Video Game Tycoon in Tokyo-Chapter 1008: A New Type of Movie?

The two film projects Tokarev cared most about were the Metal Gear and Uncharted adaptations.

That's because he had a high degree of creative freedom with those two, and Takayuki didn't plan to be heavily involved.

Takayuki also wasn't asking for a large cut of the profits.

However, that big IP crossover film couldn't be taken lightly either.

Tokarev could tell that Takayuki clearly had high hopes for this film. He had specifically emphasized that the director must be someone with sufficient experience — this wasn't something to be handed off to just anyone.

So Tokarev treated it with equal importance and personally reached out to several highly veteran directors in the industry.

Takayuki had already outlined the general filming structure and story summary for the movie. With that rough framework in place, the screenwriter could jump in and make adjustments as needed.

Next came convincing one of the directors to take on the project.

Two of the directors had to decline after hearing the proposed filming schedule — they already had prior commitments and simply couldn't fit this movie in.

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Three directors agreed to consider it. One of them was a go-to director for Detroit Pictures — a man in his fifties who had directed multiple films that had won the most prestigious awards in this world's film industry.

He came onboard because he was genuinely intrigued by the genre of this movie. It could be a breakthrough for him.

The second was another studio-affiliated director who also ran his own small film company. These days, he often doubled as a producer. With over 30 or 40 years of experience in the industry and being in his early sixties, he had mostly focused on traditional and classical genres. While he had won countless awards, his filmmaking style had always been narrowly defined. But this time, the innovative concept of the film drew him in — it was clear he was also looking to break out of his mold. fгeewёbnoѵel.cσm

The third director was the oldest among them and had the widest range of filmmaking experience.

His credentials were the most impressive. He had started working on films at the age of sixteen and had nearly sixty years of experience navigating the ups and downs of the industry. He was regarded by many as a legendary figure.

He was also drawn to the project by its novel filmmaking style. Given his broad experience across genres, he had a habit of challenging himself whenever something new came along. He wanted to once again be the first to dive into uncharted waters. However, he was also concerned that taking on such an experimental project at his age might backfire and damage his long-standing reputation. So he wasn't as eager as the other two.

"Tokarev, this big-IP crossover concept is pretty solid," the 70-year-old director said with concern, "but if we're only including Gamestar Electronic Entertainment's IPs and none from other well-known franchises, it may come across more like a giant commercial for Gamestar. If possible, I'd like to propose changing the 'Resident Evil' segment in Act Two."

The sixty-something director, the one known for his single-genre focus, nodded in agreement. "Yes, that's true. As it stands, it does feel like a promotional reel for Gamestar. We directors aren't looking to be mouthpieces for any single company. We'd rather make films that resonate with a broader audience."

The youngest of the three, the one in his fifties, shrugged. "I don't really mind. Using only Gamestar's IPs isn't a big deal. I'm taking this on as a personal challenge anyway. Plus, didn't you say Gamestar is paying generously?"

Tokarev nodded to the youngest director. "That's right. Mr. Takayuki said he's willing to contribute financially to the production as well. In terms of director selection and revenue sharing, he's open to concessions. His entire goal is to attract top-tier talent to the project."

Then Tokarev turned to the other two directors and said, "As for your concerns — Mr. Takayuki hasn't specifically said whether the setpieces can be changed or not, so I'm not sure how particular he'll be about scene modifications. But you can let me know what you'd want to change, and I can ask him."

The 70-year-old director immediately spoke up. "You all remember that old friend of mine's film, Before Dawn, right?"

Everyone, including Tokarev, responded in unison: "Of course. That's a classic thriller."

The older director continued, "Based on the current design of Act Two, I feel it really echoes the tone of Before Dawn. I'd like to pay homage to my late friend. Yes, this might reduce the promotional value for Gamestar, but it would add deeper artistic homage to the film itself. I believe the benefits outweigh the drawbacks. If Gamestar agrees, I'll gladly take the job."

Tokarev's eyes lit up.

This 70-year-old director was truly a respected figure, and he seemed eager to explore new territory in filmmaking again.

In fact, Tokarev felt that Takayuki and this director had very similar temperaments and creative styles.

Both were unafraid to push boundaries in their respective fields and always managed to introduce waves of innovation.

This elder filmmaker had played a pivotal role in shaping the cinematic history of this world. Whether it was commercial blockbusters or arthouse films, he could appeal to both mainstream and niche audiences. He had broken records time and again — just like Takayuki.

Tokarev thought that if the two ever met, they might become great friends.

"Well, if you're really going to take it on, I won't compete for it," the director in his fifties said first. "After all, I grew up watching your films. It was because of you that I became a director in the first place."

He had only been moderately interested in the project anyway, and since the veteran director had already signaled serious intent, he saw no reason to insist. It wasn't a project that would make or break his career. At the end of the day, it was just a movie — one that felt more like a marketing project than a creative one. As the older director had said, it was essentially a large-scale promotional film for Gamestar Electronic Entertainment.

Even with the inclusion of other pop culture Easter eggs, people would still see it as a Gamestar promo at heart. And he didn't believe there would be much money to be made from such a film — it likely stemmed from Gamestar's deep pockets and spur-of-the-moment enthusiasm.

The director in his sixties also spoke up, "I won't compete either. But honestly, I'm quite looking forward to seeing what this new genre of film can offer."