From the dream-chasing showbiz to remake bad films

Chapter 28 Editing [2]

After sleeping with Xia Yike, Pei Yang's mental state had recovered to an excellent level, so he started his editing process again.

Pei Yang braced his chin, but for Xia Yike's consideration, he should not stay here for so long in the future, so as not to cause physical problems.

The small goal that Pei Yang set for himself today is to roughly cut out one-fifth of the selected materials.

In order to save time and effort, he divided the more than 300 hours of selected materials into five parts, one part is about 30 hours, and it is reasonable to use two days and 48 hours to cut [-] hours of things, after all, only need to choose Get the desired shot and remove the flawed or meaningless shots.

In order to make the plot more emotionally smooth, he planned to edit according to the order of the timeline, but the order he shot was about 2, 1, 3, 5, 4, so it meant that he had to call out the sequence of 11 scenes. For the opening seven shots.

However, Pei Yang was relieved that those shooting assistants and field managers were still from majors after all, so helping him to distinguish those shots clearly saved Pei Yang a lot of time.

He first imported all the shots into the C drive, and then imported the things to be cut into the five prepared D, E, F, G, and H drives respectively, and then opened the D drive for today's task.

The plot in Disk D is probably that Ke Jingteng and Shen Jiayi first met, and Ke Jingteng began to miss spring.

The plot is very simple, but for a theater-level movie, it also requires a certain storytelling ability.

Cook a chestnut: "Ten Years, One Product as Gentle as Words", the original story is there, you don't even need to create a new story, you just need to film the original story, there will definitely be a large number of audiences to praise, but It's still outrageous that you can't even understand it when you copy it.

Let's talk about the plot first, the lack of logic in the adaptation is outrageous.

Besides, the character changes suddenly, the characterization is weak, and the whole story is a solid hammer.

There is also the dog Xiaohui that I took in, it is only natural that it got lost, and the dog suddenly disappeared without explaining.What does this want to express, Wen Heng and everything in the past, everything related to Yanxi, has been cut off and discarded, oh, another similar dog at the wedding represents a renewed relationship?It just feels cheap about their love.

After returning to China, Yanxi rented a rental house full of Wen Heng's photos. When she saw this plot, because of the foreshadowing of the previous film, she didn't feel moved and warm, but only felt chills.

Just ask, a person who once hurt you, who left you without saying a word, may be stroking your photo every night in a dark room with red light, embracing it to sleep, crying and reminiscing about your photo , will you feel moving?This plot is like something out of a perverted murder movie.

There is also the plot that Yanxi sneaked back to China to participate in Wen Heng's graduation ceremony and took pictures, followed and picked up her discarded necklace, which also made people feel chills down the spine.

In the film, the heroine actually showed anger about this, but this forgiveness is too simple.I have suffered so much for you, so no matter how weird I do in the process of pursuing you and missing you, you should be grateful, right?

The film's concept of love seems to be based on "I'm good for you = I love you". "I'm for your own good", Yan Xi didn't tell Wen Heng when she was sick in the United States, that was to love her and take care of her.And Wen Heng had to accept this kind of love.

Then let’s talk about the lines and shooting issues.

Does everyone in the movie have a language barrier? Every sentence is uncomfortably short, with more than twenty words in one sentence.They all play pity on words like gold, right?There is also the chicken soup inserted abruptly in the middle, which is uncomfortable or not.

When you get married, you only shoot spinning shots, right? Don’t you feel dizzy when you go around in circles? Although it seems very common to shoot spinning shots when you get married, talking in circles and shooting close-ups still make me feel old-fashioned and speechless.

So, your ability to tell a story with the lens is really related to the excellence of your movie. If your storytelling ability is not enough, or even poor, no matter how good the story and script are, it will not save you.

And although Pei Yang doesn't pay much attention to this aspect of the camera, he can't say that, it can only be said that he doesn't pay much attention to it, but he doesn't want to be sprayed and can't understand the story.

This part of the story can tell the light beauty, the kind of feeling you and I would have in high school, or the beauty and troubles of youth, supplemented by the hazy emotions.

Not only is the value of the film relatively more upright, we allow high school to fall in love, but we do not support it.

Part of the reason is to protect the good babies headed by Pei Yang who kept their bodies like jade in high school and only tasted the forbidden fruit in college.

[Attention, it's a good baby, not a single dog.dog head save life]
In this way, both the person who was in love in high school and the mother-women solo will not be offended, and it will look very comfortable.

As a simple narrative, in terms of technique, you can use many fixed shots interspersed in a very plain way, plus a little subjective shot as embellishment, and mainly narrate from the perspective of a bystander.

Although this method is a bit bland, it will also produce the kind of blandness and realness similar to "Sweet Honey", but it will give people a sense of substitution, which will enhance the storytelling ability of the movie instead of reducing it.

There is absolutely no need for hell to use that kind of camera that shakes violently and that kind of crazy pros and cons plus flashbacks. Not only will it not make you look very smart, but it will make you look stupid.

What Pei Yang wants to do is not to forcefully show off his skills in this kind of place, but to narrate subtly in a plain way, and use a smooth plot to ensure the audience's sense of engagement and comfort in watching the movie.

And although this is something that can only be comprehended by some film masters, it is obvious that every book on the direction of film has taught this thing, but there are still many directors who don't take it seriously and want to forcefully show their "powerful" techniques, but it is difficult for them to master That kind of extremely difficult scheduling ability ends up feeding "shit" to the audience.

To be honest, I don't understand.

What he wants to learn to use in his movies is not the drowsy and tragic "plainness" that is biased towards the age of "Sweet Honey", but the "passionate" plainness, which is the kind of youthful The longing for dreams, endless reverie about dreams and the future, although confused but beautiful feeling.

And this kind of feeling is similar to that in Zhang Guoshi's "The Love of the Hawthorn Tree", but it needs to be a little lighter and a little newer, so as to fit his story and the audience of his story.

By the way, his shots should be more normal, not so "yellow". After all, what he shoots is still a commercial film, not a period literary film.

"Although there are some private goods mixed in, it shouldn't be too much." Pei Yang thinks so.

　The Parasite

　　The storytelling ability is very strong, and the movie is not so boring. If you are interested, you can watch it. It is very good.

　　Asking for votes, asking for follow-up reading, now the policy of Dianniang has changed, you must follow-up reading to recommend, everyone, even if you want to keep a book, you have to move your little hands every day to click on the latest chapter, otherwise it will be easy to keep it to death. .

　　


(End of this chapter)