I'm Not A Master, I'm A Director (Creating Fate Movie In Nasuverse)

Despite Shirou's evident confusion about the scripts provided by Shinji, it didn't change Shinji's determination.

Since the TV dramas hadn't started filming yet, Shirou still had plenty of time to get used to the scripts.

Although the cast and locations for FSN were readily available, there were still preparations to be made.

For Shirou, the first thing he needed to do was undergo muscle training.

Regardless of UBW or HF, there were plenty of action scenes that Shirou had to perform himself, and there were definitely a lot of scenes where he had to show his muscles.

Although Shirou had become stronger during his two months in the Middle East, he still lacked the ideal physique compared to those movie stars.

In addition to muscle training, Shirou also needed to focus on combat style.

Shinji directly assigned this training task to Rin, the Red A's mother.

Not to mention that Shirou needed to learn Rin's fighting style, was there anyone better than Rin to be his sparring partner?

In UBW, Shirou dared to challenge Gilgamesh after training with Rin.

Shinji didn't care at all about what Shirou and Rin, those two naturally incompatible people, would get up to together.

If they developed more rapport while training together, it would make filming easier for Shinji later on.

And if their relationship deteriorated further, it didn't matter either; their scenes together during filming would be more emotionally authentic.

In short, whether Shirou and Rin got along better or worse, Shinji wouldn't lose out.

Compared to the love-hate relationship between Shirou and Shirou, Shinji had other work to do during this time, such as promoting the upcoming DVD release of Fate/Zero.

The DVD industry in this world was more developed than during Shinji's original time period, which was a rare advantage for this parallel world in the entertainment industry.

After all, many slow-paced art films were more enjoyable to watch at home than in theaters.

Of course, there were also animated films suitable for the whole family to watch together, and Disney, as mentioned before, relied on this to ensure its profitability ranked at the forefront of North American film companies every year.

It was said that Disney's annual sales of videotapes and DVDs were three times its box office revenue.

While other film companies might not be as exaggerated as Disney, VHS and DVD sales were still a significant source of income for them.

However, the good times for DVDs would only last for a few more years.

Having access to future foresight, Shinji knew that with the rapid development of online video streaming and downloading, the VHS and DVD industry would decline rapidly, and the era of streaming media would come.

As someone trying to expand and strengthen his presence in the entertainment industry, Shinji certainly wouldn't forget about streaming media platforms and had made some preparations for it.

Once the external hardware conditions were ripe, Shinji would launch his own streaming media platform.

However, venturing into streaming media in the future didn't stop Shinji from selling DVDs now.

There was no end to the sheep to be sheared, and it made no sense not to shear the sheep that had already grown.

In early August, the Time Group officially released Fate/Zero DVDs and videotapes into the North American market, and whether it was physical retailers like Walmart, Kroger, or online retailers like eBay and Amazon, they all began selling DVDs.

As for sales, only one word could describe it — explosive.

Although Fate/Zero wasn't as popular as animated films, the sales figures for its first week online were still impressive, easily reaching $120 million.

Sure enough, when it came to the voracious appetite of consumers, North America always came first.

Moreover, compared to box office splits, the profit margin for DVDs was higher.

Even after deducting various distribution costs, the profit from one DVD was still several times that of a movie ticket.

Because the production cost of one DVD for Shinji, which retailed for $20, was less than $1.

Compared to North American DVDs, the production cost of Fate/Zero in Japan was slightly higher, around $5.

Because the DVD contents sold in both regions are different, the North American version of the DVD only includes a disc and a case, while the Japanese version includes character stickers, a movie setting booklet, and other small items.

Actually, the North American DVD also comes with a setting collection, but that's in the $35 deluxe edition.

The reason for this difference is due to the differing commercial strategies between North America and Japan.

Japanese entertainment companies' sales strategies have always been about squeezing every last drop from consumers.

As long as they haven't drained your wallet dry, they'll keep squeezing.

Taking this sales mentality to the extreme is that fatso Akimoto Yasushi.

The series of commercial maneuvers he carried out while managing the AKB48 groups in the future is just like having "I want all the money in your pocket" written on his forehead.

In the past, greetings among fans were like "Did you buy CDs of your favorite idols?"

With Akimoto putting election tickets into CDs and selling them together, fan greetings changed to "How many CDs did you buy for your idol?"

There's even a hierarchy of disdain like "You only brought 5 CDs and yet dare to call yourself a fan."

This kind of entertainment industry environment in Japan naturally creates an extremely inward-turning ecosystem. To get fans to buy CDs, whether it's music CDs or movie DVDs, they'll include some small gifts to make consumers feel like they're getting their money's worth.

It's a completely different story in Europe and America.

The pricing of goods has nothing to do with costs but rather depends on the consumer's ability to pay.

If consumers are only willing to spend $10 on their products, European and American businesses won't price them at $9.99, even if the cost is less than $1.

Many people like to praise European and American businesses for their high prices as indicative of high quality and cultural value, but it's all fake.

