My Hong Kong Island Filmmaker

Chapter 226 Continuation of Personal Style

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Dim bathroom.

Pan Hengsheng bowed his waist and pouted his buttocks, holding a huge camera in his arms, and stepped back lightly. Seven or eight people beside him, including the lighting engineer and the sound engineer, also moved behind him.

Above the bathtub, Qiu Litao hung a wire, crouched down, holding the camera vertically in a weird and uncomfortable position, facing the muddy bathtub water in front of him.

In the bathtub.

Liang Jiahui closed his eyes tightly, his whole body trembled and trembled slightly, the veins in his neck collapsed, panic appeared on his face, his body trembled more and more, and his hands began to struggle unconsciously. Next to him, the external lens of the camera sealed in a sealed bag was inserted into the water. Camera assistant Li Yaohui's arms were stiff, but he didn't dare to move.

For this set of shots, Wu Xiaozu chose to open the three shots at the same time, and ensure the continuity of the subjective and objective shots of the character's movements.

At the same time, on the lens, it not only includes the space pulling feeling of pushing and pulling the lens, which brings sudden preconceived psychological hints to the audience, but also the presentation of the rotating lens, showing the panic and struggle of the characters themselves.

For the scheduling of shots, later generations may be able to complete it well with the cooperation of cameras and drones, but——

This is definitely a new attempt on Hong Kong Island at this time.These lenses all add up, at least 70 groups are required.

When Wu Xiaozu proposed this idea, Qiu Litao and Pan Hengsheng thought Wu Xiaozu was crazy.

The three cameramen were sweating on their foreheads, they were extremely nervous and excited.Everyone clamped the egg tightly, breaking the nerves of the whole body.

Ye Weixin, who was standing next to him, clenched his fists, his palms were covered with sweat, and the fishing line he was pulling had red marks on his hands.

The light group controls the temperature and color of the lights.

In this scene, Wu Xiaozu asked Deng Du not to be as gloomy and cold as those ghost movies, but also to be cold.The overall color temperature appears cold and dim.For this reason, Zou Lin chose many blu-ray sticks as the light source points captured by the lens.

With Wu Xiaozu waving his hand, Ye Weixin cut the fishing line...

"Cough cough cough..."

Liang Gahui, who had been submerged in the water for a long time, suddenly opened his eyes, and the underwater lens wrapped in a sealed bag moved with his gaze.

suddenly!

A thin, pale man clutched the edge of the bathtub.

"Cough cough cough... ah!"

Liang Jiahui vomited bitter water, and fell out of the bathtub defenselessly.

With a bang, this fall is absolutely true. In order to show the panic of the character, this set of shots has to be done in one go, so there is no way to place a cushion next to the bathtub as a buffer.

Liang Jiahui didn't ask to use a stand-in, but actually threw himself on the cold and dirty floor tiles.

"Is there... ahem... someone?"

"Hey!!"

At this moment, Liang Jiahui, with his waist slightly bent, his shoulders retracted, looked back and forth in panic, his eyes were completely full of fear of the unknown.If you observe carefully, his Adam's apple seems to be very difficult to swallow, and people can't help but fall into this panic with him.

"Pu you um! Is this the [-]th floor of hell?!" Liang Jiahui was so terrified that he had to make his own voice to strengthen his courage.

"No, you are not dead." Suddenly, a deep voice came.

"Who! Who's there?" Liang Jiahui's face changed suddenly, and he fumbled the wall with his hands.

suddenly,

The incandescent lamp above his head flickered, and he closed his eyes subconsciously. When the light was on, Qiu Litao, who was hanging above his head, moved accordingly.

The incandescent lamps flickered continuously, and the bathroom was dark and bright, and the sound of "sizzling" electricity in the quiet enclosed space was like the laughter of a child.

The camera advances extremely fast, and Liang Jiahui's facial features are shown in close-up.

……

The theme of the play "Cell of Fear" is human nature and life.Wu Xiaozu thought more.

Throughout the play, the metaphor of lighting, the hint of space, and the interpretation of the lens are undoubtedly interpreting Wu Xiaozu's understanding of this movie.

In this movie, Wen Ziren actually presents a completely Western-style horror expression.In contrast, he later added a lot of his own personal ideas to "Latent" and "The Conjuring".

Wu Xiaozu is quite fond of the theme of "choice", or this is a label of his personal film style.

Secret rooms, massacres, banter, teasing, darkness, coldness, and blood, all these are like building block puzzles, and the ultimate goal is actually to build a display of Wu Xiaozu's self-style in his heart.

So far, Wu Xiaozu's several films can clearly show his film style.

Just like the revolution in film structure brought about by "The Birth of a Prefix", Wu Xiaozu, who is on Hong Kong Island, does not know the impact of this film abroad.In this play, Wu Xiaozu uses the sense of Western oil painting to interpret the Eastern interpretation of causality and fate.

In the eyes of Westerners, this is a mocking and wonderful way to analyze human nature.

Choice, this theme actually runs through "The Birth of a Prefix".Wu Xiaozu didn't understand that this step of going out by himself not only didn't make a fuss, but also attracted the attention of many western filmmakers, especially the independent film industry.

As the godson of Cannes, the Nantes Three Continents Film Festival also recommended this movie for his father.

In the film circle, especially the major film festivals, they are constantly competing for the right to speak.Oriental films are represented by Japanese films, and a group of filmmakers headed by Akira Kurosawa have achieved great fame in the Western film circle.

Over time, Japanese cinema began to decline.On the contrary, it is the mainland films with profound heritage that have begun to attract the attention of the West.

However, it contains more imagination and curiosity about China.For example, "Yellow Earth" by Chen Kaige.

Wu Xiaozu's films are different. Not only are the scenes of the film full of violent aesthetics like oil paintings, but the structure of the film has truly broken the shackles of the past.

Especially Wu Xiaozu's way of telling through the lens, color, space and time really shocked many filmmakers.

On the eve of the fifth generation of mainland film circles starting to win awards, Wu Xiaozu started to explore films using the film language common in both China and the West.This is a later review of "Sight and Sound".

For Wu Xiaozu at this moment, the most important thing for him is to finish shooting this "big cost" movie quickly.For a horror movie with mostly indoor plots, Wu Xiaozu gave full play to the style of "whatever you want and what you want" in terms of funds.

In a supernatural atmosphere, the shooting speed of this movie is also extremely fast.

When the filming of "Fear Room" started, the filming of "Young and Dangerous 2" also ended and entered the post-production stage.

For this movie, Wu Xiaozu has always paid attention to it, and naturally he will not forget about the profitable business.

With the filming of "Fear Chamber" halfway through, the post-production of "Young and Dangerous" has also been officially completed.

(End of this chapter)