As for the movie, the opening scene is a wedding in a church in Texas. Shawn Carter simply had the assistant director take Old Long’s small team to Texas for location shooting.

The assistant director’s duties include this sort of thing—often leading the B crew to shoot necessary but less important scenes. On Earth, the National Master’s ""Shadow"" film crew even had A, B, and C teams.

“I remember on Earth, Quentin actually shot in California, so there was a little continuity error. That’s why I’m having Old Long go straight to Texas.” Shawn Carter muttered to himself. It was also for personal reasons—he didn’t want the money going to America.

“Teacher White, your entrance doesn’t feel right. Do it again.”

“Erin Ray, aren’t you supposed to be collecting payment after letting the water out? Who are you trying to scare with that fierce look?”

“Wrong again. Erin Ray, start over.”

“Erin Ray, let’s have a private talk.”

As soon as Shawn Carter finished speaking, he went up to a small private room on the second floor. He had reserved several private rooms on the second floor at Quanba and turned them into a lounge.

“I’m sorry, Director.” Erin Ray immediately apologized. She said, “I read the script carefully and felt this character is a very paranoid, manic high schooler. I even consulted a psychologist online. According to the psychologist, this is already obsessive personality disorder, and they told me to go to the hospital right away for observation.”

Speaking of Erin Ray, she’s really something. She actually did consult a psychologist, but was afraid of leaking the script, so she just said she had some thoughts herself, which gave the consultant quite a scare.

“Isn’t it scary when someone is shouting about killing you and acting all fierce?” Shawn Carter didn’t comment, but asked a question instead.

Erin Ray nodded.

“Then what about someone who chats and laughs with you, but is actually waiting for a chance to stab you in the back when you’re not looking?” Shawn Carter asked again. “Which one scares you more?”

“Uh—” Erin Ray thought about it. Someone who looks fierce is easier to avoid, but someone who attacks from behind is more terrifying. So after thinking, she chose the latter.

Shawn Carter waited for Erin Ray to draw inferences, but this time he miscalculated. After answering, she just stared at him with big eyes, waiting for him to continue.

“These examples prove that someone who’s always manic isn’t actually scary. The truly frightening person is the one who seems completely normal, but snaps at a critical moment.” Shawn Carter said, “So the more normal the killer JOJO acts, the greater the contrast later on.”

“When you make your entrance, just imagine you’re a college student out shopping with your girlfriends.” Shawn Carter directly explained the method.

“Okay, Director.” Erin Ray nodded, though she wondered—who’s JOJO? Isn’t it gogo?

JoJo’s Bizarre Adventure is a manga that started serialization in 1987, but in this parallel world, it’s gone.

On this side, gogo felt the issue was resolved, but then there was a problem with Teacher White’s character.

“The smile is too gentle. Make it fiercer.”

“Teacher White, still not right. Your entrance needs to be more domineering.”

“Still not working.”

……

“Cut, let’s pause. Teacher White, let’s talk.”

After reshooting over twenty times, they still hadn’t achieved the effect Shawn Carter wanted, so he paused filming to have a one-on-one with Teacher White.

“Teacher White, the aura of Ishii Yulian is different from the heroic spirit of a female general.” Shawn Carter began, then asked, “Teacher White, you’re a very confident person, aren’t you?”

“Not really.” Teacher White thought for a moment and replied.

“Uh—” Shawn Carter quickly rephrased in his mind. He said, “Teacher White, do you know Kazuo Koike?”

Teacher White pondered this unfamiliar name for a while, then shook her head.

“Kazuo Koike studied law at Chuo University, and when he grew up, he aspired to be a lawyer. So he became a famous manga artist.” Shawn Carter said, “He created two hugely popular works, ""Golgo 13"" and ""Lone Wolf and Cub."" You know about those, right?”

Teacher White nodded. She wasn’t familiar with Kazuo Koike, but she did know the movies adapted from ""Lone Wolf and Cub."" Japanese sword-fighting films were also a research topic at the Beijing Film Academy.

Lone Wolf and Cub and Zatoichi are the two pinnacles of sword-fighting films.

“As long as you know. The character Ishii Yulian in this movie comes from Kazuo Koike’s manga ""Lady Snowblood,"" which was adapted into a film in 1973.” Shawn Carter said, “Lady Snowblood’s protagonist is Yuki. Yuki’s mother is named Sayo. Sayo’s husband and brother were killed by villains, and Sayo herself was violated and imprisoned. To take revenge, Sayo had promiscuous relations in prison and gave birth to a daughter—Yuki—entrusting her newborn with the burden of vengeance.”

“In this context, Ishii Yulian was created. Do you get what I mean?” Shawn Carter asked.

Upon hearing this, Teacher White seemed to have an epiphany. She said, “A sense of fate—Yuki was born for her mother’s revenge. Her life was destined from the start. Ishii Yulian’s early life was similar to Yuki’s, forced to accept the path of vengeance. So even if she eventually became the leader of the Japanese underworld, the aura she exudes shouldn’t be the heroic spirit of a female general.”

“Exactly, and…”