Elle joined the crew as an intern screenwriter and assistant director.
Of course, the reason she stayed with Nanaya was not because her sister Rin needed someone to watch over Nanaya all the time, but because she really came here for an internship.
After graduating from university, Nanaya's sister-in-law encountered difficulty in finding a job.
It's not that Elle can't find a job, but that she can't find a job she likes.
Elle, who graduated from the Department of Literature, hopes to become a screenwriter, but the screenwriting industry is not easy to enter.
No matter which country's entertainment industry is, the screenwriter circle is the most closed.
Without someone to guide you in, you can only persevere. No one knows when you will be able to succeed. Some people persevere their entire lives without ever succeeding, and even more people give up halfway.
Take the Hollywood screenwriting industry as an example. If you want to become a Hollywood screenwriter, there are generally three paths before you.
The first is to submit your script to various film companies, hoping that one of them will take a fancy to your script and approve the project.
But this is the least reliable way, because if you have this fate, you might as well hope to win the lottery jackpot, so that you can get the money to make your own movie.
Therefore, in the ancient times of Chinese online literature, a big company would lick the boots of its brow in exchange for a script of "Death Note". This is something that can only be done in online literature.
Don't ask how Nanaya knew this. At the time, he took the script of "Kara no Kyoukai" and visited all the big and small film companies in Japan.
And even if a film company really takes a fancy to your script, there will still be a big difference in treatment depending on whether you are a member of the Writers Guild or not.
If you are, then your name will probably be on the film's credits, and the film company will more or less involve you in the making of the film.
But the conditions for a newcomer without experience and connections to join the union are so difficult that you might as well hope that Spielberg would accept you as his godson.
But if you're not, then I'm sorry.
A movie company will buy your script for a few hundred dollars and then change the movie so much that even you, the author, won't be recognized, and your name won't appear in the film's subtitles.
If the movie is successful, it's all thanks to the film company. What evidence do you have, a person whose name doesn't even appear, to prove that you are the screenwriter of this movie?
If the movie fails, you are the perfect person to blame.
"It was all because of this unknown guy's sweet talk that made me make the wrong decision!" And so on and so forth.
You'll never make it in Hollywood again.
Don't underestimate the bottom line of Hollywood office executives. They will do anything to keep their positions.
The second way is to participate in screenwriting competitions organized by various official Hollywood organizations and win.
This will also give you a chance to have your script accepted.
Formal screenwriting competitions will of course be recognized by film companies. Many screenwriting competitions are even held by film companies themselves in order to expand their own script library.
This approach is more reliable than the first one. At least the script will not be forgotten.
But there are not only newcomers participating in such competitions, there are also a large number of pseudo-newcomers.
What is a pseudo newcomer? It is a screenwriter who has been working as a screenwriter in Hollywood for several years but has no signed works.
There are countless screenwriters of this type in Hollywood, and the two people following behind Yoshitaka are among them.
They have been working in Hollywood for many years and their work experience is much higher than that of newcomers.
Even though these people are not famous, they are involved in 99% of Hollywood scripts. They are much more experienced than newcomers who don't even know some of the unspoken rules of the script.
These people live a miserable life. They do a lot of work but are paid just enough to make a living.
Generally they will work in a team under a well-known screenwriter.
When this famous screenwriter received the work, he assigned it directly to them, and after they finished writing, they gave it to the leader.
The leader compiled what these people wrote, signed his name on it and handed it in.
Then, for a $1 million script project, the screenwriter would take $995,000, and the remaining $5,000 would be divided among his subordinates.
Is it dark?
Dark, really dark.
But the most valuable thing about this script is this signature. Without this signature, the script is not worth even $100.
Moreover, these well-known screenwriters will occasionally do personal favors and recommend their own screenwriters.
It's just like being an assistant to a Japanese cartoonist. It's hard and tiring work, but the pay is not much.
However, work experience and connections with cartoonists are the reasons why those with dreams have always been flocking to the assistant industry.
And this involves the third way, which is recommended.
By whatever means, establish relationships with well-known screenwriters, directors, producers and film company executives, and submit your script to them to gain their appreciation.
Nanaya also took this path at the beginning. His ability was recognized by his teacher and he was given a chance.
Ultimately, Hollywood is a closed system.
No, it should be said that the entertainment industry in all countries is like this.
Even though Urobuchi was touted as a talented newcomer when he first debuted, this guy has been doing this for generations.
