The King of Huayu Science Fiction

Chapter 501 Crazy idea, "different" war movie
For this technical adventure, Chen Jingxing also found a more suitable background.

The background is a real breakthrough miracle in the history of war that took place in the fifth battle of the Korean War.

In the fifth battle, the 12st Regiment of the 31st Division of the No. 91 Army, led by Li Changlin, was ordered to take on the task of detouring and interspersing behind enemy lines.

After Li Changlin was ordered, he led the commanders and fighters of the whole regiment to take resolute and decisive actions and marched all the way to the brother peak east of Xiazhenfuli, approaching the "[-]th line".

However, when the campaign reached the third stage, the situation changed unexpectedly—the No. 12 Army was instructed by its superiors to organize a strategic retreat. Due to the delay in communication, the 91st Regiment, which moved later, was quickly dispatched. The enemy troops who came to pursue them intercepted in the Sanjuli area.

At this time, the main force of No. 30 Division 12 and even the entire No. 91 Army had been ordered to move north, leaving only the [-] regiment alone behind the enemy.

The enemy also took this opportunity to mobilize heavy troops to launch a large-scale pursuit of the 91st Regiment, and set up blockades one after another on the route of the 91st Regiment's northward breakout.

Then the 91st Regiment, under the leadership of the regiment leader Li Changlin, carried out a large-scale interspersed and roundabout breakout operation that the enemy has never figured out.

The breakout route can be described as "weird", which made it impossible for the enemy to grasp its law and direction. Not only did it break out of desperation, but it also brought back 119 captives "by hand."

The design of Chen Jingxing's story is that when the 91st Regiment was intercepted by the enemy in Sanjuli due to communication delays, the communication equipment was blown up during the fierce battle of the raid, and it could not receive orders from the Corps Headquarters.

The 31st Division sent two communication soldiers to trek all the way across the line of fire and finally found the 91st Regiment. They brought the 91st Regiment an order to retreat and join forces from the Corps Headquarters, and also brought precious information about the defense of the enemy all the way.

In this way, the 91st regiment can find another way and kill them through unexpected directions and routes of the enemy!
And this "1917"-style "one shot to the end" movie conceived by Chen Jingxing is the first half of the whole story.

The two soldiers took the communication equipment all the way across the long line of fire, through villages and towns, across mountains and rivers, through layers of blockades by the enemy, and finally found the 91st regiment that escaped from the blocked battle.

An entertaining, gritty and intelligent war thriller shot in one uninterrupted exceptional long take.

Of course, the so-called uninterrupted long shot is naturally faked uninterrupted.

The long shot of one shot to the end is not just follow-up, from the sky to follow-up perspective, from follow-up perspective to mountain caves, from day to night, from slow to fast-moving, from quiet as a child to moving like a rabbit.

There is a degree of relaxation, changing perspectives, and an immersive war experience with a panoramic view, allowing the audience to truly experience a sense of urgency and mission.

The breathing, fear and hope of the protagonists, their interaction with each other, the environment, the enemy, and the people of the local villages are all captured in the camera.

Let the audience become them, let their hesitation become the audience's hesitation, their despair become the audience's despair, and their heroism become the audience's heroism.

This requires extremely high shooting skills and aesthetic attainments.

The difficulty of shooting such a long shot is not comparable to that of a long shot that follows the protagonist back and forth in several rooms.

Naturally, it is impossible to take a real shot to the end.

Unless the whole process is filmed virtually, there is no technology that can achieve it.

So it is a fake mirror to the end.

But even with editing and splicing, the difficulty of shooting such a movie is unimaginable.

"1917" has only more than 20 hidden edits in the two-hour film.

Although there will be many special effects shots, the difficulty of the remaining long shots is enough to make people speechless.

Jiang Ruoping was speechless.

First of all, Chen Jingxing's novel, somewhat outrageous, almost delusional idea is indeed difficult to evaluate for a while.

Time-limited task + one shot to the end, this is indeed something no one has thought of before.

There are not no movies that feature long shots, such as the Russian movie "Russian Ark". The director used a full 90-minute long shot to show the gorgeous scene of the Russian court.

But that too was mostly at court.

For other classic films that are famous for their long shots, it is usually a few minutes or more than ten minutes of long shots to be considered very powerful, and the scenes are generally not complicated, mainly in literary films.

Even if there are more cutscenes, it can't be compared with a fast-paced war movie.

The movie Chen Jingxing envisioned was not only crazy and bold, but Jiang Ruoping felt a headache after thinking about it for a while.

He is not a layman, and he knows that the biggest difficulty of long shots is scheduling.

Shots are the scheduling of cameras, as well as the scheduling of scenes and personnel.

Even for a long shot with a slow rhythm and a monotonous scene, it takes a very long time to practice repeatedly in order to complete a smooth scheduling.

Not to mention a scene with an open scene and changeable terrain, including night scenes, as well as chases, explosions, breakouts, fights, running, crawling, etc., with variable rhythms and scenes that vary in size from time to time.

Personnel, props, positions, lines, military actions and performances must be coordinated smoothly and harmoniously.

And the lens.

The difficulty of moving the camera is even more difficult than the interactive scheduling of actors and scenes.

