Chapter 16: The Inner Journey of Shinobu's First Acting Experience

Chapter 16: The Inner Journey of Konin’s First Acting Experience

I must portray this role well!

This was Konin’s first time acting in a film; she had absolutely no prior experience in the performing arts.

Yet, she was determined.

And after all, it was just a role of someone with an intellectual disability—how difficult could that be?

Honestly, she was just trying to bolster her own courage.

That day, after watching the ocean, the director told her, “You’re officially part of the crew now.”

What did it mean to be part of the crew?

It was probably some kind of professional jargon.

Hearing the term made Konin feel somewhat more professional herself, and she felt a bit proud.

But since she was part of the crew, filming should begin, right?

Well, they did start filming, but it was a bit strange.

She was with the director, and after a while, he told her the shooting was done.

Was that really filming?

A movie?

So what exactly did I act out?

Konin had a strange feeling—she had acted, yet it felt as if she hadn’t.

However, Takeshi Iwata, the director, seemed quite satisfied and showed no displeasure.

Is this right?

Konin wasn’t sure; she didn’t know how well she had performed.

Most people might have thought, “I’m a genius actor!”

Indeed, only a truly gifted performer would win the director’s approval on their very first attempt.

Konin once thought so too, but soon realized it was impossible.

She couldn’t even sing well, so how could she be a natural-born actor?

That thought was her way of being modest.

Konin felt she needed to have a proper talk with the director.

…

The decision to shoot in Kanagawa was made on a whim.

The purpose was “Iwata Ai.”

And through this “Ai,” to portray the relationship between the protagonist, Ryosuke Wagatsuma, and his sister.

The reason it was a sudden decision was, of course, because Takeshi Iwata had met Yutaka Matsushige.

Goro as a child barely earned any pay.

This was a rule in the entertainment world—many newcomers with some recognition still didn’t receive much pay.

Reina Kannemaru once revealed that she earned only 50,000 yen for a hit drama.

Since Takeshi Iwata had originally prepared a fee for Shiroryu, that amount was naturally saved.

Wasn’t that a bit too much?

The mushroom sauce guy himself said he was grateful for just 10,000 yen a day.

Oh, and that name can’t be used.

Of course, Takeshi Iwata was still considerate—he decided that if the movie made money, he would give him a bonus.

The director was quite generous, wasn’t he?

As for the filming itself, things were looking pretty good.

In summer, the sea in Kanagawa was truly blue.

Iwata’s crew had some equipment, which had been rented out before, but now they used it themselves.

Takeshi Iwata wasn’t very strong in cinematography, but he could manage many shots.

In fact, it was more than just managing.

In the entertainment world, a director’s main role is to tell a story through the camera.

The camera moves are generally a few types: push, pull, pan, track, and so on.

Actually, push and pull can be done using a zoom lens.

Now there are electronic zooms.

In this regard, Fuji’s equipment was quite good.

So, even though the crew didn’t have a professional cinematographer yet, they could still manage.

Takeshi Iwata designed the shots, and Neko, Uo, and Kiyoshi operated the camera. As long as those three didn’t mess around, everything was fine.

They wouldn’t dare cause trouble—the boss was so strict. Those three were just the crew’s gofers, doing all sorts of tasks.

As for the footage…

Takeshi Iwata designed the shots of Ryosuke Wagatsuma with his sister. The first shot was like this:

First, a close-up of Ryosuke Wagatsuma; then the camera slowly zoomed out until his sister appeared in the frame, and a smile appeared on Ryosuke’s face.

The camera continued to zoom out until the sea behind them came into view.

Was there anything special about this camera movement?

In fact, this was the very first shot of the film The Godfather.

Indeed, it was the origin of that famous line: “You don’t even want to call me by my name.”

But enough about that.

The technique Takeshi Iwata now used was very academic. The Godfather was considered a classic largely because of its camera work.

Many subtexts were conveyed through the camera; relationships and fates of characters were established early on through the shots.

So what was the subtext in the shots Takeshi Iwata was using now?

At that moment, the door of the car where Takeshi Iwata was resting was knocked on.

“Uncle, are you there?”

“Oh, it’s Konin.”

Why the car?

It was also equipped with filming gear—not renting more hotel rooms saved money and made the film better.

However, it was already late, so why did Konin come looking for him?

Soon, Takeshi Iwata was both amused and helpless.

“Uncle, am I acting badly?”

“No, I never said that.”

“You didn’t say it, but what exactly did I act out?”

