My Hong Kong Island Filmmaker

Chapter 388 That touch of the saddest blue, the choice of fate under the light and shadow

OS: Ask for a recommendation ticket, ask for a monthly ticket!
At the beginning of the film's prologue, Wu Xiaozu created a video world with beautiful pictures and sad colors.

The long shot on the horizontal axis amazed the entire theater.

The creation of atmosphere and rhythm is like a book slowly opening.

In this movie, he broke through his own stylized narrative method, and used a more delicate, subtle, and beautiful lens language to tell this beautiful and melancholy, peaceful and noisy, disappointed and hopeful story.

He tries to use images to touch the delicacy and emotion of individuals, thereby extending his thinking about the fate in the film.

The character Shishen himself is constantly looking for the lost spiritual support in his heart.

Therefore, under the camera, there will be a slight alienation from the camera, making the audience feel that this person seems to be a person close to him, but when he really touches him, he will find that the person is thousands of miles away, walking in his own world .

Only in this way can the audience calm down and look at this relationship and this story objectively.

This time.

He very much hopes to make a film that has beauty, warmth and hope in sadness.

Therefore, the light and shadow of this movie adopts the interweaving of warm and cold tones.The thought and effort that Zou Lin and Yu Jiamin spent on this drama are enough for them to make more than a dozen dramas.

Pan Hengsheng and Ao Zhijun, two gold-medal photographers, suffered even more. They slept less than 5 hours a day during filming.Otherwise, do you think that under the premise that Zhang Guoying, Anita Mui and other actors are all acting with zero pay, where did the 350 million investment in filming be spent?It was all spent on Wu Xiaozu's experiment!

Goethe expressed a theory in "Color Theory": Yellow and blue are two basic color qualities, forming two poles on the color axis.

In his previous life, Kieslowski filmed "The Blue of the Blue White Red Trilogy" in 1993. The use and tone of blue in the film is definitely at the textbook level.

In this life, Wu Xiaozu took the lead in trying to express the characters and the film rendering with bold blue theories 6 years in advance. Perhaps he did not have the purity and paranoia of Kieslowski, but it must be a color teaching for Chinese films, and even for the world. Movies are an innovation that refreshes cognition.

The next color teaching in the film industry may have to wait until Lao Mouzi turns out. . .In terms of the aesthetic concept and application of color, Lao Mouzi is definitely a world-class master, influencing the film industry.

The color tone at the beginning of "The Suspect" is blue, sad, cold, pure, empty, and rational.Hope and warmth can only be shown in a few warm colors set off by a large number of cool grays.For example, at the beginning of the prologue, the little girl's yellow schoolbag and Ah Jing's red bicycle.

This is Wu Xiaozu's light and shadow interpretation of fate.

This touch of sad blue really settled the audience's impetuous mind.

Under the moving camera, we shuttled through the stone roads of the Kowloon Walled City.

Shishen was standing downstairs with a bag in his hand. This is a large curved staircase.Under the stairs, various sundries were piled up in a mess.

The camera panned slowly up the stairs following the people. The corridors in front of the single-row houses seemed very congested, and there was still dirty water hidden in the potholed corridors.

Pots, pans, clothes rails, etc. are randomly placed in a haphazard manner, and it is very cold.

Ishigami seemed very quiet and walked silently.

"crunch-"

The door of a clean room that passed by suddenly opened, and Ah Jing, played by Anita Mui, came out holding a pot of small wild flowers.

A simple fitting mirror with a height of one person hangs inside her door.

"Teacher Shi." Ah Jing smiled politely.

Shi Shen took two steps back, bowed his body and nodded hastily.Under the medium shot, the two are blocked by messy goods.

The scattered light in the cold night creates isolation and anxiety.The lens turns to the mirror hanging on the inner wall of the door. The light source comes from the dim light in the corridor, reflected by the water marks in the potholes on the ground, forming blue-gray scattered light, which is coldly presented in the mirror image. The use of this mirror image makes the distance The aisle echoes the darkness above, making the contrast between light and dark in the whole picture extremely strong.

Ishigami stood in the corridor, turned his back to turn the key to open the door, and moved very slowly.

The scattered light formed a layer of outline on him, showing a silhouette effect.A lonely, cold and gloomy atmosphere appeared immediately, as if he would be swallowed up by the gray-blue darkness at any time...

The lens zooms, and the depth of field begins to blur.

"Snapped--"

Under the subjective lens of Shishen, the door of the other party is slowly closed, and the angle of the reflected light and shadow of the mirror changes.

