Chapter 289: Come to Neon, Script: Unnatural Death
Cheng Cheng and his group landed at Neon Tokyo International Airport.

The secretary and assistant carried Cheng Cheng's luggage, and the band carried their guitars, drum boxes, and keyboard bags.

Nilukzi followed behind with two suitcases in her hands, a look of deep emotion on her face.

Cheng Cheng shook his head and waited for a while. After Nilukzi caught up with him, he reached out to take a suitcase and continued walking forward with his long legs. The suitcase that seemed very heavy in Nilukzi's hand was like a cardboard shell in his hand.

Nilukezi was stunned for a second, the corners of her mouth curled up unconsciously, and she followed excitedly.

The ones who came to pick us up at the airport this time were still Kenichi Sato, Risa Goto and Riki Watanabe.

Kenichi Sato is the director of Oscar Communications.

Neon Oscar Communication was originally a modeling agency. In the 1980s, it began to manage artists, mainly female artists. It regularly holds the "Neon National Beauty Contest" to discover many new talents and has cultivated many advertising queens.

At present, it still has many celebrities and models under its banner.

Risa Goto and Tsuyoshi Watanabe are artists under Neon Oscar.

Before, "Those Years" was released in four East Asian countries, Cheng Cheng came to Japan for the promotion, Goto Risa and Watanabe contributed a lot, and of course they also got some shots. Throughout the promotion, they accumulated quite a number of fans.

Coupled with their efforts over this period of time, they have already established themselves in the Japanese entertainment industry and have made great progress.

However, their progress is far behind Cheng Cheng's.

The last time we met, Cheng Cheng was still working hard for the release of Those Years. This time we met, Cheng Cheng had already won awards in Europe. Those Years also achieved good results in Japan, ranking third on Japan's movie box office list last year.

Sato Kenichi bowed 90 degrees and respectfully extended his hand to Cheng Cheng:
"Cheng-san, welcome to Neon again. You must have worked hard on this long flight!"

Risa Goto and Riki Watanabe followed him and bowed 90 degrees.

Risa Goto is short to begin with, only 152cm tall, and when she bows, her height is almost reaching Cheng Cheng's calf, like a small mushroom.

Cheng Cheng shook Sato Kenichi's hand and said calmly:
"Thank you for coming to pick me up at the airport."

Sato Takeru stood up and said with a flattering smile:
"It's not hard, it's not hard. I didn't expect that we haven't seen each other for a long time. Cheng Sang is more handsome than the last time we met. I learned that you won an award at the Cannes Film Festival. I was so excited even in Japan. Please give me a chance. I have prepared a dinner to celebrate Cheng Sang's award and to welcome him."

Cheng Cheng agreed and nodded.

Sato Kenichi waved his hand, and the people he brought with him immediately stepped forward, took the luggage from Cheng Cheng and others, and put it in the car.

Then, Kenichi Sato respectfully invited Cheng Cheng to get into the car.

It was Nilukzi's first time in Neon and she was a little flattered.

She felt that the Japanese were weird. It was a modern society, but why did they still bow so easily? This made her dream about going back to the era of Master Bai.

When she was a child watching TV dramas, Nilukzi wanted to be a female Bayi master.

In fact, Nilu Kezi has not come to Neon often enough. Neon people are used to bowing. When you go to a gas station to fill up your gas tank, there will be a line of people bowing to you when you leave, saying: Welcome back next time~
But although they bowed, what they were thinking in their hearts was another matter.

For example, Japanese politicians love to bow, but after they bow, they continue to play music and dance. They just pretend to do so, and then they go on with their business. Even the Japanese themselves hate bowing.

After getting in the car, Sato Kenichi looked at Nilukzi in amazement:

"Ms. Nilu, you are so beautiful. Your beauty is rare in thousands of years. You are as beautiful as the goddess in ancient Greek mythology. Please believe me, I will definitely make you one of the most popular actresses in Japan! Let everyone in Japan love you!"

Nilukzi shyly replied, "Thank you."

Although she has been praised by many people, this is the first time she has been praised in such straightforward terms in real life.

Goto Risa and Watanabe Riki also started chatting with Cheng Cheng.

Risa Goto: "Director Cheng, welcome to Neon again."

Watanabe Riki said excitedly: "Director Cheng, I am reading your newly published novel "To Live". It is really great. After reading it, I have no doubt why the Cannes Film Festival gave you the award. You are really a contemporary literary giant."

Risa Goto raised her hand and said, "I saw it too! I cried so hard after watching it!"