His grandfather was the mystery writer Ohtsubo Sunao, who was once called one of the "Five Men of the Postwar Generation" by Edogawa Ranpo, and his father Wada Shuya was also a playwright.
Otherwise, why would this guy get the opportunity to write game scripts and have his name signed before he became famous?
This also explains why Elle cannot enter the Japanese screenwriter circle. She is not from the circle and has no experience as a tool screenwriter for many years, so naturally she encounters obstacles everywhere.
Originally, Elle had planned to start as a screenwriter's assistant under a famous female screenwriter - she didn't dare to find a man for fear that he might do something inappropriate to her.
However, after learning about the situation of his own sister, Rin directly persuaded Nanaya.
After reading the scripts and novels written by Elle, Nanaya waved his hand and let Elle work with him as an intern screenwriter.
At first, Elle was wary of Nanaya's behavior, and when she came to report, she even brought a buzzer alarm.
"Brother-in-law, are you planning to play tricks on Ehuang and Nvying? I won't let you succeed."
"Go away, what a mess have you learned! I need to have a serious discussion with your sister about your education!"
When Nanaya said this, he looked at Elle's little finger, which was hooked on the buzzer alarm switch, with a wary look on his face.
If something goes wrong, and my blonde sister-in-law's hand shakes, mud will fall into my crotch, and I will make a loud noise.
Of course, Nanaya did not bring Elle into the FZ crew just to throw her and Rin on the bed together and let himself become the vertical line in the middle of the word "川".
With the expansion of the Fate project, Nanaya needs more dedicated screenwriters to protect his project.
It's not possible for Urobuchi to tell every story, right?
Although this guy himself would definitely be very happy, but do the audience still want to live?
Nanaya doesn't want the first impression in the audience's mind to be love and blood when they mention Fate in the future. Such a heavy-tasting development is really not suitable for a very well-known IP.
But Nanaya didn't want to rely entirely on Hollywood screenwriters.
It's not that Nanaya thinks these screenwriters won't write stories well, but the gap between the concepts of these Hollywood screenwriters and Nanaya is quite large.
They were used to the traditional Hollywood genre film routines, and the stories they wrote were far from what Nanaya required.
Because they will subconsciously satisfy the tastes of North American audiences first, and then consider other global markets.
However, Nanaya and Washimine are not traditional Hollywood companies. Although the bulk of the box office revenue of the Fate series is in North America, it has always been a global IP.
In other words, it can't have too strong an American flavor, and even the Japanese flavor can't be too strong.
Perhaps one or two stories of Type-Moon can focus on highlighting a certain cultural characteristic, but its entire IP must be globalized.
Especially after the collaboration between FZ and HF's screenwriters, Nanaya became more determined in this idea.
Hollywood screenwriters can serve as auxiliary screenwriters, but they must not be mainstream.
The core of the story was provided by Nanaya Kiryu, the skeleton was built by the core screenwriters of the [Erque] series, and finally the Hollywood screenwriters checked for omissions and filled in possible problems in the script.
The last step is very important, after all, non-Hollywood screenwriters are likely to be caught in some details.
However, no matter how important these people are, they are in supporting positions and cannot affect the core part of the whole story.
Elle is the whetstone of Nanaya's plan. If it succeeds, Nanaya will train more direct screenwriters of the [Erque] series.
Nanaya has read Elle's writing works. Although her writing style is still very immature, her style is very delicate, especially the emotional scenes are also very well written.
In Nanaya's opinion, Elle has a lot of room for improvement and is a promising talent no matter what.
Besides, Elle is my sister-in-law after all, and she is one of our own.
If Nanaya doesn't help his sister-in-law, who else can he help?
Could it be the two extras who are following behind Urobuchi like a shadow?
"Elle..."
Nanaya put his hands behind his back, looked at the busy set and asked in a very pretentious manner: "You have been in the crew for a while, how do you feel?"
Elle narrowed her eyes and replied: "Um... Brother-in-law, do you want me to praise you? If so, then brother-in-law, you are awesome."
Nanaya has asked everyone on the crew to call him director, and Elle is no exception.
Although Elle would call herself director when others were present, she would call herself brother-in-law in private.
Fortunately, Elle did not use [义理のお兄さん] (the formal name for brother-in-law in Japanese), but instead followed Lily's example and called herself [哥（あに）].
What?
Thinking of this, Nanaya couldn't help but ponder it, and he suddenly realized that something seemed to be wrong.