From the dream-chasing showbiz to remake bad films

Chapter 86

The little old man temporarily helped Pei Yang solve this distress, because he directly opened the door of the interpretation office.

Seeing this, Pei Yang could only follow in.

Well, Xia Yike could only follow in.

But when he entered the office door, Pei Yang saw a ruddy and happy face sitting on the sofa. He didn't look so serious, but looked more like a middle-aged and elderly man like a god of wealth.

"Please sit down, two children." Feng Yuanzheng said with a smile, looking more amiable, but what is outrageous is that his voice is still serious and grand, just like sitting in the prison. Same as the old man above.

Pei Yang felt a little unnatural, after all, no one wants to hear the voice of the yamen summoning you.

Pei Yang and Xia Yike sat down obediently.

"I heard from Lao Zhou that you want to learn some knowledge of "unity and diversification"?" Feng Yuanzheng said with a smile.

Pei Yang looked confused, "one yuan and more diversification"?
Pei Yang looked at the little old man in a daze.

The little old man looked at Pei Yang with a smirk on his face, and pouted his mouth, meaning to ask Pei Yang to cooperate, Feng Yuanzheng was going to start bragging.

Pei Yang could only nod to Feng Yuanzheng, indicating that Feng Yuanzheng could pretend to be aggressive.

Feng Yuanzheng lit a piece of Yuxi and took a small sip: "I know why you're here, but today we won't talk about anything else, just talk about film aesthetics and the technique of "unity and diversification."

Pei Yang smiled awkwardly: "Punishment."

Feng Yuanzheng exhaled a smoke ring: "As a student of this major, you must have studied "The Grand Budapest Hotel"."

Pei Yang replied blankly: "Brilliant and bright pictures, frequent use of wide-angle lenses, composition method in which characters occupy the center of the picture, and perfect symmetrical picture structure are all elements that run through his works. The combination of these elements makes Webster The film gradually developed a sort of fairytale-like cartoon-strip style."

"The Grand Budapest Hotel" is a classic work in the direction of film aesthetics. Pei Yang not only took an aesthetics class about it, but even researched the literature carefully after class.

Feng Yuanzheng added: "The most important constituent elements are: Wes Anderson-style color matching and Wes Anderson-style symmetry and details. First, Wes Anderson-style color matching and Wes Anderson-style main style present a fresh and romantic style. Doctrine always has a dramatic effect. As an important visual expression symbol in film art, color plays a vital role in the development of the storyline, the rendering of the atmosphere and the psychological portrayal of the characters. Different film colors reflect the The different aesthetic experience that the director wants to convey to the audience."

Pei Yang nodded, and Feng Yuanzheng summed it up concisely and perfectly.

The Grand Budapest Hotel: The film tells the story of a porter at a famous European hotel during the war and his friendship with a young employee who later became his most trusted protégé.The legend of this gatekeeper connects absurd anecdotes such as the theft of priceless Renaissance paintings, property disputes among famous royal families, and sudden wars that changed the entire Europe.The film won Best Costume Design and Best Art Direction at the 87th Academy Awards.

"The Grand Budapest Hotel" is inspired by the experience of the Austrian writer Zweig, paying tribute to him and remembering the beautiful era in the early 20th century in which he lived.Medieval-style film about a serious subject, but the clever composition of color gives the film a fairy-tale feel.The colors are bright and full, and the composition is neat, giving people a sense of austerity and humor~ The scene switching in the film is natural and smooth, without any sense of disobedience, and the dramatic effect is full.

Seeing that the two had entered the state, the little old man and Xia Yike left the office after preparing tea and cigarettes for them.

Feng Yuanzheng glanced at the two people who were leaving, without stopping: "The film starts with a book, and the book cover is pink, which arouses the story and atmosphere of the following film~ The overhead shot makes the picture very ceremonial. The idea of ​​the film is derived from Zweig's autobiographical novel, and the film pays tribute to the writer, and at the same time pays tribute to the author's exquisite description of European society before World War II,"

Pei Yang also said: "The color tone in the early stage of the movie has always been in a kind of pink ambiguity. The pink building and the black ZZ flag representing power form a strong contrast."

Pei Yang took a sip of Huazi: "Under the careful arrangement of the director, everything from the set to the architecture, to the costumes and props was covered in pink, and the director used light pink and water blue to construct the image of two young lovers. The whole world."

