【プロとは「塩梅」である】
毎日、いろんな方とお仕事をさせていただくのですが、「この人、プロだなぁ」と思う瞬間がいくつかありまして…そのうちの一つに「自分の能力と役割を見極めている」があります。
チームプレーになった場合!プロは出るべきポイントで出て、控えるべきポイントで控える。
とりわけ、「今回は、取り扱う素材に対して、自分の能力をどこまで出せばいいか?」という答えを探るのが本当に上手で……たとえばダウンタウンの浜田さんなんて、ご自身でガーッと前に出ていかれる時もあれば、場合によっては手を叩いて笑っているだけの時もある。
後者の場合は、だいたいゲストがゾーンに入った瞬間で、こうなると、番組全体の面白さを見たときに、脂が乗っているゲストにシュートを打たせた方がよくて、手を叩いて笑っているだけの方が絶対に良い。
「仕事をする」とは、そういうことだと思います。
決して「いついかなる時も自我を出す」ということではない。
出る時は出て、引くときは引く。
この「塩梅」ですね。
そして、「引く」ということは、このターンではシュートは打てないわけですから、「今回はどうぞ」と譲れるだけの余裕を持っておかなくちゃいけない。
つまり、他で圧倒的な結果を出しておかなくちゃいけない。
他で結果を出せるから、引くべきポイントで引ける。
これ、普段から結果を出していない人だと、「ここで爪痕を残さねば!」というモードに入っちゃって、せっかくゴール前の良い場所に仲間がポジションを取れているのに、パスを出さずに、一人でボールを持ち込んでしまうので、アマチュアは、ここが厄介です。
今朝、映画『えんとつ町のプペル』の主題歌のダンスバージョンのMVがYouTubeで公開されました。
制作に至るまでの経緯を簡単にお話ししますと……映画というのは、いろんな会社がお金を出し合って作っていて、その中には「宣伝費」というものが確保されているんですね。
ただ、その「宣伝費」だって、皆から集めた限られたお金なわけで、もちろん乱暴な使い方はできない。
なので「あれに使おう」「これに使おう」と皆と話し合って、宣伝費の使い道を探っていくのですが、一方で、結果がどっちに転ぼうが、つまり宣伝効果がゼロであろうが、どうしてもやりたい表現が僕にはあります。
それって、自分のお金で勝手にやる分にはどこからも誰からも文句が出ないじゃないですか?
というわけで、オンラインサロンの売り上げをブチ込んで、映画『えんとつ町のプペル』のエンディング主題歌のダンスバージョンのレコーディングをして、そのミュージックビデオを超個人的に作ってみました。
「個人的に」といっても、たとえば今回は「ロザリーナ」というアーティストに歌ってもらっているので、キチンと事務所さんとの契約もして、大人の手続きは済ませています。「ただ、制作費は全額ボクが出します」と(笑)
そうすれば、どこにもお伺いを立てることなく、フルスイングできるので。
で、今回のダンスの振り付けをお願いしたのは「バブリーダンス」でお馴染みの登美丘高校のakaneさんです。
かなり早い段階でakaneさんにお伝えしたのは、テレビの歌番組に見られるカメラワークに対する違和感についてです。
ダンスって、基本は正面(客席)から見られることを想定して作られてるじゃないですか?
なので、やっぱり個人的には正面から見たいんですね。
ところが歌番組だと、「今、正面から見たいのに!」という時でも、クレーンカメラとか使って、ナナメ上から撮ったりするじゃないですか?
