The King of Huayu Science Fiction

Chapter 500 A long shot, a movie

"I still have "Matrix III" that hasn't been finished yet, and "Interstellar" in addition, this film has already started preparations, isn't it a bit early to discuss this now?"

Chen Jingxing was a little puzzled.

"Interstellar" also has the investment of China Film, similar to "Earth's Center" and "Mars", both invited experts from the aerospace department as consultants, and the script has already been reported to the competent department.

For all gift film authorities, the script must be reviewed first.

Of course, the advantage is that it can obtain reports and publicity from official media resources, and it will also be considered for preferential treatment in the setting of files.

Therefore, major studios also hope to stuff their own projects into the gift film sequence.

Among them, DreamWorks is relatively cheap.

Although "Interstellar" and "The Wandering Earth" are not closely related to the theme or realistic themes, they are also listed as gift films.

The main reason is that DreamWorks has produced many main theme movies before, which also earned DreamWorks special treatment.

Secondly, sci-fi themes have become a business card of Huaguo's film industry, and with the foreshadowing of "Center of the Earth" and "Mars", "Interstellar" and "Wandering" can be regarded as the main theme of space movies, so it is logical to become Representatives of science fiction and space themes were included in the gift film.

Jiang Ruoping waved his hand: "It's not that I want you to take out the script right now and shoot right away..."

It turns out that due to gift films in the next few years, the schedule will be relatively tight, especially the popular ones. The competent authorities and China National Film and Television should coordinate and arrange the release of gift films.

After all, a gift film is not as simple as being lively and lively, and there must be a box office.

The purpose of the propaganda and cultural department is to produce a batch of gift films that the people love to see. If the box office is not good by then, the effect of the gift will be poor.

In order to coordinate the schedule, Jiang Ruoping had to coordinate and arrange the release dates of the gift films in the past few years, especially the heavyweight gift films, and try to make each of them achieve good box office results.

Then he must grasp the status of DreamWorks gift films.

Not to mention the first wave of tribute films, DreamWorks has already or is preparing to produce them, and there is no movement on the second wave of tribute films to the Korean War.

Jiang Ruoping wanted to know about Chen Jingxing's thinking, what kind of movie he wanted to make, what the story was about, and what the shooting cost and volume were about, so that he could have a good idea.

Moreover, DreamWorks has always been very good at the main theme movies, and the military action trilogy produced or participated in the production is almost the benchmark of this kind of theme in China.

"To be honest, I have a project here, which is the idea of ​​Director Luo. The theme is the last battle of the Korean War, the Battle of Jincheng. The victory of this battle is of great significance, but I have not been able to find a suitable helm..."

The Luo Dong that Jiang Ruoping said was Luo Changqing, the chairman of Guoying.

More than half of the task of the gift film is on the head of the national film, and it strives to have a panoramic view of the Korean War and show the Korean War in multiple layers.

In addition to several planned projects, the Battle of Jincheng, as the final battle, is also an important historical node event, but this project has not yet found a suitable director and screenwriter, which has made National Films have been quite distressed.

It's not that there are no ready-made directors in China, but that the scripts of several previous projects made the senior management of National Film Group feel that they are not good enough. To put it bluntly, the two major leaders of National Film Group are a bit picky.

The so-called transition from extravagance to frugality is difficult. In recent years, domestic films have now produced many high-quality goods from military to science fiction, from comedy and suspense to realistic themes, and even animation themes.

Jiang Ruoping and others naturally felt that the current scripts of these existing projects were not good enough.

Naturally, he immediately thought of DreamWorks and Chen Jingxing.

If Chen Jingxing was given the task of the Battle of Jincheng, he and Chairman Luo Changqing would definitely be at ease.

Chen Jingxing was not surprised after listening to it, but he still tactfully rejected the proposition composition given by Guoying.

The "King Kong River" in the previous life plane is about the defense of the King Kong Bridge on the eve of the Battle of Jincheng, and it should also be a proposition composition under Guoying's account.

The angle chosen for this movie should be said to be pretty good, and I also thought of telling the story of our army building bridges and crossing rivers without fear of sacrifice from three perspectives through three directors.

But the filming is indeed a bit stretched, which has a lot to do with the tight schedule and the tight production cycle.

To be honest, if Chen Jingxing were to choose, he would most likely choose the shooting angle of this movie, instead of grandiosely showing the glorious and victorious Battle of Jincheng.

War movies aren't really easy to make.

Especially in today's era of anti-grand narratives and the proliferation of small characters or individual heroes.

It is not so much the influence of Hollywood as it is the orientation of the commercial market.

Human beings love heroes. Hollywood has comic heroes, and Huaguo has its own heroes. Sun Wukong and Nezha are all heroes.

For a commercial film, it is necessary to focus on specific individuals as much as possible before it can be painted.

"Matrix", "Center of the Earth", "Mars" and even "Interstellar" that Chen Jingxing will shoot in the future are all like this. The movie is narrated around the creation of individual heroes, or the creation of a small team of heroes.

Both "Red Sea" and "Spike II" also have parts of personal heroism.

