"If you do this, you first do a set of Wing Chun, then a set of Baji, and then do Muay Thai."
Mizuna Hayato was explaining the next action to Oguri Shun.
"..." Oguri Shun looked at him speechlessly.
"Then, I'll arrange for Serizawa to drive a motorcycle over to hit you. He won't be able to control you any longer." Minato Hayato said with a smile.
Next to him, Takayuki Yamada kept nodding, indicating that he was good at this kind of scene.
"But don't worry, you are the protagonist after all! You fly up into the air and turn three hundred times in the air..."
"Shut up!" Oguri Shun finally couldn't bear it anymore: "Can you be more serious!"
"Hey, it's really loud." Mizuna Hayato pretended to rub his ears, and then laughed: "No, no, no, no one can't even do this, right? What to do after that, I still want to I asked you to jump off the air conditioner from the tenth floor."
"Is this reasonable?!" Shun Oguri said loudly: "Come on, tell me how what you said is in line with Takitani Genji's settings!"
"Okay, okay." Mizuna Hayato said no longer annoyed, "It's just a joke."
"Actually, the action design is very simple, just dodge, punch, and kick." Hayato Mizuna began to explain the action seriously: "But, even if it is a simple punch, the way you hold the fist, the angle of the punch, and the angle of the camera are all different. He is knowledgeable.”
"Who is that, come here." Mizuna Hayato called to an actor from an action team not far away: "Look, it looks like this."
After saying that, Mizuna Hayato put on a ferocious expression often seen in movies, and then raised his right hand high, swinging it in a wide range, and hit the empty door wide open.
"Usually for this kind of action, the protagonist will knock him down with one punch."
After speaking, Hayato Minazin then instructed the person to hit him, and before the slow fist was about to hit his face, he stretched out his left hand handsomely, with a determined expression on his face, without even looking at the person who hit him. . Then he twisted his waist and gave his chin an uppercut with his right hand from bottom to top.
"Looking at this kind of action, it looks very pretentious, but it is also very protagonist." Mizuchi Hayato said.
"Oh." Oguri Shun nodded. These two examples are indeed not uncommon in movies.
"You'll just have to look like this later. Instead of practicing the movements, practice your expressions first. Just practice the movements with them a few times later." After saying that, Mizuna Hayato was about to leave.
"Hey, wait a minute." Oguri Shun grabbed Minazina Hayato again.
"what?"
"This is too simple!"
"What?!" Hayato Mizuna looked "shocked" and spread out his hands: "Brother, I just asked you to do a few sets of punches, and you asked me not to make fun of you. Now I ask you to be cool and you think it's too easy!"
"No." These words made Oguri Shun a little embarrassed: "Didn't you say you wanted to design a very handsome appearance for me? Just these few simple actions..."
Halfway through his words, he looked at Yamada Takayuki who was watching the excitement, and the meaning in his eyes was obvious.
You can't favor one over the other!
Takitani Genji and Serizawa Tamao are both your good friends, Tatsukawa Tokio.
Mizuna Hayato couldn't help but laugh: "Okay, no more joking. This scene actually needs to be shot well. In fact, your movements don't need to be too complicated. The focus is not on you, but on the actors who cooperate with you."
When shooting a wonderful fight scene, the real difficulty lies not in the “protagonist” but in the villains who are being beaten.
Although when watching the movie, you may feel that the villain just rushes up and is beaten away by the protagonist in all kinds of fancy ways. But there is a difference between an opponent who takes a stance and retreats before the protagonist's fist arrives, and an opponent whose powerful moves allow the protagonist to narrowly dodge and then be knocked down.
Mizuna Hayato wants to challenge the latter, and this requires the "beaten" acting skills of the opponent's actors. They must first learn to use their strength in the right place.
The action team of this crew is actually Miike Takashi's team and has rich experience, but it actually does not match the style of Hayato Minakami. There are many subconscious little actions that are fixed action habits developed over the years. Every play is done this way, they don't think there's anything wrong with it, and they don't plan to change it.
Mizuna Hayato could only change it again and again, and it took a long time to find a balance point.
At the same time, he also had the idea to ask the eldest lady to quickly form his own team.
...
Speaking of which, the focus and ignition point of the original version of "High School" is not the fighting scenes, as long as the filming is handsome enough and the youth of the delinquent is passionate enough.
But Mizuna Hayato, who couldn't film the fight scene himself, seemed to be in a daze and insisted on trying to see if he could design the scene.
For this reason, he looked for opportunities to argue with Miike Takashi, and even demonstrated two different effects in person, and finally made him agree to "take one more version for comparison."
In the original movie, there were a few seconds of intersecting shots between Genji Takitani's fight scene and Tamao Serizawa's car chase scene, but the final edit focused on the car chase scene, while the fight scene was Passed by in one stroke.
After finally designing a more exciting car chase scene, how could we just shoot the beginning and end here?
Mizuna Hayato's idea was to change the originally designed shots into cross-cutting, which is an editing technique that switches back and forth between two scenes.
On one side is a thrilling car chase scene, and on the other side is a physical fight scene. Through rapid switching, the two characters of Serizawa Tamao and Takiya Genji are simultaneously shown.
First, there is a shot of Serizawa Tamao. When he looks at the lying Tatsukawa Tokio with a complicated expression, it jumps to the explosive confrontation between Takitani Genji and several Yakuza.
Then, using Serizawa Tamao's collision with the van as the starting gun, Takitani Genji on the other side sidestepped the metal bat that was struck down. The crisp sound of the bat and the ground marked their battle.
"Yes! Here's a close-up of Genji's eyes!" Hayato Minakami sat in the director's seat and directed the scene.
Miike Takashi crossed his arms and watched quietly.
On the other side, Tamao Serizawa drove his motorcycle dangerously and dodged obstacles one after another, while Genji Takiya on the other side dodged the joint attacks of several Yakuza with an expressionless face.
"Serizawa, do you have a driver's license?"
"You kid, are you looking for death?"
Serizawa Tamao glared hard, twisted the accelerator, turned around and drove away; Takitani Genji clenched his fist, quickly raised his left hand to block one of the punches, and knocked him down with a crisp uppercut from his right hand.
"Okay, perfect." Hayato Minazin shouted: "In the next shot, I need you, Genji, to punch the person coming from behind and hit the shot here."
"But be careful not to actually hit the camera!"
The crew laughed.
He also seems to be a bit of a director.
Miike Takashi thought so.