勿論、それが効果的な時もあります。
ただ、その一方で演出のエゴでしかない場合も確実にある。
僕は、その仕事を「プロ」とは呼びません。
本音を言うと、三浦大知さんのダンスとか、なんなら、正面の固定カメラで見たいです(笑)
振付師の方は、「このシーンのダンスは、この角度から見たら一番綺麗」という答えをお持ちだと思って、akaneさんと呑みに行った時に、「ぶっちゃけ、どうなんですか?」と聴いたら、「正直、『ああ、そこから撮っちゃうか〜(涙)』という時があります」とおっしゃっていたので、「それならば、今回はakaneさんが映像監督をしてください」とお願いしました。
んでもって、ダンスというのは「正面から見られること」を想定されて作られているので、撮影する場所も、「正面から見られることを想定して作られた空間にした方がいいだろう」という判断で、劇場の、さらにはステージ上で撮影することになりました。
そのあたりからかな。
今回のダンスMVのテーマが「お遊戯会」になってですね、そのテーマに合わせて、一線でバッチバチにやっているクリエイター達が、空間と映像を仕上げていくのですが……冒頭申し上げました通り、そこに集まったのは正真正銘プロなので、全員、その塩梅が絶妙なんです。
いつもは、「お前、ちょっと前に出過ぎ」とか「ここは、ゴリっと行け」とか言ったりするんですけど、今回に関しては本当に何も言ってなくて、「やっぱプロだなぁ」と思いました。
たとえば、完璧に踊りきってくれる子をキャスティングしようと思ったらできたんですが、
今回に関しては「寸分の狂いもない踊り」よりも「子供が頑張って練習して覚えた踊り」が前に出た方がいいので、その感じが出せる子に声をかけたり、
舞台美術にしても、いわゆる「かきわり」なのですが、まさか手を抜いているわけではなくて、プロが本気で手作り感を残した「かきわり」を作っているんですね。
あそこで、ゴリゴリの美術を建ててしまうと、目がそっちにいっちゃって、子供のダンスに光が当たらなくなる。
照明も衣装も演出もカメラワークも全て、塩梅がとれていて、見ていただくと分かると思うのですが、すっごい心地良いんです。
あと、ひたすら楽しいことをやっているハズなのに、なんか泣けてきちゃう。
もしかしたら、どこかで「2020年」の状況を重ねちゃって見ているのかもしれませんが。
今回は、「プロが本気でお遊戯会を作ったら、こうなる」という一つの正解です。
「この現場では何を見せるべきか?」、もっと言うと、「チームとして、自分がどれだけ前に出て、自分がどれだけ後ろに引けば、人の胸をうつことができるのか?」ということを表しているこの映像作品から学ぶことってメチャメチャ多いと思います。
是非、ご覧ください。
(※こちら→https://youtu.be/Rihe2JOyLQA)
▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino
[Professional is ′′ Seasoning ′′
Every day, I'm going to work with all kinds of people, but there are a few moments that I think ′′ this person is a professional... one of them ′′ I'm seeing my ability and role ′′ There is.
If you become a team play! Pros go out at the point to get out and refrain from the point to refrain.
Especially," this time, I'm really good at exploring the answer that I can get my ability to the material I handle?" for example, Hamada-San in downtown is going to be in front of myself. Sometimes it's time to go, sometimes it's just a bit of a bit of a bit of a bit of a bit of a bit of a
In the latter case, it's almost the moment when the guest enters the zone, and this is how it's better to shoot a greasy guest when you see the funny of the whole program, and it's better to clap your hands. It's absolutely better to just laugh.
I think that's what it's like to ′′ work ′′
It never means ′′ always put out your ego
Get out when you get out, pull when you pull.
This ′′ Seasoning ′′ isn't it?
And," pulling ′′ can't hit the shoot in this turn, so you have to be able to afford a negotiable one.
In other words, you have to make other overwhelming results.
I can make other results, so I can draw it with a point to pull.
This is a person who doesn't usually make results," I have to leave a claw here!" I'm in the mode, and I'm going to have a good time with my friends in a good place before the goal, but I'm going to pass it out I'm going to bring the ball alone, so amateurs are messy here.
This morning, the music video for the dance version of the main theme song for the movie ′′ a no-Cho ′′ has been released on Youtube.
It's easy to talk about how to make it to the production...... the movie is that all kinds of companies are making money, and some of them are secured by ′′ publicity expenses ′′
It's just that ′′ publicity expenses ′′ is a limited money collected from everyone, and of course it can't be used rowdy.
So, ′′ Let's use it for that "" let's use it for this "" I'm going to talk to everyone, and I'm going to search for the use of the promotion expenses, but on the other hand, the result is which one is the one who is the one who is the one who But I have an expression that I really want to do.
Doesn't it complain about anyone from anywhere when you do it with your own money?
So, I tried to make the music video super personal with the recording of the dance version of the ending theme song of the movie ′′ a in town ′′ with the sales of the online salon.
′′ personally." for example, this time, I'm singing by an artist called ′′ b." so I'm going to have a contract with the office, and I'm going to have a good time with the adult procedure." just production The cost is full I will put it out lol
If so, you can do it without being able to visit anywhere.