Cheng Cheng asked them, "How have things been going between you two during this time?"

Goto Risa said: "I just celebrated my 18th birthday and held my coming-of-age ceremony!"

Watanabe Riki laughed and revealed her:
"Risa made a wish at her coming-of-age ceremony, saying she hopes to work hard to learn English and Chinese so that she can participate in more overseas activities, but her English and Chinese are not good in variety shows, and her fans call her a silly idol."

Risa Goto was angry: Is this something I can say in front of Director Cheng?

Cheng Cheng found that Risa Goto’s profile when she was angry was quite pretty, a bit like the profile of a kitten.

"Let's not talk about her, what about you?" Cheng Cheng asked him again.

Watanabe Riki said happily: "I participated in the TV series "The Devil of First Love"!"

Risa Goto immediately said, "He only had a few minutes of screen time in episode 8."

Watanabe Riki immediately looked at her.

Risa Goto also glared at him, and neither of them gave in.

Ah ~
Cheng Cheng raised his head. This was the reason why he asked about the situation of Goto Risa and Watanabe Riki:

It’s certainly worth celebrating your own revolutionary achievements, but it’s even more inspiring to see others making progress while standing still.

They checked into the hotel arranged by Kenichi Sato. In the evening, at the hospitality of Kenichi Sato, Cheng Cheng had dinner with them. The real senior management of Oscar Communication also showed up and expressed their welcome to Cheng Cheng coming to Neon.

The next day, Cheng Cheng, Sato Kenichi, and several screenwriters from Oscar Communications gathered in an office.

Oscar Communications realized that traditional talent agencies could no longer keep up with the times. Talent agencies took their artists to visit famous screenwriters, directors, and even TV station leaders in order to seek an acting opportunity, but their artists were too much controlled by others.

Not only do they have to use their connections and resources, but sometimes they even have to sleep with their own artists.

In addition, Oscar Communication had established a relationship with Cheng Cheng because of the promotion of "Those Years", so Oscar Communication wanted to take this opportunity to reach a cooperation with Cheng Cheng.

They can use their own agency advantages to represent Cheng Cheng's artists' agency rights in Neon and help them develop in Neon. In exchange, Cheng Cheng will establish a personal studio in Neon, affiliated with Oscar Communication, and help Oscar Communication produce dramas.

Of course, this affiliation is not permanent, but for a period of five years. During the affiliation period, Cheng Cheng will provide scripts and capital, accounting for 60% of the shares, while Oscar Communication will provide artists, capital, equipment, and publicity, accounting for 40% of the shares. After the affiliation ends, Cheng Cheng has the right to repurchase Oscar Communication's shares.

This plan is of great benefit to Cheng Cheng.

In his plan, the Neon market is a very important part of his conquest of the global entertainment industry, but rash entry into the Neon market will lead to exclusion. Moreover, the Neon market is different from the Tianxia market. The influence of TV stations in the Neon entertainment industry is very strong.

It would be better to first be affiliated with Oscar Chuan and make a name for yourself, then after five years, when the contract expires, become independent and establish a film and television branch in the Japanese market.

To put it bluntly, it's like getting a green card through marriage.

The five-year registration period is the period during which the marriage continues, and both parties must run the business in partnership.

Oscar Communications has demonstrated its strength, and now it's Cheng Cheng's turn. He needs to come up with a blockbuster script to prove himself. This is a good start.

Yoshi Uchimura is one of the screenwriters of Oscar Communication. As soon as he entered the room and saw Cheng Cheng, he was in a bad mood because he didn't believe that Cheng Cheng could come up with a good script. Neon culture and Tianxia culture are not the same.

Do you know what the Japanese people born after 95 liked most when they were little?

How can a script written by Tianxia people touch the hearts of Japanese people? ! Let Japanese people feel involved? !
"Those Years" cannot explain this point either.

Just like those Hollywood movies, Cheng Cheng might be able to achieve high box office in Neon with Tianxia movies, but he will never achieve high box office in Neon with Neon movies.

Sato Kenichi asked respectfully:

"Director Cheng Cheng, are you ready for the script for our first collaboration?"

On the side, Yoshi Uchimura deliberately drank his tea very loudly, then winked at the other screenwriters, as if he was ready to laugh at Cheng Cheng. He had already determined that Cheng Cheng could not write a good script.

Even writing fluent Japanese may be difficult.

If Cheng Cheng took out a Chinese script later, they would pretend not to understand it and disrupt today's meeting.

