The King of Huayu Science Fiction

"Do you think there is a problem?"

Lao Mouzi never moved his eyes from the slow-motion shot on the big screen, and asked softly while taking advantage of the slow-motion shot with the gentle piano soundtrack.

He could clearly feel the disapproval of the young director sitting next to him.

Chen Jingxing, whose back was almost completely sunk in the seat back, was momentarily at a loss for words, because there were too many flaws, he couldn't find the point of criticism for a while.

Although this is theoretically his second time watching the movie.

But in fact he was still watching it as a new movie.

After all, apart from the sci-fi classics in my mind, most of the memories of the previous life plane are very distant things.

And this "King Kong River" in this plane is not without positive changes.

For example, he vaguely remembered that there were quite a lot of repeated scenes in the movie of the previous life plane. Originally, three lines with different characters and different angles were used to tell the same story. Cutting into the same battle is indeed more interesting in terms of narrative structure.

However, because the shooting schedule was too short and tight, and the three directors lacked overall planning, the final effect was a complete waste of this narrative structure.

Not just that there was shot repetition, but a lot of repetition.

In this plane, Guan Hu has obtained a relatively long shooting cycle, and has been preparing since the first half of last year, so there are basically no repeated shots. Even if the three lines meet, they are based on different perspectives of characters and different camera positions. displayed.

But other than that, in other respects, it is still speechless as always.

For example, the bridge of people.

This is of course conjectural by Guan Hu and the screenwriter.

And it's quite an outrageous delusion, a delusion that deviates from the laws of physics, and it is similar to the soldiers in "Eight Hundred Apocalypse" who tied grenades and jumped off the building.

Of course, artistic construction is unavoidable. Even though a soldier jumping off a building with a grenade strapped on is purely taking off his pants and farting, there is no military rationale, and it belongs to the artistic imagination of a blind military filmmaker—the M24 grenade in the film has four to five wonderful delays. As long as the soldier delays about 2 seconds in his hand when throwing a grenade, there is no chance of throwing it back or throwing it away to the enemy.

But in fact, the artistic structure in "Apocalypse Eight Hundred" is considered relatively successful. From the perspective of film art, it is not a big problem.

Kerenqiao is too outrageous. This level of outrageousness will distort the spirit of sacrifice that the movie may try to convey, and even make many people subconsciously resent it.

It's like extolling the penury of scientists.

It is simply a concrete presentation of carrying the banner against the banner.

What is even more outrageous is the character design of the protagonist. An anti-aircraft gun company commander was demoted to the squad leader because he violated the discipline of anti-aircraft lighting control and lit a fire and smoked on the ground, and accepted the command of his previous subordinates.

But because of his old qualifications and bad temper, he regained the command in his own organization when he reached the bridge.

He also rearranged the position according to his own intentions, and finally barely completed the air defense mission.

The outrageous level is indistinguishable from the human bridge.

How about leaving the filming of "Bright Sword"?

The army in "Eight Hundred Apocalypse" is more organized than the army in "King Kong River", as if an army was temporarily pulled from the bandit's den, and defeated the US military in a magical way.

No, the U.S. military has not yet been defeated, but the cowboy pilots of the U.S. military are awed by the heap of human lives that are not afraid of death. The shocked release of water may also move the sky at the same time. In the slow motion, the bombs dropped by the menacing bombers are all around the bridge. fall.

It is almost in the same line as "Apocalypse of the Eight Hundred". It belongs to young and Dangerous boys fighting. If you show a desperate momentum, the other party will be shocked by you, and then walk away with a knife in respect. It all depends on influencing the other party's conscience. One of the Japanese troops is the U.S. Army.

Of course, in Guan Hu's eyes, there may be no difference between the Japanese army and the US military, and there is no difference between the KMT and the People's Army. In this way, the logic can be self-consistent.

Chen Jingxing, who had figured out some things, changed his mind, saying that Lao Mouzi might not be able to understand these things.

After all, in the eyes of film art workers, especially Lao Mouzi's generation of filmmakers, these are all artistic structures, and the self-consistent rationality of logic, respect for facts, and even more grand themes of gifts must give way to artistically created.

It can move people, can express one's own humanistic ideas, the lens language has a sense of design and artistry, and the degree of completion reaches a certain level, which is a good movie.

In fact, Chen Jingxing also partly agrees with this concept, but gift films, especially those involving such major historical events and serious ideology, must have boundaries in artistic creation, and cannot be superior to others.

So after thinking for a few seconds, Chen Jingxing responded: "I think the sensationalism is a bit too much, the slow motion is too rampant, an excellent movie should be restrained in this regard, and the movie cannot be shot as a MV."

