The King of Huayu Science Fiction

Chapter 605 Anti-war, what's so difficult?
"Nineteen Fifty-one, which took two hours to finish, and the speed of life and death of two soldiers, Chen Jingxing showed off his skills crazily!"

""[-]": A messenger who runs with his life."

"A quiet movie has the power to shock people! Chen Jingxing has brought an immersive war movie!"

""[-]" was screened, and Zhang Yimou praised it without hesitation: "It's breathtakingly beautiful and unimaginably cool. It's a magical marathon!"

"The pre-sale of "2000" is very hot, the first day of pre-sale has exceeded [-] million! It may become the second "Li Yannian""

""[-]" became popular before it was released. Is it flashy, or is it a hidden mystery?"

"One shot to the end, extraordinary experience, "[-]" hits theaters, a war blockbuster that shocks you so much that you can't breathe!"

"DreamWorks has once again innovated a new chapter in war movies after "Li Yannian", an immersive war movie, a must-see on the big screen!"

"The king of sci-fi has made a war movie like no other!"

"One mirror to the end..."

In an office in Jingying, the head of Fu Sheng's face is calm, but anyone with a discerning eye can feel the anger and a bit of disappointment hidden under the calm water.

"It's not really a one-shot to the end. There should be at least a dozen or twenty shots spliced ​​together. There are already people discussing and analyzing the editing points in "[-]" on the Internet."

Someone responded cautiously.

"Of course it's impossible to take one shot to the end. First of all, it's unrealistic. Second, if it's true, we must have known it a long time ago."

Zhu Wenjiu, the senior producer of Jingying Films, shook his head, as if he was still thinking about the two screenings he watched yesterday: "I heard that this movie was very difficult to shoot, but I really didn't expect it to be a fake one." Mirror to the end."

The production team of "[-]" gathered the elites of DreamWorks and China National Film Group. This circle is not that big, so even though DreamWorks' secrecy measures are very mature, the industry will still learn some information.

I just heard that there will be some long shots in it-this is a fact in itself, "[-]" is indeed composed of dozens of long shots.

But no one can think that these so-called long shots are composed of one shot to the end.

Although Zhu Wenjiu came forward to defend "King Kong River" on the Internet, he also really loves movies. He is a literati in the film industry. He has handled many classic works of Jingying in the past.

So even though he was very dissatisfied with Dreamworks and Chen Jingxing's "smearing" methods in the National Day file, he was indeed a little impressed by the quality of "[-]".

Liang Jing snorted: "So what about one shot? I've never heard that the box office can be obtained by one shot and long shots. That's a matter of literary films."

As the producer of "King Kong River" and Guan Hu's wife, she still has a glimmer of hope that "The Raid on the White Tiger Group" will appear in next year's Spring Festival, and she also faintly resists in her heart that the upper part of "[-]" may be released. Harvest success.

Because that meant the complete failure of her and her husband's hard work, and the last chance to stand up also collapsed.

Hearing these words, Zhu Wenjiu could also understand the other party's inner thoughts. He was silent for a while, and sighed: "Chen Jingxing's ability to tell stories has not deteriorated..."

There is even a tendency to reach perfection.

Movies are art, and stories are not the most fundamental thing. After all, movies are the art of light and shadow, not the art of stories.

But when you treat it as a commodity and look at it from the perspective of a commercial film, the importance of the story is beyond the reach of other elements.

Some directors may not understand this truth. They call themselves artists, even if they make commercial films, they still can't let go of their persistence.

But Zhu Wenjiu naturally understands that although he has the reserve and self-awareness of a literary and art worker, he is not an art director after all. Can't do it in this position.

For a long time, Chen Jingxing has always been based on creativity and imagination in the eyes of the public.

But in his mind, the ability to tell stories is Chen Jingxing's trump card.

The story is not only fluent, but also extremely interesting.

This is the top quality for a commercial film director.

But perhaps because of his predecessor's instinctive rejection of this unprecedented and fiercest back wave, perhaps because of the competition between the two companies, or perhaps because of his literary temperament, Zhu Wenjiu's opinion of Chen Jingxing has been intentionally or unintentionally lowered.