"The fairytale tone of "The Grand Budapest Hotel" gave birth to a popular color - Millennium pink. Millennium pink is not a specific color, but a general term for a series of pinks. Generally speaking, from light brown to Millennial pinks range from pinks to salmon pinks with cool gray tones added in. Millennial pinks, however, are different from brighter pinks like Barbie pinks, which tend to have a more vintage vibe.

The opportunity that really made millennial fans sweep the world and accepted a neutral color was probably originated from "The Grand Budapest Hotel". In December 2015, Pantone, the world's most authoritative color research institution, even identified Rose Quartz and Serenity in the Millennium Pink family as the 12 annual fashion colors. "

Feng Yuanzheng glanced at Pei Yang who was talking with satisfaction, and then said: "From the camera to the hotel, the decoration uses a large number of large-scale color blocks such as red, gold, and brown to form an artistic atmosphere unique to old Europe. Add a layer of pink tones to create a gorgeous and rich picture, and make the whole hall full of sense of heaviness.”

Pei Yang looked right, right, what you said was right: "The color of Wes Anderson's movies is not directly reflected on the set, but more expressed through the costumes of the characters and the atmosphere of the scene. The extremely saturated big The combination of red with the staff's purple clothing shows the aristocratic atmosphere at that time."

Feng Yuanzheng added: "At the end of the story, the color changes instantly, from bright to gloomy dark tones, revealing a strong sense of melancholy and sadness in an instant. The sweetness and brightness of pink and the depression and heaviness of dark colors are in stark contrast. Pulled into the flames of civilization and the brilliance of humanity displayed throughout the film. It alludes to the general environment in Europe at that time and the tension between the Communists and the Jews."

It wasn't until this point that Pei Yang understood Feng Yuanzheng's intentions. Feng Yuanzheng probably knew that Pei Yang was going to shoot Kung Fu football. As an academic director, he really wanted Pei Yang to show more aesthetic content about movies.After knowing Feng Yuanzheng's focus, Pei Yang let go of all his defenses in an instant and became confident again.

In terms of movie aesthetics, well, it's actually nonsense, chatting, bragging, these aspects, Pei Yang has never admitted defeat.

Pei Yang clicked on another soft cloud and said: "What is amazing about Wes Anderson's symmetrical films is its composition. The symmetrical composition runs through the whole film. His lens use is different from previous films. I am used to quickly panning the camera to a person or action, and then panning back to freeze on a mid-line contrasting picture, forming a smooth visual beauty, and each frame of the picture has a rigorous composition."

Feng Yuanzheng also replied: "Another bright spot in the composition of the film is that he is very good at using the objects that appear in the picture to compose the picture, such as the ladder used when escaping, using the lines of the ladder to divide the picture, the upper and lower beds of the train, damaged There are people on the floor, using human body structure to divide the picture."

Having said that, the two smiled at each other.

"You have a wide range of knowledge and solid knowledge. Would you consider coming to me to study as a graduate student?" Feng Yuanzheng said with a smile.

"No, no, you know, I have a teacher, aren't you afraid that he will punish you?" Pei Yang refused with a smile.

Feng Yuanzheng was only interested in talents, and he was joking: "I can't afford to provoke your teacher. He is gentle and gentle on the surface. If you provoke him, he will be like a gangster."

"Then let's continue talking." Pei Yang stopped this somewhat dangerous topic.

"Punishment." Feng Yuanzheng nodded in agreement.

"In terms of details, Wes Anderson, like Gustav, the hotel owner who pursues exquisiteness, has perfect control over the details of the film. He also invited the famous graphic designer Annie Atkins to be the chief graphic designer of the film, All graphic elements appearing in the film, titles, posters, envelopes, matchboxes, cake packaging boxes, etc., have been carefully designed and arranged."

"On the packaging box, the pink carton of the dessert shop looks particularly eye-catching. Inside the box, there is a three-color mini cake, and the top of the cake is mint green and bright pink frosting. This cake is from the famous pastry chef Anemo Ne Müller-Grossman tailor-made for the film. This design for details has also been extended to reality, and director Anderson designed a brand new cafe in Milan—bar luce.”

Pei Yang nodded in agreement: "If you turn off the sound in a movie, you can feel the texture and rigorous composition of each frame. This may be the difference between Wes Anderson, and this is what I admire most about him."

Having said that, Pei Yang stopped Feng Yuanzheng from talking, "So, what exactly is the "unified and diversified" method you mentioned?"

Having said so much, he is still more interested in the "unity and diversification" method at the beginning.

　The [-]-character chapter is given to all the masters.

　　
　
(End of this chapter)