The only reason they choose this pricing is because consumers are willing to pay that much for their products.

That's why European and American businesses can't outdo rabbits in business. Rabbit's pricing habit is based on profit calculation with costs as the basis. As long as they can make money, it's fine.

Maybe it's not very obvious in the entertainment industry, but in physical industries, all kinds of goods are sold at rock-bottom prices by rabbits.

So when it comes to doing business, rabbits might say they're second to none, and no one dares to say they're first.

However, Shinji didn't adopt the pricing strategy of rabbits but followed the trend, selling his products for whatever price they could fetch.

After all, the current Type-Moon is too weak, lacking the ability to overturn the entire market.

When the internet develops further and streaming platforms come online, Shinji will show the world what "thin profits and high sales" truly means.

But the future is still unknown; immediate interests are the real deal.

For Shinji, nothing brings more joy than a large sum of money coming in.

So when, in early August, the Times Group paid the first installment of investment shares to the Type-Moon Film and Television Company according to the contract, Shinji's face lit up with joy.

Although DVD sales weren't included in this profit share just yet, combined with box office earnings and various related merchandise, Type-Moon received a total of $45 million in dividends this time.

Just the first installment of profits from one movie amounted to so much money, enough to make countless people and companies envious to the point of seeing red.

"This amount of money still isn't enough to buy a super luxury yacht."

Inside the Type-Moon film office, Kariya's voice echoed loudly.

"When did you become interested in yachts?"

Shinji asked, raising an eyebrow.

"Don't mention it. At the last Toei annual meeting, a director spent half an hour telling me about his private yacht with a female star."

Kariya's tone was full of resentment.

"That's when I decided I had to buy a yacht even more luxurious than his."

"Uncle, this is the company's profit share, what does it have to do with you?" Shinji quipped, "You, a salaried actor, shouldn't be thinking about profit shares. If you really want a yacht, either go ask Grandpa or find a wealthy woman to flirt with."

"Ask Grandpa? He'd probably feed me a can of insecticide first. He hasn't forgiven me for the incident on set last time." Kariya grimaced.

Shinji couldn't be bothered to deal with him, so he simply raised his left hand high and flipped Kariya off.

"Forget about that," Kariya grabbed Shinji's shoulder anxiously, "we must hold a celebration party! A grand celebration! At least let me have some fun with a female star."

Shinji hesitated whether to take a picture of Kariya's current state and send it to Udagawa Nao.

"Let's hold it in a month," Cloris smiled, "by then, filmmakers closely related to the Times Group will also attend, so we need to arrange the timing."

"Then let's go with what Lisy said, and by then, all the Heroic Spirits will attend."

Shinji knew that Cloris was creating an opportunity for himself to get a glimpse of the film the Times Group was planning to shoot in Fuyuki City.

After all, jumping straight into formal business negotiations could easily sour the relationship. It's better for both sides to exchange in a relatively relaxed environment like a party first, even if they end up rejecting the offer, it won't be too awkward.

Shinji had already decided he wouldn't refuse the projects offered by the Times Group. Even if he didn't see much potential in the projects themselves, the technical support was still reliable.

After all, the quality of a film has nothing to do with the special effects team, but the special effects team itself needs a lot of work accumulation to gain experience and skills.

Shinji was determined to use other film projects as experience points for his team.

Of course, if there were good projects among them, Shinji would also get involved.

Whether it's investing or providing Heroic Spirit actors, these are the kinds of help Type-Moon can offer, and Shinji believed that filmmakers involved in those projects would be interested.

"What a shame," Kariya sighed deeply.

If it were a banquet led by the Times Group, he definitely wouldn't have a chance to pick up girls.

"If you don't like it, you don't have to go."

"How can I not go!" Kariya quickly retorted, jumping up, "What if a director notices my looks? And insists on casting me in a movie?"

"Heh."

Kariya received a sarcastic remark from Shinji.

Before his Kariya could say anything, Shinji left the meeting room first.

"It's time to clock out, I'm leaving."

With that, Shinji closed the meeting room door amidst Kariya's displeased gaze.

Shinji didn't go downstairs directly but returned to his office first.

Today was payday, and he planned to take a few close people, including Ophelia, out to eat and celebrate.

"Ophelia?"

After opening the office,

Shinji found that his usual secretary who would come over to greet him wasn't there.

"She left early? That's rare."

He thought to himself as he opened the door to the inner room of the office, preparing to change into casual clothes.

Then, he saw it.

"Wh– What!?" Shinji exclaimed loudly.

In his line of sight was Ophelia, dressed in an office lady outfit, kneeling on the desk.

And for some reason, Ophelia's collar was opened very low, revealing half of the lace lining of her white shirt. She was also wearing a pair of suspender black stockings on her lower body, and she was holding a strangely shaped whip in her hand.

"Boss, please ravage me."

Ophelia said in a rather stiff tone, with no expression on her face.

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