“Well… you did fine.”

“What! I don’t feel anything.”

“Ha ha…”

“Why are you laughing, Uncle?”

“You brat! I told you, I’m not an uncle!”

“You are! You naughty uncle! I really don’t understand!”

Takeshi Iwata laughed helplessly as Konin stood before him, probably angry.

He needed to explain.

“Konin, tell me, what do you think a girl with an intellectual disability should be like?”

“Well…”

“You don’t know, do you?”

“Then do you know?”

“I actually don’t.”

“Oh no!”

Konin was truly angry now.

The uncle was so unfair!

Look, he was still laughing!

But Takeshi Iwata quickly said, “Actually, intellectual disability is just a character setting. The meaning of this role lies in her innocence—she’s so innocent it’s almost foolish. Understand?”

In the original The Violent Man, the sister’s condition fluctuates.

Konin’s mouth opened slightly—she clearly didn’t understand but was eager to learn.

“Why is it set like that?”

“Because of the protagonist.” Takeshi Iwata didn’t want to say more but thought better of it and continued:

“Ryosuke Wagatsuma is a policeman who sees only the darkest and ugliest parts of society. His sister is pure and innocent—the only spiritual support he has.”

Support?

The uncle actually used the word support.

In Konin’s mind, the uncle was Ryosuke Wagatsuma—the fierce man who punished criminals with yakuza methods.

Strong, fierce, tough—these were all synonyms for Ryosuke, or the uncle.

Could such a powerful man really rely on his silly little sister?

Strangely, Konin found herself drawn in.

Usually, at her age, it was hard to grasp what Takeshi Iwata meant, but now, she suddenly understood.

So that was it.

In this world, the brother and sister relied only on each other.

Konin was a clever girl; she immediately thought of what Takeshi Iwata hadn’t said.

Since Ryosuke’s sister had an intellectual disability, naturally, she had to rely on her brother.

But…

She had already gained some understanding of today’s filming, yet another question struck her.

“You don’t really understand girls with intellectual disabilities, so you didn’t give me a script.”

“Yes, you could say that.”

“And before, you didn’t have any specific demands for my acting.”

“I just wanted the purest version of you.”

“But… then I’m just playing myself?”

“Ah, well…”

Even if Takeshi Iwata didn’t fully grasp it, he clearly saw that Konin, this pure and elegant girl, was about to turn into a fiery woman.

Indeed, by that reasoning, wouldn’t Konin herself be the intellectual disabled one?

Well, that was what Takeshi Iwata was thinking—he hadn’t considered this before.

What to do now?

Suddenly, a smile appeared on Konin’s face.

“No way, this kind of filming won’t do.”

This change completely confused Takeshi Iwata.

…

The next day, the sun shone brightly as always.

Along the seaside streets of Kanagawa, two figures appeared again.

A JR train passed by as they stood side by side, gazing at the sea.

The uncle and Konin—this time Konin had her long hair styled into twin ponytails.

Watching the sea was a bit boring, so the uncle mischievously fiddled with one of Konin’s ponytails.

One ponytail.

Konin lightly hit him.

She behaved for a moment.

Then he mischievously tried again.

Another light hit.

She was quiet for a moment.

But he couldn’t resist and tried once more.

At that moment, Konin faced the uncle directly, holding a ponytail in each hand and twirling them.

A big windmill!

How could the uncle resist this onslaught?

Oh yes, this was Ryosuke Wagatsuma and his sister.

Ryosuke’s smile was both awkward and radiant.

What kind of scene was this?

Konin said that no matter what, they had to film some genuinely “intellectually disabled” moments.

Yes, there had to be a clear distinction from her real self.

But… did it still feel a bit strange?

Neko, Uo, and Kiyoshi behind the camera were already laughing uncontrollably.

Konin had long stopped her twin ponytail windmill attack, so what kind of acting was this?

Takeshi Iwata smiled and said, “Konin, I really didn’t expect you to be so good at playing a girl with an intellectual disability. Subarashi.”

The subtext behind his words was…

“Uncle!”

Konin was so annoyed; she wished she hadn’t accepted the role!

Yet, she couldn’t help but laugh.

Though laughing, she wouldn’t let Takeshi Iwata off so easily.

And so, by the seaside in Kanagawa appeared this scene:

A little girl chasing a fierce-looking man, both running and laughing…

Sorry for the delay; I stayed up late last night. Thank you all for your support, truly grateful.

(End of chapter)