"Takayuki, if you want to develop movie rights, I can help you. You know, this is definitely my area of expertise. I have an excellent film production team, and you have so of the hottest IPs right now. If you're willing to collaborate, we will absolutely be the perfect match," Tukairev eagerly pitched his film company over the phone.
Since their deeper cooperation began, the relationship between Gastar Electronic Entertainnt and Tukairev's company had been very smooth, particularly in terms of film-ga adaptations, special effects production, and even advertising shoots.
Gastar Electronic Entertainnt occasionally thought about making so film works, and one of their spin-off projects, Zombie World War, based on Resident Evil, was already underway under Tukairev's direction.
The re release of a teaser for Zombie World War had already drawn massive attention from players. It had received excellent ratings in online surveys, and players were eager to spend money to see it in theaters.
With a fanbase of gars already in place, the film was virtually guaranteed to not lose money. Based on the script he had seen and the ideas provided by Takayuki, Tukairev was confident this would be a blockbuster.
After this success, Tukairev began focusing more on other Gastar Electronic Entertainnt titles.
...
Any of their spin-off series, such as Castlevania or Contra, could definitely attract a lot of players.
If he could persuade Takayuki to allow adaptations of Mario, Final Fantasy, and other iconic franchises into films, he imagined he would be smiling ear to ear.
Unfortunately, Takayuki had always been conservative and cautious when it ca to licensing his gas for film adaptations. However, if Tukairev was interested in adapting gas into films, Takayuki was happy to offer his help.
Having seen countless failed adaptations of gas into films in his previous life, Takayuki had no interest in tarnishing his reputation by producing subpar films.
But recently, Takayuki had approached Tukairev, asking for help in finding affordable but capable actors and director interns for a new project.
Upon hearing these requests, Tukairev imdiately thought Takayuki was planning to go solo and handle the ga-to-film adaptations on his own.
This made Tukairev anxious, as he hoped to persuade Takayuki to let him handle the entire process of ga-to-film adaptations.
He was confident he was more professional in the film industry, and Takayuki had often said that "specialized skills should remain within their own domain," and that he wouldn't easily venture into other industries unless necessary.
Hearing Tukairev's self-praise, Takayuki realized that Tukairev had misunderstood.
"Tukairev, sorry if I wasn't clear earlier. I'm not looking to do any ga-to-film adaptation business on my own. Professional matters should be handled by professionals, and that's what I've always believed. I'm asking you for actors, directors, and writers, not for making movies, but for making gas."
"Ah? Making gas?"
Upon hearing Takayuki's honest explanation, Tukairev let out a sigh of relief.
However, the idea of using directors and actors for ga developnt still surprised him.
In Tukairev's view, the only link between video gas and film was the simple ga-to-film adaptation, or vice versa.
After all, he had never seen a ga with cinematic storytelling.
Most of the gas Gastar Electronic Entertainnt had developed so far focused primarily on gaplay.
It was only with recent works like Resident Evil and troid that had begun to show so hints of cinematic storytelling, though they didn't fully achieve it.
Takayuki, on the other hand, believed that the true cinematic storytelling in gas was exemplified by works like Uncharted and the later tal Gear gas. He wanted to create a complete cinematic narrative ga, sothing that he could fully express with this new tal Gear project.
"Ah, I see now. Takayuki, you're aiming to create a live-action ga, right? You should have said so earlier. This is simple. I'll give you a list right now with so of the actors I recomnd. They're excellent, and they'll definitely accept modest compensation if I arrange it for you," Tukairev said, eager to help.
Takayuki shook his head. "No, I'm not looking to make a live-action ga. What I want to do is use new technologies, like motion capture, combined with cinematic techniques, to create a unique ga. I can't explain it fully right now, but you'll see it once we develop it."
"Oh... I understand... Well, that's fine," Tukairev said, a little unsure about ga developnt but still more focused on the partnership with Takayuki and the many popular IPs he owned.
He was confident that with just one of these IPs, if the adaptation quality wasn't too bad, it could easily grab a piece of the film market.
Since Takayuki wasn't focused on production for now, Tukairev felt there was no reason to worry. He believed that if Takayuki truly wanted help with ga-to-film adaptations, he would definitely be the first choice given their relationship.
"What kind of actors and directors do you need, and how long will you need them? I can get them for you," Tukairev asked eagerly.
Takayuki paused for a mont before responding, "I hope that these people can beco my long-term employees to assist with future ga developnt."
Tukairev was montarily stunned. "Long-term employees? Takayuki, I thought you just needed a director and actors for a ga project? I thought..."
Takayuki replied, "I want to create an entirely new ga developnt system, the cinematic storytelling system I ntioned. It requires professionals in filmmaking and a strong grasp of ga developnt, so I'm not looking for well-known directors or actors. Such people would never give up their established positions to explore a new and unknown industry. What I need are capable individuals who are still constrained by their current status. Do you understand?"
"Honestly, you've got a bit confused, but I think I get it," Tukairev said, pondering for a mont. "Actually, I might have a few recomndations that match your criteria."
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