ghost on paper

Chapter 408 The Stunning Mirror of Heaven and Man (Earth)

Truman and Feng Zikai have a lot of experience on how to shoot a plot that is completely inconsistent with the script under the nose of Time Warner's "Overseer".

A shot is converted from a script to an actual shooting scene, regardless of the elements of the actors, it needs to go through the following steps: script-storyboard-photography-editing.

In the process from script to storyboard, too many articles can already be done.

Take, for example, a trench warfare.

The description in the script is "The protagonist and his comrades repelled the enemy's attack of 7 people with 700 people. The battle lasted for 48 hours, and the order given to the protagonist by the superior was to stick to it for 24 hours."

This is the outline of the plot, and there are further branch scene descriptions in the script, such as "The protagonist A meets the protagonist B in this scene. The protagonist B is a soldier from the North Korean army. After the protagonist B's troops were dispersed, Protecting the heroine arrived at this trench, was captured by the protagonist A, and later explained that she became the protagonist's comrade in arms."

At this point, the director can draw the storyboard.

When it comes to storyboarding, one has to mention that god-like existence, the great director Hitchcock.

Hitchcock said that his films were finished before they started shooting. If you don’t understand this sentence, just go to see his storyboards. The various elements expressed, such as the horror atmosphere, can be fully understood when looking at the storyboard.

"Cloud Atlas" directed by the Wachowski sisters (brothers) has also reached the point where there is no difference between the film and the storyboard.

In addition, there are great directors such as James Cameron, Christopher Nolan, and the Coen Brothers. You can fully understand what their finished movie will look like by looking at the storyboard.

Here we are at the fish-eating director group.

Feng Zikai’s storyboards are quite in the style of Mr. Hayao Miyazaki, full of childishness, more directly like a comic book, while Truman’s storyboards are simpler, even human figures are omitted, basically just stick figures , These two are existences that can be compared with Director Jiang Wen whose storyboard manuscript is more sloppy.

For example, two bars are a trench, seven stick figures are seven fighters, and a bunch of small dots below are the hundreds of extras. This sloppy method can’t even stand the extras, but the camera sense presented Very good, not only clear, but also able to fully express the director's intention.

Here I have to mention the importance of Lu Jieyu's existence. From "The Wave" to "Shang Qi 2" to "Spawn", Lu Jieyu has not even won an award related to photography, but he is indeed a fish-eating crew. A key link in continuously increasing the speed and quality of the filming process.

With Lu Jieyu's shots, it is possible to fully present Feng Zikai and Truman's unspoken filming intentions. As long as the camera is changed, the crew of Eat Fish will be in chaos.

Therefore, when the director, photography, and starring actors can communicate with each other, from the script to the storyboard to the photography, under the eyes of the "supervisor", it appears that there is no difference between the script and the script, probably different everywhere. ” is not surprising.

Not to mention that Time Warner sent a "supervisor", just like watching the filming together with the CEO, the crew of Eat Fish can also play the unique skill of "civet cat for prince".

Of course, they didn't mean to play Time Warner on purpose, but during the filming process, they constantly realized the divine purpose conveyed from "foolishness", and constantly adjusted the rhythm and temperament of the film to make the film more in line with the market and more able to please the audience. This kind of experience is indescribable and difficult to communicate. It can only be seen from the box office results.

……

Wu Jingsheng is an actor who has experienced "Changjin Lake" directed by Tsui Hark.

When I first saw the storyboard painted by Truman, I was astonished.

Tsui Hark’s storyboards when directing "Changjin Lake" not only can explain the scenes, characters, and emotions, but they are also completely painted in watercolors, which are simply works of art.

Compared with the stickman-style storyboard in his hand at the moment, Wu Jingsheng couldn't help but feel a little dazed.

Fortunately, the director is by my side right now.

"Old Chu." Wu Jingsheng pointed to the storyboard in his hand and asked Truman, "Is this a hand? Why am I raising my hand? Why are you lying on the ground? Am I attacking you? I must have a gun in my hand, right? "

"Oh." Truman casually took out a pen and filled in the drawing, and gave Wu Jingsheng a 'gun'.

"Thank you." Wu Jingsheng took the gun and asked Truman again, "Then how could I be in this position, you and I are entangled, isn't this a 'bed scene'?"

"Is it impossible? Let's try." Truman said.

"You have to be gentle." Wu Jingsheng said, since he was knocked out by Truman when he was drunk last time, he had already convinced him of Truman's skill, and he didn't dare to compete with Truman again.

But in the script, I had to fight.

The crew prepares.

Lighting, camera, martial arts... After everything was ready, Feng Zikai yelled "Action!"

Truman and Wu Jingsheng wrestled together. Every time Wu Jingsheng fights with Truman, it feels like manipulating a puppet. Sometimes the other party is a puppet, and sometimes he is a puppet, depending on who is written in the script. Whoever wins, Wu Jingsheng loses this time, so after a few touches, he was knocked down violently, and Truman pressed his hands and feet behind his back in a binding style.

It really happens to be the pose in the stickman storyboard drawn by Truman.

Wu Jingsheng gritted his teeth and persisted, and had to say his lines: "Let me go!"

"CUT!" Feng Zikai shouted.

Wu Jingsheng felt his back loosen, but his hands and feet couldn't return to their original positions, and he suffered from cramp.

Master Zou saw that he was wrong, so he loosened his muscles and bones. Wu Jingsheng gritted his teeth and let out a few muffled yells. He is a man, he bleeds but not tears.

"Xiao Wu can't do it anymore." Master Zou said, "This action can't be designed, it's too real, ordinary people can't bear it."

"Okay, why not, Mr. Zou, don't underestimate me." Wu Jingsheng had already recovered. Although there were beads of sweat rolling on his forehead, his expression was firm.

This entanglement pose is a unique skill that Chen Feng handed over to Truman's senior soldiers to practice on the battlefield. At that time, mainland soldiers were generally of low height, so they could use this posture to subdue enemies who were a head taller than themselves. size, the enemy will even break bones and tendons.

Wu Jingsheng made so many Korean War movies, but he never encountered such a real military unique skill in the filming.

"Let's do it again." Wu Jingsheng said, he stood up and stretched his wrists and ankles, feeling that he was fine.

"Master Jing, let me change the motion design, after all you are over half a hundred years old..."

"Old Chu, let's discuss something. Filming belongs to filming. Can you not mention my age?" Wu Jingsheng was not unhappy when he was twisted into a twist, but now he feels hurt, "We can make this kind of movie to embarrass the seniors Can’t it? If you can’t, you have to go!”

"But I am acting as a senior soldier, and you are a prisoner here." Truman reminded Wu Jingsheng.

"Without a tough enemy like me, how can we reflect the strength of the senior soldiers?" Wu Jingsheng said, "Come on! Come on me!"

(End of this chapter)