A grand battle just sounds like a thrilling imagination, but when it is presented in a movie, it will lack an anchor point for the audience to substitute, and it is not suitable for commercial blockbusters that want to win the box office.

Even if the screenplay of "Once Upon a Time on Earth" adapted by Chen Jingxing needs to elevate the perspective from the male protagonist, it also borrows from Nolan's "Dunkirk" in his previous life, using three timelines for three-line narrative, so that the visual story is even more thrilling. .

The straightforward grand battle perspective narrative is a flaw in commercial movies.

But Chen Jingxing wanted to produce something different, and he, the veritable No. [-] commercial director in China, couldn't shirk it when it came to the gift film for the Korean War.

He has also been thinking about which story to choose and what method to shoot in his mind, but he hasn't reached the stage of script creation.

Now that Guoying is here to urge him, he will tell the whole story.

"Different?"

Mentioning this Jiang Ruoping will not make you sleepy, that's why he invited Chen Jingxing today.

Isn't Chen Jingxing most famous for his brain holes?Known as the most imaginative director.

"But... don't tell me it's science fiction?"

Jiang Ruoping was still somewhat cautious about this. Although Chen Jingxing's sci-fi movies were always good-looking, it was still not good to have sci-fi elements in the war gift films.

No, not at all.

Historical nihilism must never be practiced in the Korean War.

Chen Jingxing wasn't crazy: "Of course not, I want to give the audience a more novel viewing experience. I want to use a long shot to shoot a Korean war movie."

"A...long shot...for a movie?"

Jiang Ruoping is not a film layman, and has even been engaged in film and television work, but Chen Jingxing's words still make him a little hard to understand.

He knows that long shots, as a type of film shooting technique, have always had some kind of gimmick.

But what does it mean to make a film with one long take?
Chen Jingxing smiled: "It literally means, a long shot, a movie."

As far as military action films are concerned, "Red Sea" and "Spike II" have reached a relatively high level.

Although the plane of this world is somewhat different from the previous life, there are only a few famous battles in the Chaos War. The Battle of King Kong River (Jincheng) and the Battle of Changjin Lake will definitely be filmed.

Perhaps the actors are different, and the directors are slightly different, but the production level must be top-notch, so the effect presented may not be much different.

In the plane of the previous life, although "Changjin Lake" was not very good, it was definitely not bad, and it was even above the standard of war movies all over the world.

The main criticism is actually that the soul of our army was not photographed.

Caught in the rut of gang-style brotherhood.

When Chen Jingxing watched "Eight Hundred" and "Changjin Lake" in his previous life, he really didn't feel any essential difference between the two armies.

Of course, this cannot explain why the troops of KMT can compete with the army of the world's largest superpower when they arrive in our army.

But this is actually the general level in the literary and art circles, not to mention that you have to hire directors from Hong Kong and Taiwan to direct.

A work like "Neng Wen Neng Wu Li Yannian" is a special case.

However, if you look at "Changjin Lake" purely from the perspective of commercial films, it has achieved a fairly excellent level.

However, no matter how high the production level of this type of war blockbuster is, releasing multiple films consecutively within a few years will definitely cause aesthetic fatigue.

To be honest, as the helm of DreamWorks and the title of master of science fiction, Chen Jingxing's "idol burden" is still very heavy.

Chen Jingxing has several years of experience in making heavy industrial films, coupled with the industrial level and screenwriting team established by DreamWorks itself, there is not much problem in producing a "Xing Huo".

He is not afraid that the box office of the gift films he made is not satisfactory, and DreamWorks does not lack the box office of these gift films.

But he still couldn't accept the ending where everyone was left alone.

This will also disappoint many fans and audiences who have expectations of him.

Although Chen Jingxing has never directed a war movie, "The Mekong River", "Red Sea" and "Spike II" were all shot by Guo Fan and Wu Jing, but if he wants to make a military action movie related to the Korean War, fans, audiences, and even The media must have expectations.

And it is different from the expectations of other directors.

But the Korean war gift film is not a suitable subject for brainstorming, which will dispel its own seriousness.

Therefore, Chen Jingxing came up with a special angle, which must be innovative and allow the audience to have a novel audio-visual experience.

He thought of a very special war movie in the previous world - "1917".

There are too many movies about World War I, but "1917" is one of the wonderful flowers, a technological adventure that amazed the audience and the industry.

The story of the film is very simple. From the perspective of two orderlies, the audience is led across the battlefield on the Western Front in 1917.
But the way it was shot was unprecedented.

The whole film adopts a "following long shot", spliced ​​into a 2-hour shot to the end.

The camera replaces the eyes and body of the viewer, inviting every viewer to participate in this cross-fire.

The protagonists are not only the two orderlies in the movie, but every viewer is the third member of the squad.

The whole movie is a long shot of "fake one shot to the end".

This allows "1917" to bring the audience an immersive audio-visual experience-a sense of participation.

The audience not only faced the battlefield directly, but even actively participated in it, just like opening a No. 1 game, going into battle in person, and completing a dangerous task.

Chen Jingxing wanted to use such a unique filming method and display form to make a tribute film to the Korean War.

(End of this chapter)