But they seem to have forgotten, or they don't know at all, that the Japanese version of "The Little Prince" was translated by Cheng Cheng without asking anyone else to do it, and the translation is very faithful, accurate and elegant, and very consistent with Japanese culture.

What they don’t know is.

The script that Chengcheng took out was アンナチュラル!

Unnatural death!
How popular is this drama?
When it aired, the average viewership was as high as 11.06%, and when the finale aired, the ratings climbed to 13.3%!

It also won the Best Japanese Drama Award at the 11th CONFiDENCE AWARD DRAMA PRIZE. The lead actress Ishihara Satomi won the Best Actress Award, and the screenwriter Nogi Akiko won the Best Screenwriter Award for her outstanding script writing.

At the same time, it is also a transitional work for Satomi Ishihara.

Before this, Ishihara Satomi's image was often cute and fashionable, but in this drama, she did not rely on her appearance and figure, and used almost no makeup. She won a large number of audiences and received countless praises just by her acting skills, which made her the best actress.

In China, 68 people gave it a score of 9.5, which is only one-third less than the number of people who gave it a high score.

Of course, Cheng Cheng didn't like this drama. It wasn't because of the actors or the script. He couldn't stand the exaggerated performances in Japanese dramas and couldn't appreciate them. He also couldn't appreciate Indian dramas and Indian movies.

I don't know if anyone has noticed that Indian actors always shake their heads while talking. They look cute and honest, but when you think about the fact that they are a country with a strong alkaline environment, you feel that they are actually very dark under their honest appearance.

Cheng Cheng handed the script to Sato Kenichi.

When he saw that it was written in Japanese, Uchimura Yoshi was shocked.

How could this Tianxia person write Japanese so fluently?

Then, he and Kenichi Sato began to look through the script together.

He was a little skeptical at first, but soon he was immersed in the plot.

In episode 1, UDI forensic pathologist Mikoto Misumi uncovers the mystery of Konoshima's death.

First, the characters and background:

Forensic pathologist Mikoto Misumi works at the Unnatural Death Research Institute (UDI), which is located in the center of Nishi Musashino City outside the 23 wards of Tokyo, and receives bodies of people who died of abnormal causes or were murdered from all over the country.

Every year, the police and local governments handle about 400 bodies. It is the UDI's job to dissect these bodies and find out the cause of death. UDI has two teams - the Misumi team and the Nakado team.

Yoshi Uchimura raised his eyes and looked at Cheng Cheng.

Where did this guy get this data?

These data were shocking even to him. This shouldn't be information that can be easily searched on the Internet, right?
Why don't I know?
He continued reading, and after a brief introduction to the background and characters, he entered the plot.

On this day, a middle-aged couple visited UDI. Their son, Konoshima Watari, who lived alone, had passed away, and Icha diagnosed it as ischemic heart disease. The Konoshima couple did not agree with this cause of death, because their son was very young, loved mountain climbing, and was in good health. Even laymen would not believe that such a person would have a heart disease. They hoped that Icha could investigate the real cause of their son's death, but Icha refused on the grounds that there was no doubt in the case.

Yoshi Uchimura was even more shocked: this guy even knew about the existing problems of Neon Well Tea.

Isn’t he a foreign guest?
The plot continues:

Mikoto and others immediately began to dissect the body. The results showed that there was no abnormality in the heart, but symptoms of acute renal insufficiency were found. Mikoto suspected that the death was caused by poison, and conducted a detailed investigation, but could not determine which poison caused the death. At this time, news came that a young female colleague who worked with Konojima also died suddenly the day after Konojima's death, and the cause of death was unknown.

In order to find out the cause of death, Mikoto and others take action.

It was discovered that the victim died from the "unknown poison" made by the horse farm. In other words, Takanoshima was murdered.

But when Baba was asked if she had an alibi when Konoshima died, she smiled and said that she was alone at home, so she had no alibi.
Here, the first episode ends.

Sato Kenichi reads slowly, while Uchimura Hiroshi reads quickly. After watching the first episode, Sato Kenichi was slow to turn the page, which made Uchimura Hiroshi very anxious. However, it seems that the quality of this script no longer needs to be verified.

Judging from the first episode, the plot is full of twists and turns, the pace is fast, the main line is strong, and in just one episode, all the main characters appear and their images are created.

The narrative behind it is also quite grand, and it reflects many social phenomena.

However, the most important thing is professionalism, which really requires a lot of effort.

So Uchimura Hiroshi was even more confused:

How did Cheng Cheng create this script?
(End of this chapter)