The light source in the mirror image changes on the screen, and the warm light in the opponent's house is reflected from the mirror surface into a beam of light source and hits the stone god's face.

but!
As the door closed, the warmth disappeared in an instant.

The mirror image disappears, the focus of the depth of field is directly switched to the foreground, and the background is blurred.

The lens close-up is aimed at the keyhole.

There was no key in his hand at all.

Entering the room, what the audience sees is the books on the wall and the blackboard full of formulas.

The blue and gloom make the space extremely narrow, and the small desk lamp gathers all the attention of the audience.

Ishigami is sitting in front of the desk, and there is an ordinary small mirror in front of it, and the vertical wall clock behind him is in the mirror lens.

The mirror is a common image in many novels. In the eyes of the famous poet and writer Borges: the mirror is the whole metaphor of the nature of the world.

Therefore, in these two sections of the film, Wu Xiaozu used mirrors.

As for the pendulum.

The gears in the swinging wall clock rotate slowly and sway from side to side, which actually symbolizes the repetitive and useless life of Ishigami, which captures the self-cultivation and appearance of the characters in the film.

In this "Suspect", Wu Xiaozu used more details to endow the film with thinking about the relationship between human beings and modern urban society.

when!The bell rang in my ears.

Shishen's eyes showed a hint of reminiscence—the texture of the picture slowly became warmer and redder.

Cold and warm are constantly intertwined in the influence of the film, leading the viewers to constantly feel the contradictions of this film.

Narrative cross montage, the performance is naturally memories.

close-up.

A steel compass slowly, gently, slowly, and quietly cut through the wrist.The camera was pulled up and shot from top to bottom, but the man's face was not captured.

He is a genius, but not a genius of this world.He is a defender of the Tao, but he can't see the appearance of heaven.

In his heart, heaven probably looks like a library, right?

The cut on the wrist also made the audience understand the centipede scar at the beginning of the film.

Ding Dong!

The sound of the doorbell broke the prelude to Ishigami's death, as if the temperature of the blood brought the warmth of life in the dark.

"Hello, is anyone home?"

The knock on the door and the gentle greeting made him suddenly drop a stone in his unchanging life.

Shot panorama.

In the cramped and dark space, Ishigami stood up slowly with his back to the camera.

open the door.

The room was diffused by the sun, and the subjective perspective of the camera, I blinked first, and then I saw Anita Mui with a warm smile in front of me and a cute little girl with double ponytails, Zhang Baizhi, holding a pot of small wild flowers, standing at the door

"Hi, I'm a new neighbor. Didn't it bother you? The child may practice playing the flute every day, I hope you don't find it strange—"

Ah Jing, played by Anita Mui, has crooked eyes and a tired smile.

"It's ok."

The dialogue between the two has always been based on the subjective lens of Ishigami.

"Uncle, this potted flower is for you."

Xiaomei, played by Zhang Baizhi, holds a pot of small flowers and hands it to Shishen, who is clutching her wrist.

drop--

The camera cuts down, close-up in slow motion, a drop of blood slowly falls on the ground, and two smiling faces are reflected in the blood drop.

Crack, the blood splattered in all directions, like the shape of a flower.

Just like...

It's like a little wild flower swaying in the wind in the hands of a little girl.

suddenly--

The fresh and thorough flute sound brought the picture back to reality in an instant.

The tones of the flute in the character of the instrument are actually cool tones.

During filming, Wu Xiaozu paid close attention to every little detail.Even to the point of extravagance and waste.

Wu Xiaozu really deliberately asked Zhang Baizhi to learn to play the long flute. Even the pipes used for the flute are high-end, and a pipe is [-] to [-] Hong Kong dollars!

Anyway, money is not spent in vain.In the end, the flute Wu Xiaozu gave Zhang Baizhi as a gift.Take a look, director Wu is a clever ghost, isn't he very clever! (`へ*)ノ! !

The sound quality of the flute is beautiful and pleasing to the ear, and the treble is lively and bright.

Accompanied by the flute, Li Ming's adapted "Street Light" flows slowly.The texture of the film makes many people intoxicated.

Of course, there are also people who don't like it.

There is no standard for such things as taste.

There is no movie that can please and satisfy everyone. Wu Xiaozu didn't intend to be so commercial in the filming of this movie.The storyline is enough to make up for the impactful artistic sense of light and shadow.

This can be regarded as Wu Xiaozu's experimental film that seeks a balance between art and business.

Art is definitely one of the most costly things in the world.

However, since I have become a filmmaker, I always have to leave something behind and try something new.It’s true that you can shoot commercial movies to earn box office, which is the same as celebrity movie history, but the box office chart is the most ruthless bitch. After decades, many people may not care about your tens of millions of box office, but the award is there. It's very stylish!