So, this is Mr. Akane from tomigaoka high school, who is familiar with the ′′ ba dance ′′ that I asked for the choreography of this dance.
I told akane at a pretty early stage about the discomfort of the camera work that can be seen on the tv song program.
Dance is made to assume that the basics are seen from the front (audience)?
So, personally, I want to see it from the front.
But when it's a song program," I want to see it from the front now!" but I'm going to use a crane camera and take it from Nana Shark?
Of course, sometimes it's effective.
It's just that it's only the ego of the staging on the other hand.
I don't call the job ′′ professional
To say the truth, I want to see daichi miura's dance, or something, with a fixed camera in the front (lol)
The Choreographer is," the dance of this scene is the most beautiful if you see it from this angle," when you go to drink with akane," what do you think? ?" when I listened to it," honestly," oh, I'm going to take it from there ~ (tears)," so," if that's it, Akane will be a video director this time. Please
And the dance is made by assuming ′′ to be seen from the front," so the place to shoot is also," it's better to make it a space made by assuming to be seen from the front. I'm going to take a picture of the theater, and more on the stage.
I wonder if it's from around it.
The theme of the dance mv this time is ′′ Yugi-GI-Kai...... the creators who are doing the batch drumstick on the line are finishing the space and video...... opening As I did, it's a real professional that gathered there, so all of them are exquisite.
I always say, ′′ you're a little bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of Yes.
For example, I thought I was going to casting a child who is going to dance perfectly.
As for this time, it's better to go out before ′′ the dance that kids practice hard and remember ′′ rather than ′′ a dance without a crazy dance ′′ so I'm going to shout out to a child who can feel it.
Even if it's a stage art, it's the so-called ′′ and ′′ but it's not that I'm out of hand, but I'm making a ′′ and ′′ that the professional is seriously handmade.
When you build a grind art over there, your eyes go there, and the light won't hit the child's dance.
The Lighting, the costumes, the performance, and the camera work are all seasoning, and I think I'll know that I'm going to take a look at it, but it's really comfortable.
I'm going to cry even though I'm doing something fun.
Maybe I'm looking at the situation of ′′ 2020 ′′ somewhere.
This time, it's one correct answer to ′′ if the professional is seriously making a yugi party,"
′′ what should I show in this site?", to say more?" as a team, how much I get out of front and how much I pull behind, I can get a person's chest," I think it's totaled to learn from this video that represents it.
Please take a look.
(* HERE → https://youtu.be/Rihe2JOyLQA)
▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishinoTranslated
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【Non-Confined Space 非/密閉空間】首張專輯《Flow, Gesture, and Spaces》Bandcamp已經上架,附上英文版的介紹。
Between the spheres of free improvisation, jazz, trap, and musique concrète, lies Non-Confined Space. The name of this Taipei-based duo – saxophone polyglot Minyen Hsieh and audiovisual electronica experimentalist Ge-Chun Cheng (aka Sonic Deadhorse) – aptly describes their approach to exploring the fertile space they find themselves in. Drawing inspiration from their differing musical approaches and worlds, plus energy from the lively Taiwanese music scene, Non-Confined Space is a bold and future-facing hybrid. Cheng deploys piles of samples alongside Hsieh’s versatile saxophone, resculpting the results into a sublime and boldly experimental debut album of beats and processed improvisations unlike anything you’ve heard before.
Taking its title from a philosophical textbook about free-jazz, Flow, Gesture, and Spaces is a revelatory introduction to the duo, mixing the utterly free improvisations of their live shows (exemplified with spontaneous straight-to-tape takes on two of the album’s ten tracks) with an approach to studio composition inspired by the philosophy of improvisation. Basic outlines – often borrowing chord movements from the likes of Coltrane and Wayne Shorter, or pulling beats from Cheng’s huge library – would be cut loose in studio sessions, later augmented by psychedelic post-production. Utilizing methodology from the eponymous book, Flow, Gesture, and Spaces is nonetheless based on “simple elements” as the duo put it, “rhythm, intervals, timbre, and energy.