Acknowledging his ability in commercial film production, but not thinking that Chen Jingxing is a film master.

Chen Sicheng is at best a high profile version. He instinctively dislikes and disdains the voice of public opinion and ordinary audiences touting this young man as a film master.

Regarding its high Douban score, it can only be said that Chen Jingxing is a skilled craftsman who is good at pleasing the public, and he is still far from a true master.

For example, regarding Douban's highest-scoring movie "Inception" in the past 20 years, he believes that the structure and creativity of the movie are indeed amazing, but the story itself is not that good.

This is a movie where the structure overrides the story, like a computer maze game that has nothing to do with itself, and there is nothing to say but the structure.

It is precisely because the structure and logic are too strict and exquisite, and the play of narrative structure is almost ostentatious, so it is a bit overwhelming. In popular words, it is too crafty.

But "Interstellar" made him a big change.

Not as showy as "Inception", and the narrative is more restrained and calm.

He has seen the shadow of the film master.

And in "[-]", he was even more surprised to the point where he couldn't control himself.

Long shots or one shot to the end are usually the exclusive challenges of literary films, and they have a distinct artistic avant-garde color.

Therefore, usually long shots or one shot are for light, shadow and imagery, and have no bonus in the narrative of commercial movies.

But what surprised him most about "[-]" is that this film has almost perfectly integrated the avant-garde technique that used to be unique to art films with mature commercial narratives.

Even the form of one shot to the end makes its story even more amazing.

It is no exaggeration to say that it is a master level.

In his opinion, war movies are a bit of a thankless genre at the moment, not to mention that there are restrictions on censorship and red lines, and what Chen Jingxing is doing is simply refurbishing a classic car, and thinking of turning it into a It drives on the track and compares the speed with supercars.

The key is to succeed.

Pseudo-one shot to the end The connection between the various long shots and the exquisite scene scheduling make "[-]" almost reach the extreme of light and shadow aesthetics in terms of war themes.

Saying that this is an art film, Zhu Wenjiu couldn't find any excuse to refute it.

And this bold form of one shot to the end also creates an unprecedented sense of urgency and immersion at the same time.

This is a movie-watching experience that he has never had in all previous war movies at home and abroad. Almost every minute and every second, he truly breathes and shares the fate with the protagonist.

This shocking movie-watching experience adds too much to the narrative, and it is full of commerciality.

This kind of movie is simply born for movie theaters, and it will definitely make ordinary audiences love and even be obsessed.

In contrast, "King Kong River", which invested more than twice as much as its own company's all-out investment, looks too incompetent and mediocre in comparison.

With only two protagonists, and even without much war scenes, he managed to perfectly express the realism and cruelty of war, such as the imagery that he and many others have always wanted to express.

The "Eight Hundred Apocalypse" that he was once proud of was extremely clumsy in comparison.

"Are you so optimistic about the commercial prospects of "[-]"?"

Liang Jing frowned, still a little unwilling: "Then treat him in his own way, is it..."

"no!"

Zhu Wenjiu seemed to know what Liang Jing wanted to say, and without hesitation directly extinguished her seemingly lucky idea: "This movie is too...so clever, almost impeccable, and it stands on two...two political lines at the same time. on the right mountain."

This is also the point where he was most shocked, and even felt a little powerless.

For a long time, the highest achievement of war movies is anti-war. This is an artistic monument conveyed and shaped by classic Western war movies, and even a ideological stamp.

Especially for intellectuals in the literary and art circles, anti-war thinking is the highest achievement of a war movie.

This is also the achievement he and many filmmakers have worked hard to break through all kinds of constraints and achieved in domestic war films.

And "Nineteen Fifty One" has undoubtedly reached this monument, and it has reached this monument with an extremely high standard.

But it was reached by a completely different path.

It even subverted his long-standing ideas.

