20:04I'm going to tell you the latest news of Double Watanabe News.
20:08We can see the real relationship between the popular comedy duo.
20:13Mamataruto, a popular comedy duo that won the M-1 Grand Prix last year.
20:20We're going to see the recording of their conversation in the dressing room.
20:28I can't remember the words.
20:32What do you mean?
20:33The new words.
20:36I'm sorry.
20:39I'm sorry.
20:41I'm sorry.
20:43I'm sorry.
20:44I'm sorry.
20:45I'm sorry.
20:47I'm sorry.
20:48These are the basic words of the word.
20:54When will you use them?
20:57We'll use them in the future.
21:03I like the word, I'm sorry.
21:06I like the word, I'm sorry.
21:09I like the word, I'm sorry.
21:10I like the word, I'm sorry.
21:15I think Morita Kazuyoshi is a laughable guy.
21:20I like the word, I'm sorry.
21:22I think it's like a picture from a human health care clinic.
21:26I didn't know it was that way.
21:29I like the word, I'm sorry.
21:33Even if I'm short, I'm very sorry.
21:37It's a good word.
21:39It's good?
21:40What's good?
21:41That's a good thing.
21:43Maachan Senshi Gomenne Moon was Hima-chan, right?
21:45Maachan Senshi Gomenne Moon was my first anime.
21:47I got a lot of praise for it.
21:50Yeah, I was really impressed.
21:52Oh, I have this one too.
21:54Kiko is a one-time Maachan.
21:56Kikano is a lifetime Gomenne Moon.
21:58Oh, that's right.
21:59Maachan is a one-time shame.
22:01Gomenne is a lifetime shame.
22:03Oh, that's right.
22:04What are they doing?
22:06Hello.
22:08How was it?
22:10Well, even if they talk like that in the dressing room,
22:14they will be able to go to the final of M-1.
22:16It's their sense.
22:19The golden king of the pharaohs, the great king of A.C.N. Ramses, has arrived.
22:24The Egyptian government's official method, the ruins, will solve the mystery.
22:29It's a once-in-a-lifetime opportunity.
22:31Don't miss it.
22:36This is the staff who guided me here.
22:39This person is a genius.
22:41A test survey from casual conversations with VTubers.
22:45The VTuber girls' meeting starts now.
22:50Thank you for your hard work.
22:53Thank you for your hard work.
22:55Thank you for your hard work.
22:57Please tell us your personal news that surprised you the most last year.
23:04Yes.
23:05Oh, Pino.
23:06I was very surprised recently.
23:09There was a lunar survey.
23:12I was influenced by it.
23:14The space industry is getting more and more excited.
23:18There is a space amusement facility in Tokyo Dome City.
23:25You can actually travel to the moon in VR.
23:30Did you go to the moon?
23:32I went to the moon.
23:35Did you see the earth from the moon?
23:37I saw it.
23:38The earth was blue.
23:41What kind of saying is that?
23:42Wait a minute.
23:43Don't you know?
23:44No way.
23:45I'm going to the moon.
23:49You're going.
23:50I'm going to the moon while practicing.
23:52It's like this.
23:53Because it's the moon.
23:54You're good.
23:56You're good.
23:57You're good.
24:05You're good.
24:06You're good.
24:07You're good.
24:08You're good.
24:09You're good.
24:10You're good.
24:11You're good.
24:12You're good.
24:13You're good.
24:14You're good.
24:15You're good.
24:16You're good.
24:17You're good.
24:18You're good.
24:19You're good.
24:20You're good.
24:21You're good.
24:22You're good.
24:23You're good.
24:24You're good.
24:25You're good.
24:26You're good.
24:27You're good.
24:28You're good.
24:29You're good.
24:30You're good.
24:31You're good.
24:32You're good.
24:33You're good.