Ups and downs, slow and fast, the scene transitions are long, and the camera surrounds have to be completed from time to time.

This is a great test for photographic equipment, videographers and even equipment transformation and creativity.

Jiang Ruoping's scalp tingles when he thinks about it from the producer's and director's perspective.

But when he looked at Chen Jingxing, whose eyes were shining and his words and expressions were getting more and more excited, an indescribable thought came to his mind.

This young man is indeed a mad genius.

If there is a director of National Film, or if he has this somewhat crazy idea in his mind-shooting a war movie in one shot-he thinks it is very unlikely that he will have such an idea, even if it appears in a flash An outrageous idea will burst like a bubble in the next moment.

But now after hearing Chen Jingxing's talk about Amway, he had to admit that this idea that sounded a bit like a pretense at first seemed...not really unworkable.

It just takes genius creativity and strong execution.

And it seems that only Chen Jingxing and DreamWorks really have this.

Jiang Ruoping remembered the highway action scenes in "Matrix II" and some scenes in "Inception".

He knew how Chen Jingxing and the crew of DreamWorks realized the actual filming through quite creative and crazy ideas.

This used to be a hot topic of discussion among filmmakers in the industry.

For example, DreamWorks did not know what went crazy before, and it built an unprecedented super greenhouse in the DreamWorks Digital Film and Television Base under construction in Shanghai, and then built a real shooting scene of half of the giant wheel in the super greenhouse.

Amidst the discussions among many filmmakers in the industry, Jiang Ruoping knew that he was preparing for the filming of "Spike III".

"Spike III" is invested by China Film Group—usually DreamWorks' films involving military warfare or space-themed movies will be jointly produced by China Film Group.

Considering the four billion box office of "Spike II", such a big battle is not incomprehensible, but it is still staggering.

Chen Jingxing and his DreamWorks always seem to have a reckless, unrestrained, and daring style of doing things.

"What do you think, Boss Jiang?"

Facing Chen Jingxing's inquiry, Jiang Ruoping sighed: "It's terrible, if it can be filmed, although I can't imagine what kind of audio-visual effect it will bring to the audience, it will definitely leave a name in the history of war movies.

Not to mention anything else, the shooting method and presentation effect alone are worthy of a Golden Rooster Award for Best Film.

It will definitely stand out among all the tribute movies of the Korean War and leave a deep impression on our country's film industry and audience. "

Whether it was a compliment or not, the words of the General Manager of National Film Group brought a lot of confidence to Chen Jingxing.

This movie will definitely be co-produced with China National Film and Television. If Jiang Ruoping can say this, there should be no problem with this project.

"What about the name? Any ideas?"

Chen Jingxing blurted out: ""[-]", let's call it "[-]"."

"You got the inspiration from "My [-]"?"

After Jiang Ruoping read it once, he was a little dumbfounded. "My [-]" is also a gift film for the National Film Project. It is a platter movie, telling the stories of several people from different classes, different identities, and different regions in the year of the founding of the People's Republic of China.

"But doesn't the name "[-]" feel a bit too big?"

Although the shooting method is unprecedented and the creativity is crazy, the focus of the film's story is very small, just the story of two signal soldiers' trekking to find the lost 91 regiment.

Chen Jingxing was already prepared: "Then make two films.

The 31st Division sent two communication soldiers to trek all the way across the line of fire and finally found the 91st Regiment, and brought the 91st Regiment an order to retreat and join forces from the Corps Headquarters, and the enemy's defense information was the first part, using the form of a pseudo-one mirror to the end.

The second part talks about how the 91st regiment launched a large-scale interspersed and roundabout breakout operation. "

This breakthrough miracle, which is rare in the history of war, is actually very suitable for making a suspenseful war movie.

The elements are very rich.

The enemy army is not only the US military, but also the Southern Dynasty army.

The 91st regiment first made an anti-common sense breakout move-who said that breakout must retreat to the main force? The 91st regiment just wants to "closer" to the US military!
Therefore, the 91st regiment resolutely gave up the idea of ​​retreating north to break through, and turned to the enemy's rear and marched south.

All the way through the enemy's rear, we crossed the Nanhan River silently, reached the high mountains north of Neishinji, and then made a wonderful move-continued to penetrate towards the east.

An interesting incident happened during this process. The 91st Regiment once marched side by side with a part of the Southern Dynasty army pursuing northward. However, because the night was dark at that time, the Southern Dynasty army did not distinguish between reality and reality, and did not realize that it was the enemy army that was parallel to them. .

It can be said that the 91st Regiment, the U.S. Army and the Southern Dynasties Army have danced a waltz and completed a successful peek-a-boo in military history.

Although there is no fierce battle, the intellectual game of the three parties, mutual prediction, and intense pursuit of action are all worth filming.

Through multi-line narration, it is completely possible to shoot a "Dunkirk"-style war movie that is slightly suspenseful and even brain-burning, but also more exciting.

In this way, the upper and lower parts of "[-]" can realize Chen Jingxing's idea of ​​being "different" from other war movies.

Perhaps it may not be a brilliant success at the box office, but it is enough to impress the audience.

(End of this chapter)