My Hong Kong Island Filmmaker

Chapter 389 Is it Salvation, or the Deep Desire for Love?

PS: Ask for a recommendation ticket, ask for a monthly ticket!
Cozy room with warm lights.

The moonlight poured in through the glass and fell on the small wildflowers by the window. The halo made the wildflowers a little inexplicable... red and gorgeous!

The moonlight is cold, but the flowers are warm.

The overflowing light drowns the flowers, which seems to imply that the character's world is about to undergo changes.

Under the camera, in the mirror image of the fitting mirror hanging on the door, Anita Mui, played by Anita Mui, is wearing home clothes and cooking with her back to the camera.

Even though no positive expression was photographed, the lightness of demeanor still made the audience feel the ease of Ah Jing's mood.

Body conduction is a basic performance skill that actors need to master.

In this regard, Anita Mui herself is not very experienced because of her background as a singer, and her movements are often too exaggerated.Therefore, when filming this cooking scene, Director Wu went off to demonstrate in person.

In addition, during filming, in order for Mei Gu to understand as soon as possible.

Director Wu had no choice but to hug Anita Mui from behind and guide him hand in hand, from the back, arms, waist to buttocks, and finally to the legs, all of which were carefully explored and corrected one by one. You can feel the mood of the character.

It is also because of Wu Xiaozu's tireless and serious corrections that Anita Mui successfully portrayed the role of Ruhua when she starred in Guan Jinpeng's "Rouge Button" next, and thus won the Golden Horse Award for Best Actress.

There was a sound outside the door.

Ah Jing turned her head with a smile, with a smile on her lips, "Xiaomei?"

A needle could be heard on the screen, and only then did the camera focus on Ah Jing.

This lens is very interesting.

Ah Jing stood in front of the frying stove, the background was dark brown, which set off Anita Mui's thin face.The rear window is frosted glass, revealing the distant view vaguely, presenting a dark background space. The window frame is very narrow and divided into "field" shapes by wooden strips, with frames within frames.

Windows often represent hope and freedom in movie images and novel metaphors, and Wu Xiaozu uses horizontal and vertical lines to divide this unique source.The dark brown background that sets off the characters is also "blocked".The background density under the lens is weakened by half a stop of aperture, which immediately appears depressing.

"Is that you, Xiaomei?"

under the lens.

Ah Jing, played by Anita Mui, smiled slightly, her eyes showed doubts, and finally showed a touch of doting, but she blamed, "How many times have I told you, and I always forget to bring the keys?"

Hang the apron casually on the hook next to it, next to a framed art painting - Palma Vecchio's "Woman in the Window"!
The painting is actually masked.

Because of age constraints.The surface pattern of this painting is only to hide the real appearance.According to the restoration results of the British National Gallery, the scene of this painting hints that the identity of the heroine may be a prostitute.

The heroine played by Anita Mui is "The Woman in the Window"!
For this painting, the camera freezes for two or three seconds.

Neither the audience nor the filmmakers reacted, but Lin Yanni, Yi Shu, and Shi Nansheng, who have experience in the UK, discovered this "secret" at the first time.

"Ah Jing used to be a prostitute?" Lin Yanni looked at Shi Nansheng, but her tone was very firm.

"Some time ago, based on the restoration results, the British National Gallery deduced that the painting "The Woman in the Window" should be a prostitute." Shi Nansheng said by himself, keeping his eyes on the screen.

Looking at it this way, Ah Jing went to open the door, which seemed to imply that her secret was about to be exposed!

There is a wooden frame between the kitchen and the living room, Anita Mui stands in the frame, and there is also a frame behind her.Here Wu Xiaozu used a composition similar to a color picture-in-picture.

The ground is also a square floor tile with distinct cold and warm. Under the close-up, her feet are walking in random places.

A hand reaches for the doorknob—pulls the door open a crack.

The dark corridor is empty.

"Small--"

While talking, suddenly a pot of small wild flowers was held in one hand and blocked the crack of the door.

Just when the audience thought it was really Xiaomei, suddenly a vulgar remark came, which instantly made Ah Jing's face change drastically.

"What are you doing so hard, so tight? It's not the first time I've entered the door... Jie Jie..."

Li Zhaoji suddenly pushed open the door, holding a pot of small flowers with a grin and mocking eyes, "Seeing that the pot of flowers outside your door is pretty good, I will treat it as a gift from you——hey, why, your husband is not welcome what?"

"What do you want to do? We're already divorced! I don't want to see you anymore—" Anita Mui stepped back in panic and anger.

"If you say you don't want to, you don't want to?? I said you want to!" Li Zhaoji looked around the room with aggressive eyes, and smiled rascally, "The house is not bad, wife!" He sniffed, "Is there any stew in the pot? I haven't seen it for a long time." I ate your food—"

"I ask you to leave! Don't pester me anymore! We are divorced! If you mess around again, I will call the police!"

"Call the police?"

Li Zhaoji held the vegetables in the pot and smacked them into his mouth, full of rascal anger, "The poor man can't control me finding my own wife and children, right? Right? Where's Xiaomei? She should be pretty, right? Xiaomei—— Xiaomei—where are you, Xiaomei? Dad is here..." Stretching his neck, he ran around the room, opened Ah Jing's bag casually, took out the money in the wallet, threw the wallet aside, and continued to search. Find,

"All my money is here, please leave—" Seeing the other party take away his money, Anita Mui stepped back, looked at Li Zhaoji and yelled in a low voice, "Don't affect my life anymore, We have nothing to do with it!"