As a pairing, Non-Confined Space seem to come from polar opposite ends of the spectrum, musically. Performing professionally since the age of 19, Minyen Hsieh first picked up the saxophone back in high school, going on to study with local jazz musicians, and eventually studying the instrument at Koninklijk Conservatorium in Brussels. He’s since made a vast array of music, from traditional swing to the loosened bop of his debut solo album Firry Path, and collaborations with pianist Shih-Yang Lee and legendary Japanese free-drummer Sabu Toyozumi. Non-Confined Space is Hsieh’s first deep foray into the art of electronic processing.
Ge-Chun Cheng’s primary solo project since 2007 has been Sonic Deadhorse. A sample-hungry outfit blending the “indulgence of the 70s, melancholy of the 80s, nihilism of the 90s, and isolation of the new century”, the project has produced a wide-range of sounds from post-Flying Lotus fusion beats to wild live performances of a club-influenced mix of post-rock, dubstep, and chiptune (documented on a 2016 live set for Boiler Room). Working as something of a one-man band has left autodidact Cheng well prepared to not only match the classically trained Hsieh, but to push his partner into wild new directions. “I can always get organic feedback and responses from Minyen,” explains Cheng. “It makes me want to put more elements and processing into the music, and to change style more often.”
Since first meeting at a jam session in Taipei City, Non-Confined Spaces have evolved into an improv outfit for the 21st century, as indebted to Aphex Twin and Squarepusher as they are to Archie Shepp and Sun Ra. The road to Flow, Gesture, and Spaces has seen the duo play for dance performances, visual exhibitions, and even live-painting. Their own live shows also include various interactive and audiovisual elements, consistently focusing in on those three core elements checked in the album’s title. Non-Confined Spaces is a project far from tied down, flirting with bass-heavy tropicalia on ‘Serotonin Cell’, psychedelic post-Madlib hip-hop on ‘Melodic Gesture’, and noisy electrified free jazz on ‘Entropy’. The latter is one of two live takes featuring drummer Weichung Lin and keyboardist YuYing Hsu – allies from the Taiwan scene – capturing the explosive spontaneity and uncannily wonky sounds of this unique duo reconstructing samples live on the spot. Flow, Gesture, and Spaces is a true journey into the heart of the unknown.
Tristan Bath
high school high dance scene 在 Haruka Komiyama - 込山榛香 AKB48 Facebook 的精選貼文
――Also a long-awaited and astonishing development: interviews during the film with the coordinating producer of Hello! Project, Tsunku♂-san, as well as with Momoiro Clover Z’s manager Kawakami Akira-san.
Owada: Interviewing other people from the idol industry, I thought, “that’s new”.
Komiyama: Actually, I’m a fan of Momoiro Clover Z. That’s why, when I saw the interview with Kawakami-san, it reminded me of how many awesome things there are about him, and that while I’m in AKB48, all these amazing people are rivals in the same industry. We all have our own fans, we all sing and dance and deliver smiles, and I love the AKB48 that I’m in right now, so I want to work hard so that we don’t lose to the other groups.
――Team 8 and NGT48 are also represented in this documentary. Team 8’s influence at present is especially difficult to overlook. As young members yourselves, what are your impressions about them?
Owada: It’s hard for me to speak of Team 8 because I don’t have much direct contact with them… I think the only time I’ve really seen them up close was at “Request Hour”.
Komiyama: Watching them acts as a stimulus. People say “there’s no point if the junior members can’t become threats to the senior ones”, and I think Team 8 personifies those words.
Owada: Because they’re so close to us, they do act as a good stimulus, and they’re an important presence. When I watched them at “Request Hour”, the fans doing the mix for Team 8 were at a whole different excitement level from when they do it for the other teams. It was astonishing.
――Then, what do you think of Nogizaka46 and Keyakizaka46, clearly designated “rival groups” that started later than AKB48 but have a similar momentum?
Komiyama: Before, members of AKB48 were working so frantically to get senbatsu spots that we didn’t look at the outside world at all, but lately when I look at Nogizaka46 and Keyakizaka46’s activities, I feel very strongly that I don’t want us to lose to them. And also lately this bud of realization has sprouted in me that says we as AKB48 members need to carry on the legacy the seniors left us.
Owada: I know what you mean, I’ve started to think as a member of AKB48 rather than of myself as an individual.
――As members who are burdened with the title “next generation”, I bet it’s important for the 15th generation to stick together. The “Ichigochanzu performance” you did together surely heightened your unity with each other, but what did you think about it?
