Once, Takayuki had recruited a group of composers.
They were typically people whose careers in their own circles had been stifled, and they were facing financial difficulties.
When these individuals saw Takayuki's recruitnt and the promised compensation, they were eager to join and began working at Gastar Electronic Entertainnt.
However, so of them still held onto their pride as composers, unwilling to learn new knowledge or broaden their horizons.
Back in the SFC (Super Famicom) era, creating music for gas required specialized equipnt, and composers also had to learn so basic computer programming. Only then could they compose music for the SFC.
And programming couldn't be outsourced—it had to be done by the composers themselves.
Only the composers truly understood how to make the music. Any slight adjustnts were best handled by them.
...
Other people might have made things worse rather than helping.
So composers, unable to make progress in the music field and too proud to venture into new areas, looked down on video ga music, thinking it was cheap. They even belittled video ga production in front of Takayuki, which led to them being kicked out.
Later, these composers didn't achieve anything better and spent their lives diocrally.
However, those who were willing to learn new things and showcase their composing talents in a new field, like video gas, ended up benefiting from the gaming industry boom. So of them beca famous, including the composer for Final Fantasy, who gained a reputation in the music world.
Now, no one looks down on video ga composers, and so video ga soundtracks are even perford on tour at famous opera houses.
Just like these video ga composers, Takayuki now needed video ga directors, writers, and actors.
The requirents for actors and writers could be relaxed a bit. They didn't need to know complex programming, but the directors had to know at least so basic knowledge in the area.
Moreover, Takayuki needed them to be long-term employees at Gastar Electronic Entertainnt.
They could take on other film projects, but when it ca to ga developnt, their main focus had to be on that.
Soon enough, Tukairev sent an email with a list of candidates who t Takayuki's requirents.
There were three directors, three writers, and fifteen or sixteen actors.
Acting was a tough industry where many talented individuals struggled to stand out. Tukairev's team had the most of these people.
In total, there were about twenty people. Takayuki estimated this was about right. He could thoroughly evaluate the directors and writers, while he could directly extend invitations to the actors.
Takayuki casually went through the list of actors and felt that they all seed quite suitable, with both male and female actors.
What Takayuki really cared about was their acting ability. He didn't have high expectations for their looks, as he could always swap their faces in the motion capture process.
...
Joe Hu, an actor who had been active in the 1990s, had appeared in so major films in supporting roles and even in leading roles in mid-budget films. He was sowhat successful, but like many in the industry, his luck had run out.
At the peak of his career, a car accident severely damaged his appearance.
His previously handso face bore a deep scar, and with the technology of the 90s, it could not be perfectly repaired. His career was derailed, and he could only take on typecast roles, unable to return to leading roles.
In the world of entertainnt, there was never a shortage of handso or beautiful people, especially in the film industry. If soone had a scar on their body, it was one thing, but if it was on their face, their career was essentially over.
To repair his face, Joe spent all the money he had earned from acting, but the results were minimal.
As his savings dwindled and acting opportunities beca rarer, he began to feel a sense of hopelessness.
Life, it seed, was full of ups and downs...
Later, he gave up on hopes of fixing his face but didn't abandon his acting career. He slowly accepted his fate, settling into being a character actor.
"Joe, great job, we'll resu shooting in an hour," said soone from the filming set.
Joe finished his morning work and sat down to rest.
Soone handed him water, and he thanked them, looking toward the ongoing scene.
It was a confrontation between the protagonist and the ultimate villain, a very exciting scene.
In today's industry, even villains need charisma. Soone with a scar like Joe's could no longer be the big villain; now he was relegated to being a henchman.
He gazed at the filming with so longing.
Beep beep, beep beep.
At that mont, his phone rang. He picked it up, noticing it was an unfamiliar number.
Out of politeness, he answered the call, thinking if it was a sales call, he would hang up right away.
"Mr. Joe Hu, is this you?"
"Yes, this is Joe. Who's calling?"
"I'm an employee from Gastar Electronic Entertainnt. To cut a long story short, we have a role that might interest you. The compensation should be to your satisfaction. Are you available for this project?"
Upon hearing the ntion of acting, Joe imdiately beca alert. This was a rare opportunity for soone to contact him for a role: "Of course, I'm available. Can you tell where the shoot is taking place? I'm ready to go."
"I'm not sure about the shoot dates, I'm just letting you know about the opportunity. If you're interested, you can co to *** address, which is our office in the US. Soone there will et you and discuss the details."
"Okay, okay."
Joe quickly wrote down the address.
He was a bit curious, though. This wasn't an address he recognized from any film companies.
It wasn't even in a typical area where film companies were located.
But regardless, having an acting opportunity was always good.
Even in his current situation, he wasn't ready to give up on his acting career—after all, it was still his passion and dream.
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