"Mom, I'm back."

Zhang Baizhi, who wore twin ponytails and Sailor Moon school uniform, walked into the room with her schoolbag on her back.

"Yo? Xiaomei is back? Come, give me a hug from Dad—" Li Zhaoji greeted him with a disgusted face, "Now children can be friends when they are twelve or thirteen years old, and Xiaomei can be friends after two years..."

"Xiaomei, you go into the house!"

Anita Mui kept Xiaomei behind like a hen.At this moment, Xiaomei fled into the bedroom like a panicked chicken.Li Zhaoji snatched it up and grabbed Xiaomei's yellow schoolbag.

"It's inappropriate for you not to let me, a father, see your daughter?"

"Go away!"

"Hehe, it's good if my daughter is gone? It's also convenient for the two of us to make out!" Li Zhaoji carried his schoolbag in his hand, and rushed towards Mei Yanfang with a lewd smile! "

"Let me go!" Mei Yanfang struggled indiscriminately, and punched the opponent all at once.

"Stinky Sanba, don't be shameless—"

The two of them tore apart, and the yellow light above their heads was smashed in the swing of the schoolbag, leaving only another incandescent light.

As soon as the camera turns, the sound and picture montage.

Ishigami was sitting in the room holding the compass drawing that he used to cut his wrist.

He suddenly looked up at the wall clock. At this time, it's time to practice flute, right?

Over the ear.

The body does not move.

The camera caught Ah Jing and Li Zhaoji again.Li Zhaoji, the ex-husband, smiled lewdly and wanted to force violence. In the confusion, Ah Jing was directly smashed on the mirror of the door by the other party, and the mirror was broken!
While the two were torn apart, Ah Jing was crushed by the other party.

"boom!"

Xiao Mei held up a small trophy and smashed it on Li Zhaoji's head.

"Little bitch!! You are courting death!!"

Suddenly, the voice resounded again, and Li Zhaoji rushed towards Xiaomei viciously, "I'll kill you, you little bastard today!"

In the movie, the two women are constantly struggling with Li Zhaoji.

"boom!"

With tears in her eyes, Xiaomei kept waving the flowerpot in her hand...the flowerpot containing small wild flowers.

Suddenly, all the tense music of the movie stops and the sound disappears.

On the screen, the "ex-husband Ji Ge" Li Zhaoji, who was violent and rude just now, now has wires wrapped around his neck, his eyes are round, and his head is broken and bleeding, falling into the fragments of flowerpots scattered on the ground.

Flower pot debris, wet soil, dark red blood pool, the camera slowly rotates around a dead body and two mothers and daughters.

The small wildflowers are broken.

hope?

still there?
In the play, Xiaoyehua, like Xiaomei played by Zhang Baizhi, is a rare warmth in a cold-toned film.

Ah Jing hugged Xiao Mei tightly in her arms, her face pale.

Under the close-up, the knuckles of the fingers are tense.

Some viewers couldn't help standing up and staring at the murderer and the victim in the movie with dumbstruck eyes.

"What should I do?" This is the voice of many viewers.

Ding dong—the rotating camera suddenly freezes on the door.

The rotation of the camera represents the panic of Ah Jing and Xiaomei, and finally freezes on the door, which also indicates that the solution will appear outside the door!

This can be regarded as a visual psychological hint.

"Who is it?" Mei Yanfang endured the fear and pretended to be stable.

"I'm Ishigami next door, I heard a voice from your side...do you need help?"

"No need! Thank you!" Anita Mui hurriedly replied.

It was quiet outside the door.

"Woooooooooooooooooo..." Xiaomei twitched and cried in fear, and Anita Mui hugged her in her arms with all her strength.

"I think I can help you, and I hope you can open the door. Otherwise, it will be difficult for you to handle today's matter and that gentleman—trust me." Stone God's voice outside the door was calm.

The broken mirrors on the floor reflected the light, forming spots of light that hit Ah Jing, Xiao Mei and the whole room.This diffuse light source creates a spatial cut to the entire room.

At this moment, the incandescent lights in the room were bluish, full of monotonous coldness.

The door opens.

Shi Shen nodded slightly with a calm expression. The moving light source outside the house may be the yellow headlights of a car, or it may be the headlights. When it hits him, the dim yellow light circle looks very warm.

At this moment, cold and warm alternately.

He became the hope of Ah Jing and Xiao Mei, and he became the only warm color in the picture.The interweaving of cool and warm colors is a hint of characters and stories.

The lens uses a polar lens here, excluding normal viewing angles and standard focal lengths, giving the picture an artistic interpretation.The two extremes of close-up and perspective are used to express.

In the processing of poetic realism shots, Wu Xiaozu used a lot of metaphors and hints.The composition here is full of opposites and interweaving.While completing the perfect application of modeling language, it also highlights the tension of image language.

If it is said that the audience only sees evil and coldness, then it will make people too desperate.He needs to allow the audience to see and understand the world he created more objectively.

Still the same sentence, the warmth is more warm when it is set off by a large number of cool blue-gray.

Under the cloak of rationality lies sensibility!
Under the large moving camera at both ends, the camera first enters the living room from outside the door, and then turns from inside to outside.

The story continues, but the audience felt that an atmosphere different from other movies was brewing.

Until—the police received a report and found the dead body by the river!
(End of this chapter)