Lao Mouzi froze for a moment, looked at the slow-moving camera on the screen, and nodded slowly.

In the soothing piano music, the bombs slowly fell around the human bridge, causing splashes. The soldiers marching across the bridge slowly stepped forward and charged forward. Move up.

It's been over a minute.

No sign of stopping yet.

Lao Mouzi seemed to have thought of something: "I suddenly remembered what you said. There seems to be no slow motion in "Interstellar"."

"Hmm, there isn't any, not even in "Li Yannian"."

Domestic commercial films started relatively late, and many of them were taught by Hong Kong Island, including directors like Guo Shi, who are good at making art films, but they are far from mature enough to shoot commercial films.

Excessively sensational or unnatural is a common problem of a large number of domestic commercial films.

And the abuse of slow motion is typical.

"For example, "Interstellar", according to the routines of many domestic commercial movies, when the male protagonist and his daughter parted, when the male protagonist separated from the Eternal spaceship, separated from the female protagonist, and sailed towards the black hole, the male protagonist was in the hypercube. , the young daughter and adult daughter will definitely use slow motion to sensationalize when they walk around the bedroom for inspection.

Even when the daughter gets the watch and sees the shaking of the pointer, the scene of going out excitedly to hug her brother will use slow motion.

The elder brother is walking towards the house in slow motion, the younger sister is happy to go out and rush to the elder brother in slow motion, and then there is an overhead shot to slow down the fire in the field. "

Chen Jingxing watched the scene fall into darkness, clapped along with the crowd, turned his head and said, "But I didn't use any slow motion, even if it was the voice-over at the end, the heroine's actions and shots on another planet were not shown. slow.

In fact, many domestic commercial films are not bad in terms of pure script, technology, and shooting techniques, but the narrative lacks restraint, not only the restraint of slow motion, the restraint of sensationalism, but also the restraint of expressive desire. When you are a fool, you get the best results when you are just right. "

The national teacher is actually relatively restrained in this respect, but in Chen Jingxing's view, he can be more restrained.

Seeing the old man's pensive look, Chen Jingxing sighed secretly, and only hoped that there would be time for Lao Mouzi to polish his "Sniper" script more.

"Sniper" actually has a lot of highlights, but it is still a bit too profuse and deliberate in terms of sensationalism.

In "Sniper", the characters say not to cry, but the movie is a bit too restrained in this respect.

Of course, the plot of the story does not stand up to careful scrutiny, and it is in line with the usual style of the National Teacher.

"What do you think?" Chen Jingxing clapped his hands and asked the national teacher who was watching the movie in silence the whole time.

Lao Mouzi did not hesitate or think: "The narrative structure is very interesting. This way of presenting the same battle with three different perspectives is quite novel. It belongs to an alternative three-line narrative. It is a bit like your style, but the rhythm and expressiveness Not up to your level."

As always, Lao Mouzi only praises people and does not criticize, but it is quite in line with the character of the national teacher. He is very good at and willing to absorb and learn new things, which complements his strong desire to create.

Of course, the national teacher's speech is indeed of a high level, and this evaluation also flattered Chen Jingxing, which made him feel embarrassed.

The old and the young chatted happily, and they said goodbye happily when they walked out of the theater.

"See you in Xiamen."

"You're wrong, I'll see you on the podium."

Lao Mouzi smiled like an old urchin: "I am the award presenter.

Remember to leave me the premiere ticket of "[-]". "

Immediately, the two were surrounded by reporters.

"Director Chen, what do you think of "King Kong River"?"

Chen Jingxing faced the reporter with a smile, blowing rainbow fart gracefully.

He didn't come to spoil the scene. Besides, even though Guan Hu quietly slipped away during the premiere of "Li Yannian" and did not routinely face the media to help out, he didn't spoil the scene either, did he?
Naturally, it was impossible for Chen Jingxing to do such a thing, even though many of the media reporters in front of him showed their eyes, they were obviously eager for Chen Jingxing to say something shocking.

After all, as the dark horse of the year, "Li Yannian" has a high box office, and many people have watched it.
Anyone can see that there is a big difference between "King Kong River" and "Li Yannian".

"Well, the special effects are good, the visual effects are good, I believe the audience will not be disappointed... the plot? The narrative structure is very interesting and creative..."

Chen Jingxing was disappointed that he didn't say anything surprising, criticizing "King Kong River".

He looked at the disappointed eyes of the reporters and smiled secretly. He is not a fool, how could he just step on it?What a shame.

Of course, we have to step on it secretly.

After all, Guan Hu's "King Kong River" sequel "Assault on the White Tiger Regiment" is the competitor of the lower part of "[-]" in the Spring Festival.