Not with "Jinling!Jinling! "The expression method is not to use the "Eight Hundred Revelations" to try to show cruelty or even to fabricate a kind Japanese reporter who was hanged by the irrational Chinese people-even though this scene has repeatedly played games during the long review process. The next section was still deleted, which made him quite regretful as a producer.

"[-]" created an unprecedented sense of immersion and follow-through in a one-shot manner, allowing almost [-]% of the cruelty of war to be presented through audio-visual language.

Whether in the abandoned camp of the enemy, the mouse accidentally touched the mine line, and the dark mine almost buried the protagonist in the tunnel.

Or accidentally fell into the dead body lying next to the bottom of the pit.

He is one of the protagonists, a fledgling inexperienced and kind-hearted communications soldier who wanted to rescue the crashed American pilot, but was stabbed to death by the American pilot.

He hid in a ruined village, and in the house, he ran into a young girl from the dynasty who was holding a baby in her arms. The baby's parents had been killed by the southern dynasty army and became orphans.

The only remaining hero who lost his comrades and was immersed in grief and indignation, gave his only dry food and collected fruits to the court girl, and then refused to persuade him to stay and resolutely embarked on the search for the No.90 group , the way to save the [-] fellow fighters.

Or the corpses of enemy soldiers who fell into the river and swam to the shore after fighting and chasing soldiers from the Southern Dynasty.

The audience is always surrounded by the fear of the behemoth "war", looking forward to and fearing the next scene of the movie together.

The next scene may be the death of the protagonist, or it may be survival, like the box about to open "Schrödinger's cat", life and death are in a quantum state.

It vividly depicts the horror and fear of war.

The film does not shy away from expressing the protagonist's fear, hesitation and fear.

It also unobtrusively reveals the desolation along the way, the dead bodies of the enemy army and the people of the dynasty, the powerlessness of the two protagonists and the difficult and dangerous journey.

The idea of ​​anti-war expression is incisive and vivid.

But this kind of anti-war is completely different from the anti-war that Zhu Wenjiu has always believed.

Because the communication of the anti-war theme is not accompanied by the deepening of the tragedy, not the sobering reflection and heaviness, but the advent of hope and the firmness of faith.

In addition, the main background of the movie is that two soldiers are looking for the lost No. 90 regiment of [-] soldiers who were intercepted by the enemy, passing information and communication equipment.

The essence is to save the lives of those [-] fellow fighters who may be in danger.

The whole movie is like Bai Yu, the scout's awareness of the pain of war and the awakening and reshaping of his belief in victory during his journey on the battlefield.

It is the rebirth of an ordinary and extraordinary warrior.

This simply goes against Zhu Wenjiu's consistent cognition.

Because he has always believed that these two things are completely opposite.

One is the political correctness of universal value that he considers himself a literary worker, and the other is the political correctness shaped by the main theme.

He and many filmmakers have been tossing and turning between the ideas he sincerely approves and the propositions he has to follow, trying to take care of both sides.

This is also the reason why Zhu Wenjiu felt heartbroken at the netizens' attacks on "Eight Hundred Revelation" and "King Kong River". Only he knows how difficult it is for many filmmakers like him to show the theme of anti-war under heavy shackles , but the audience did not understand.

But at this moment, Chen Jingxing's movie seems to be a mockery of his aggrieved and wronged all along.

Instead of tossing and turning between the two, it's a blend of the two.

The theme of anti-war and respect for life, the pursuit of hope, the desire for victory, and the belief in the justice of this war are like two sides of a coin, which Chen Jingxing tossed out with ease.

And this also caused Zhu Wenjiu's reserved arrogance of literary and art workers and his dissatisfaction with the audience's hatred of iron and steel to collapse in an instant when Zhu Wenjiu faced thousands of criticisms in Beijing Film and Television.

This was the hardest blow to him.

This young man who has caused Jingying to suffer a lot seems to be killing them.

It seems to be saying, you people have been awkward all these years, thinking that they are Don Quixote, full of incomprehensible and want to educate the public, and want to convey the biggest private thing - anti-war, what's the matter? hard?
I will teach you now, what is tm's anti-war!
(End of this chapter)