Do you think Sunglasses King is more powerful than those directors with higher box office than him in the same period?There is no doubt!

The old-fashioned floor clock reappears in the picture, and the clock also implies the owner's logic and rigid and accurate time concept, paving the way for the following.

In a small room, a vertical grandfather clock gently swings its pendulum.

In this movie, Wu Xiaozu is very fond of capturing time fragments in small and closed spaces.

As the assistant director of "The Suspect", although Wang Jiawei learned a lot of hard-core film shooting poses from Wu Xiaozu, he also gave Wu Xiaozu a lot of whimsical ideas.

When you watch the movie sequences of Wang Jiawei of later generations, it is not difficult to find the habitual break and dissociation between his memory and time.Time and memory are integral elements in his films.

In this movie, Wu Xiaozu visualized time and used clocks to convey this temporality.Such a sense of time, matched with the environment, in this kind of nightmare city, the imbalance between the spatial relationship that creates a real environment and the crowded living buildings will make the stone god in the play more real, but it will also confuse its fate. A layer of shadow is applied to give the audience hints for the next choice.

Wang Jiawei's stagnation of the "Kowloon Walled City: City of God" documentary is actually a decision made after learning this lens expressionism from Wu Xiaozu. He resolutely gave up filming and studied Wu Xiaozu's expression method with heart.

In this respect, he is Wu Xiaozu's apprentice!
Liu Weijun, Qiu Litao, Fei Cheng, Luo Licheng, Wang Jiawei, Ye Weixin, everyone who follows Wu Xiaozu will gain more or less their own understanding.Wu Xiaozu also hopes to let them grow up quickly in this way!
"Good morning, Uncle."

Zhang Baizhi is carrying a flute, carrying a schoolbag, and showing a lovely smiling face.

Shi Shen half-closed his eyes, nodded slightly like an old dog, and walked downstairs slowly with his briefcase in his hunched body.

Go downstairs and step into the Walled City.

The scene that had been quiet just now became alive in an instant.

The noisy voices of Shengying Gougou stall vendors and neighbors began to resound, and the messy Kowloon Walled City seemed very lively.

suddenly.

Shishen walked through a congested and chaotic road, with dog butchers on both sides killing dogs and chopping their meat, and the dead dogs were hung on iron hooks.

Countless black, white, yellow, and spotted dogs were locked in cages, all barking and struggling, except for a few Shiba dogs, with their eyes downcast, sitting in front of various shops—they didn’t need to die, but they didn’t have the dignity to guard them. Keep the dead of the same kind alive, and help the butcher look after the house.

The camera shifts with the movement of Ishigami.

The blue plastic simple shed is so small that it can only reach the waist. Some people struggle to get out of the shelter, but their faces are numb and lazy, and there is no hope in sight.

Some people turned their backs to the sky, some people slept with their clothes on, and some people looked coldly at the cold water opposite.

Shi Shen bowed his body and walked silently.

"They are like useless cogs in a clock, repeating meaningless lives every day."

Shishen's inner monologue, referring to these homeless people, is actually a metaphor for himself.

This simple shed is located under the overpass, so it is completely covered by shadows.

When he walked out of the shadows, there was a tea restaurant with a yellow sign in front of him.

Longcheng Ice Room, an imperial tea restaurant, has once again left the country.

When Wu Xiaozu used it here, he would also pay the venue usage fee.There is money to be made and the store can be promoted, so there is no reason to cheapen others.

At this time, Longcheng Ice Room was considered a well-known tea restaurant.

Many boys and girls like to drink a cup of milk tea recommended by Roy Jian and Zhou Huimin.

It can be regarded as a star internet celebrity shop in the 80s.

Under the camera, Ishigami enters the shop—suddenly, a yellow leaf slowly falls and lands in front of a pair of leather shoes.

Then he slowly moved up, and Li Zhaoji squinted his eyes, through the glass, he happened to see Ah Jing played by Anita Mui, who was ordering food at the cashier.He plays Anita Mui's ex-husband in this play.

The figure covered the sunlight, and the picture also changed subtly.The camera is shot through a prototype corner mirror around the corner.The corner mirror exaggerates and distorts the picture, and its effect is equivalent to that of a wide-angle lens.

"A meal, take it away." Ah Jing nodded to Shishen.

Ishigami slowly walked out of the door with his breakfast in hand.

"Is the food here good?" Li Zhaoji just stood in front of Shishen, and asked with a smile.

Ishigami nodded slightly, turned sideways, and walked away with his briefcase and breakfast.

(End of this chapter)