Owada: It’s true, since then, I think our bonds have deepened very quickly. (Iino) Miyabi and (Taniguchi) Megu started a year after the other 15th gens, and I have been asked by fans “do you really consider them members of your generation?” The two of them do speak respectfully to us and there are definitely times when I felt there was a distance between us that couldn’t be breached. However, when we did the “Ichigochanzu” stage, we became able to share our opinions with each other.
Komiyama: The staff told us “you’re their seniors, so you need to teach them a lot of things”, but up until a while ago I was thinking “it’s way too hard to talk to them”. I was too self-conscious about being around them, and I just couldn’t make a connection. But during the course of the “Ichigochanzu” stage, the entire 15th generation became able to scold each other and butt heads, and it truly made me happy. I feel we’re all comrades who can tell each other anything now, and I really started to feel like the 15th generation is where I belong.
Owada: I think it was thanks to the timing of the “Ichigochanzu” stage.
Komiyama: We’re middle school and high school students spending our days aiming to be idols. We joined hands and did our best together. We made our entrance during the encore as picture-perfect idols according to the contents of the setlist. At first we seemed to overlap with each other but this stage was able to bring everyone’s individuality to the forefront. And every one of us got to take turns playing the part of center and shine in the spotlight, which was excellent.
――The other day, right after the election had ended, you posted about your ranking on Google+ and other sites, but I would like to hear your full impressions about it here.
Owada: More than anything else, I was surprised to see that AKB48 dominated in numbers!
Komiyama: My ranking was 21st, and all around me were AKB48 members like Shimazaki (Haruka)-san, (Kojima) Mako-san and Minegishi (Minami)-san. And the second it was announced that AKB48 came out on top in numbers, everyone around me started celebrating together. It really made me happy.
――For a time, while the 80 ranks were being called up, the seats were filling up largely with members from other groups. But when the names being called for Undergirls and senbatsu members turned out to be mostly AKB members, the scene when it became clear that AKB was the winning group was enough to give anyone goosebumps.
Komiyama: People in society might be thinking that “they’re failing to make the generation shift”, but the fans’ passion transfers to us, they let us know how they feel by giving us clear rankings in Undergirls and senbatsu.
Owada: On top of that, with the group entering its 11th year, there has to be passion for it considering the timing, and I’m happy that translated into a win for AKB.
――The Team 4 onslaught was also a sight to behold.
Komiyama: That’s what made me the happiest! And I was moved that all of the Team 4 members who were called in the preliminary rankings were able to hear their names called at the election. As someone who has experience with that, the members listed in prelims really want to hear their names called at the real thing (laughs).
Owada: It’s been said that “Team 4 has the fewest members in senbatsu” and “Team 4 has no super-senbatsu members”, so I’m glad that we can feel now that Team 4’s hard work and value is being recognized. I was transferred from Team B to Team A, so I don’t have experience in Team 4, but Team 4 always has a fresh image. And I ended up thinking, “the team that pulls the group along in the election is a different one now, isn’t it?”
Komiyama: Within Team 4 the story was “We don’t have any super-senbatsu members, so it doesn’t matter because each member is the same”, and we had a solidarity through that, all striving together to move up in the ranks. I’m glad we overcame that with the election results.
Owada: There aren’t any humble people in Team 4, are there? It’s like there’s an energy around everyone as they all try to promote themselves.
Komiyama: With Izuta Rina-san as the mood maker and Takahashi Juri-san as the captain, I love Team 4. I’m gonna try my best to make great strides with this team!
high school high dance scene 在 High School High (1996) - School Dance Scene - YouTube 的推薦與評價
![影片讀取中](/images/youtube.png)
Just a couple funny scenes from a throwback comedy film that I still enjoy today. ... High School High (1996) - School Dance Scene. ... <看更多>
high school high dance scene 在 High School High 1996 137 - YouTube 的推薦與評價
![影片讀取中](/images/youtube.png)
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high school high dance scene 在 School Dance Goes Off The Rails | Now Playing - YouTube 的推薦與評價
HIGH SCHOOL HIGH is NOW PLAYING and can be found to Rent or Buy here: https://bit.ly/3W8lz1DRichard Clark has just left the well-known ... ... <看更多>