"Okay, let's shoot scenes today. Let our heroine take a rest and find her condition." Hayato Minakami was very tolerant of Horikita Maki's NG, and he arranged the crew in a pleasant manner to shoot other corner shots.
"I'm sorry, I'm not in good condition today." Horikita Maki came to Mizunakura Hayato and lowered her head.
Mizuna Hayato smiled and said, "It's okay. You were so in-depth in trying to figure out the role of Tomoe before that I never had a chance to NG you. Now I think you've got it back."
After hearing this, Horikita Maki subconsciously raised her head and glanced at him, but when she saw his face, she instantly broke down and turned her head to look away.
Mizuna Hayato was overjoyed. He had broken her heart. Not to mention filming, she couldn't hold back when she was facing him off-screen.
But as he said, Horikita Maki took the role of Yukiyoba too seriously, so much so that she basically couldn't find any faults during filming, which saved a lot of time. Now it doesn't matter if she wastes it on NG.
Moreover, there was a time when she felt that she was too involved and scared him. This time it was just the right time to cure her bad experience-oriented habit and detach herself from the role a little bit.
Of course, just because the heroine is out of shape doesn't mean that the entire crew has stopped.
After temporarily changing angles to shoot corner shots on the first day, Mizuna Hayato immediately changed the shooting plan and shot some of his own shots in the last segment first. He still had a few action scenes in the snow.
This time, it was also time for Horikita Maki to see that there is no future for the experimental group!
He has to be like him. Even if he has an affair with an actress the night before, he can still act in a bitter and revengeful fight scene the next day!
...
"Attention all units, Minamizu-kun's performance is the first and first time, action!"
Taking advantage of his directorial authority, Minakami Hayato specifically changed the names of today's filming sessions to "Mizuna-kun's Performance Moment" to highlight a quirk.
The staff just felt very happy and also went along with the director to make trouble. Anyway, he randomly named the movie and ended up causing chaos. The biggest impact was when he was editing by himself.
Back to the plot, Kenshin and Tomoe finally had a heart-to-heart talk on a snowy night. Kenshin completed his pony... no, the achievement of capturing his eldest sister Tomoe, but Tomoe disappeared the next day.
Here we have to talk about Toba's identity again. We all know that Tomoe has an "ex-husband" who is cut off in every movie, and Tomoe initially had a revenge mentality when he came to Kenshin's side.
She may not really love her "ex-husband" that much. She only came into contact with Kenshin because of various reasons such as her status as a fiancée and her ruined future.
After contacting him, she discovered that Kenshin was actually just a young man who was forced by the times to become a killing machine, and behind him was a soul worthy of redemption.
The distance between the two gradually shrinks in their daily interactions, which is a classic "mutual redemption" plot. In the end, Tomoe let go of hatred, and Kenshin also found his "scabbard", and the two completed "one mind and one body".
And through the plot here in the Remembrance Chapter, we know that her actions were not only driven by her own wishes, but also instigated by people behind her.
The poor young boy Kenshin found out that his eldest sister was missing the next day after he was put to sleep. It was precisely because she was deceived by the person behind her.
At the same time, Kenshin's side was also visited by the Second Five Boys, saying that they had found Tomoe, the "Second Five Boys" who caused the previous stronghold to be taken away. The evidence was her diary.
It is also one of the classic plots that the male and female protagonists misunderstand due to unequal information.
After the heroine wakes up, she goes to find the person behind her, of course to protect the hero and to escape from the control of the person behind her. But of course the hero doesn't know this. He must have a complicated heart and go to the heroine to ask for an explanation. .
This leads to the next plot - Kenshin is in a complicated mood and goes up the mountain in the snow to find Tomoe.
By deconstructing this paragraph, you can easily find that it is ultimately "new wine in old bottles", or in fact most of the works in the world are "new wine in old bottles". Whether the wine is fragrant or not depends on the taste of the person who put it in it. means.
The remembrance chapter already has the story foundation of the original work, and the wine itself is already extremely good. Next, it depends on how Minato Hayato shoots and interprets it.
...
The first scene was shot of Kenshin reading Tomoe's diary.
The first thing we see here is a close-up of Hayato Minakami picking up the diary with his hand, and the actor playing the role of Erwuzi next to him said: "Do you remember the man who left the scar on your face? Tomoe is his unmarried wife."
The camera zoomed in on a close-up of Mizuna Hayato. He didn't look back, and there wasn't much expression on his face. He reached out to open the diary and saw the record above:
"...Before the wedding, he became a non-returner in the turbulent Kyoto."
The camera stopped on a close-up of Mizuna Hayato's hand stroking the words on the diary. After a few seconds, he took the initiative to shout: "Okay, Ka, makeup artist!"
The makeup artist trotted over and put special effects makeup on his face.
Here again is the difference between the oVA version and the movie version. In the oVA version, Kenshin's scar is once again emphasized, making his scar bleed again, implying that he has withdrawn the scabbard and Koshin is panicking again. But the movie version wanted to pursue consistency with historical facts based on the comic adaptation. Since it wanted to be realistic, the scar that was bleeding inexplicably was cut off a lot of its presence, and there was no bleeding in this shot.
Minakami Hayato chose the oVA method of expression without too much entanglement here. He didn't even intend to shoot two versions. Kenshin's cross scar is his strongest feature and he has no intention of weakening it. It was also there in the first part. There were some suggestive shots, but after the second and third films when he started working on the special effects, he let himself go even more.
It’s already surreal anyway, so why not go deeper. Sometimes the effect of just pursuing reality may not be as good as the “combination of reality and reality”, especially at the box office. Just be more superficial and make the audience happy.
Besides, this is also a lazy way. With the characteristic of bleeding from the wound, the audience's attention will not be completely focused on his performance. Otherwise, it would be really difficult to dryly show Kenshin's shake and shock here. .
The special effects makeup was put on and the shooting started again. The camera was fixed on the diary. One drop, two drops, or a few drops of bright red blood fell on the diary and on the hand. The blood-stained hand was lifted up, and the camera followed. Looking up, Mizuna Hayato is gently touching the bleeding scar, his pupils are dilated, and his expression is blank and void.
...
Confused and lost, this is how Mizuna Hayato behaves next.
He walked forward step by step in the snow, leaving a long series of footprints with drops of blood on them.
