My Hong Kong Island Filmmaker

Chapter 956 The world is beautiful and worth our struggle, I only agree with the second half of the sentence

PS: Ask for a recommendation ticket, ask for a monthly ticket.

In the rain, the light is very dark, and the whole rain is pouring down like ink.

Do not forget.

Zhang Yimou is the art consultant for the play "Seven Sins".

At the same time, Bao Xi and Du Kefeng perfectly displayed this unique picture with colors through the lens.

In the Lumiere Hall, under the attention of nearly 2000 spectators, the plot of the movie unfolded without any fuss. Just now, the opening scene of the starring pair Takakura Ken and Liang Chaowei ended briefly, followed by the sharply edited opening title, At the same time, it also attracted the attention of many people, especially before the story unfolded, it seemed that a lot of foreshadowing had been laid.

The scene where Liang Chaowei and Takakura Ken enter the first scene of "gluttony" is really eye-catching in terms of the use of light. Because of the depth of the shooting, the scene seems to be getting darker and darker. Finally, they use the cold light of the flashlight to attract the attention of the audience. The audience's eyeballs, wall lamps also play a finishing touch.

The cold blue light emitted by the TV echoes with the flashlight, and the surrounding environment is harsh, dark, and damp, insects and ants gather, which makes the picture very visually impactful.

At the same time, the scene where the obese dead under the light of the flashlight and the face lying on the table is soaked in the noodles is also impressive.

It must be admitted that Wu Xiaozu's use of light is indeed unique.

In the auditorium, many film critics and reporters felt very fresh and excited about Wu Xiaozu's unique and crisp handling.

""Paradise Lost"~"

In the office of the police station, Ken Takakura, whose face is less majestic and more lonely, and whose figure is more like an ordinary middle-aged man, is holding an A4 paper with the words 'Gluttony' photocopied on it, and it appears in the screen.

Gluttony!

When many people saw the title of the movie "Seven Sins", they actually thought of this.

But in fact, it is not uncommon for directors to involve religion in the film industry.But Wu Xiaozu didn't get completely entangled in religious elements. In fact, in the final analysis, this is a suspenseful movie cloaked in religion.

The seven original sins, mental illness, social status, metaphors of human nature and personal growth even contain a kind of "criticism" of the status quo of Hong Kong Island.Of course, this requires you not to stand on the first floor to see, at least you have to stand on the sixth, seventh and eighth floors.

Historically, this drama became popular because its core did not touch the interests of religion, and even this is clearly a kind of exhortation. Of course, Wu Xiaozu added his own strong "fate" style to it.

Therefore, even if religious people watch it, they will never feel offended again.

"This group of shots is interesting. Few people use sports shots so skillfully now. From the beginning to now, I feel that every shot has its due effect, and there is no useless shot at all..."

Roger Ebert pushed his spectacle frame, moved his fat body, changed into a comfortable position, and stared at the screen closely, "First, from the perspective of the young policeman, I shot the scene between the sheriff and old Mike. Argument. Look - even though the young cop wasn't on camera, we can all sense that he's hell-bent on being part of the conversation...

Later, he succeeded in interjecting, but the sheriff and old Mike ignored them and continued the conversation.Then he chimed in again..."

"Don't get excited buddy, this is the Lumiere Hall!" The thin, tall and bald Gene Siskel next to him patted his friend on the shoulder.

"This is really a peerless film. I feel my heart trembling now. I look forward to how the director will solve the mystery...Man, I vaguely think this movie will be very tense..." Roger shrugged , the mouth moves, but the eyes never leave the screen.

In fact, Wu Xiaozu thought a lot about this drama.

Settling in the Walled City of Kowloon, naturally this drama will have more local elements. At the same time, Wu Xiaozu also deliberately added some of his own ideas from "Cell of Fear".

Therefore, you can see the vague struggle between Liang Chaowei and Gao Cangjian, an attempt to break through the self.

"Have you released it? Although it seems that there is day in the movie, it is either rainy and dark... There is no natural light at all?" Ann, an old Polish brother-in-law wearing a dark green hat similar to a Bavarian felt hat, said in the auditorium. Andrey Zurasky propped his chin, asking and answering himself.

Beside her, Sophie Marceau, with a moist complexion, crossed her legs, watching Adjani's cameo in the movie with great interest.

That's right.

In "Seven Sins", Wu Xiaozu did not use any natural light.The daytime is also cloudy and rainy, and this depressing environment allows the audience to experience the suppression conveyed in the film.

In the picture, the rain is pouring.

Looking down at the camera, the space is cut irregularly, dim wall lamps are hung on the cold marble walls, and the shading of Roman columns allows the light to scatter around, condensing and not chaotic.

Wearing a top hat and carrying a briefcase, Ken Takakura opened the door and walked in. A close-up shot of the raindrops dripping from the big black umbrella retracted in his hand appeared on the screen.

Especially like black blood.

The city is weeping in frustration.

In the library, the green desk lamp glowed faintly, and the camera kept moving.

For the use of sports mirrors, Bao Xi and Du Kefeng have to admit their strength.

Especially in the next few scenes about chasing and fighting, he performed heartily.The film's use of moving shots is indeed world-class.

On the street, Liang Chaowei kept chasing, and the whole scene was shot very intensely.

...

When the audience watched Liang Chaowei fall into the water, closed his eyes and waited for the fate to come, the outline of the 'behind the scenes' was reflected in the water.Yes, Wu Xiaozu's use of mirror images reappeared in this drama.

A director or a creator always carries some of his creative habits more or less.

This is the so-called personal style or personal label.

In fact, in this film, Wu Xiaozu also intentionally borrowed some of Lao Du's settings in "PTU", including the positions under the lights, and the little boy who often runs through the film on a bicycle.

Facts have proved that this kind of mastery of space is indeed recognized by film professionals.

At the same time, after the little boy was reminded by Old Mike's words, many viewers also understood that this is the little boy who started to paint with colored pencils.

The reason for this design.

Wu Xiaozu also hopes to give people hope in despair.So what is the more hopeful implication of minors? ?
This gloomy and humid purgatory-like city, the policemen staring at the abyss, the co-workers, the dirty walled city, the homeless wild dogs and the loud noises that remind the audience all the time, all make people feel deeply depressed .

Well, when Old Mike looked at the little boy with a crayon drawing, it might not have been soothing to the soul.

Suspense, above all suspense.

A loose and relaxed rhythm is too important for a suspense movie, and it can also make a perfect foreshadowing for the subsequent plot.

　Nearly one-third of this chapter has been deleted... A few chapters earlier were deleted again yesterday.Violence is even harder to describe...

　　
　
(End of this chapter)