This director needs to apologize

Chapter 135 Father-in-law is crazy
During the re-screening time of "1951", Chen Yiming came to the Festival Palace at the same time and walked into the media reception room on time at 2 p.m.

This is the first heavyweight media interview on his Cannes schedule, and it comes from the official Cannes magazine "Daily Screen".

The reporter who interviewed him was named Chloe Bonnet, an elegant lady in her forties with brown hair and blue eyes.

After a brief exchange of greetings, the interview still started with the question of "bad streets".

"Chen, I was also at the premiere of "1951" last night. The atmosphere after the screening was really great. "1951" was also on the cover of the first-day show today. What do you think about this?"

"First of all, thank you for your applause. As for your feelings, I am flattered. It is the first time in my life that I have received such a long round of applause. I feel very pressured."

After listening to the translation, Chloe smiled and asked, "Why should there be pressure? I think "1951" is very good. It is a rare war movie that makes me feel warm. It deserves the treatment last night."

Chen Yiming replied seriously, "Maybe I'm not used to it. This time last year, I was still an ordinary company employee doing work that had nothing to do with making movies.

In my daily life, people don't express their preferences in the direct and exaggerated manner that the audience did last night. "

The female reporter raised her hand to cover her blurted out exclamation, "Oh my God, Chen, you are more surprising than your movie.

In other words, you made two movies in less than a year!
As far as I know, your debut film had a global box office of over 2 million NutCoins, and your second film, six months later, came to Cannes.

Are you a Son of God? "

The authorities are fascinated by the onlookers. People around Chen Yiming have long been accustomed to his magic. Chen Yiming himself has never felt that he is anything special.

However, when a foreign reporter, out of professional habit, omitted all the intermediate processes and directly connected the beginning and the end, Chen Yiming discovered that he was really amazing during the period after time travel.

His career span is comparable to that of the truck driver in his previous life, but he did not become invincible as soon as he came out of the mountain. Instead, he went through a long apprenticeship, accumulated experimental works and expanded his personal abilities. It is reasonable and well-founded. People are convinced.

When you come to him, you will be at your peak when you debut. What is leveling up?nonexistent!

It can be compared to the birth of a monkey, completely jumping out of the cracks in the rocks. But any normal person would find it difficult to connect his journalism degree and public relations background with movies.

What can Chen Yiming do? He can't tell reporters that he is a bastard with natural skills.

If it is a domestic media, Chen Yiming can also push the credit to other members of the crew. Anyway, in China, actors, writers, singers, and bosses can cross over to become directors, as long as they have enough assistant directors.

He was previously the general manager of Platinum Jue, rounding it off as the second boss, barely meeting the director's minimum requirements.

If you really have to answer like this, wouldn't it be a scandal of the family?
In fact, there are many serious analyzes in China regarding Chen Yiming's sudden emergence, and they believe that Chen Yiming is just a vase in front of the stage, and there must be someone behind the scenes.

Otherwise, there is really no way to explain the proficient commercial film rhythm and skills of "Holiday in the Magic City". This is something that Chinese directors generally lack. Many veteran directors who have been making movies for half their lives cannot master it.

It is also for this reason that some media put forward an inference that the real director of "Holiday in the Magic City" was Lili's father. In order to promote his daughter, he was willing to let Chen Yiming, a slutty son-in-law, gain fame. MV serves as evidence.

After all, you have to follow the rules when opening your imagination. Everyone knows that most domestic directors don't have that ability. The few who have the ability have already achieved fame and success, and they can't afford to hide their heads and hide their tails.

So old Colin was worshiped as his father-in-law from afar, and he was happy to have a baby boy across the Pacific Ocean!

Before today, Chen Yiming did not need to consider the problems that surprised his allies at all. Whether it was nonsense or mysticism, it would not have any impact on him.

But now when facing foreign reporters, it is not appropriate to talk too much.

Chen Yiming used a rather exaggerated hahaha to express his inner confusion and embarrassment, and then his brain turned wildly, racking his brains to find a relatively reliable answer.

"My lovely lady, your appreciation alone is more than the applause of 2000 people last night. At this moment, you make me swell like never before. Fortunately, I have enough self-knowledge.

Even this time I came to Cannes, I just came to see the world and gain experience. Being selected for the main competition is already my greatest luck.

As for the box office performance of "Holiday in the Magic City", that really doesn't mean anything. It's all a matter of luck. "

Chloe immediately retorted, "No, no, no, Chen, you are too modest. Two feature films in one year, and both are very good. This is not an easy thing. I think you must have your own knack."

The reporters at the Cannes event are indeed not as professional as ordinary reporters. Chen Yiming's deception did not work.After thinking for a while, he replied, "It's not about the secret. As I just said, I have enough self-knowledge.

In my opinion, director may be the position with the lowest entry level and the highest upper limit in film production, as long as you can find reliable helpers.

The most fortunate thing about me is that I have met many good friends in the film field. They not only have excellent professional abilities, but also are not picky about my subject and background, and are willing to accompany me to go crazy.

In the process of going crazy, I tried my best to keep my mind partially clear, and did not go crazy from beginning to end. Maybe this is the reason why "Holiday in the City" and "1951" were successfully completed. "

Chloe was very interested in Chen Yiming's statement and decisively put aside the interview outline and continued the conversation.

"Chen, I have heard similar statements from many directors. Filmmaking is a crazy activity. They are extremely devoted and enjoy the pleasure of struggling between control and loss of control. What do you think of this?"

Chen Yiming smiled and said, "I think you misunderstood me. The crazy state you mentioned is a manifestation of directors' creativity. The crazy I mentioned is simply crazy.

At least this is what my friends on the crew said when they first saw my script and storyboards.

When my partner and I first talked about the idea of ​​a princess escaping from a magical city, my art director’s first reaction was to ask me, are you making a movie or a short play?

Then I told him that this thin storybook was the entire content of the movie, and he shouted directly at me, are you crazy?
You know, movies are an art of editing, and the minimum ratio of finished film to material is usually 1:3, and many directors will expand it to 1:5 or 1:8.

My favorite Chinese director Jiang Huiwen also came to Cannes for his new film the year before last. As far as I know, his filming ratio has never been lower than 1:10.

The ratio of "Holiday in Magic City" is 1:1.3. Basically all the scenes I shot were included in the finished film. Only minor details or a few scenes that were in the background were deleted. "

Chloe was shocked again, "Wow, do you mean to say that you will think about the final film before shooting, and then make the film strictly according to your own imagination?
I have interviewed similar directors. The 2003 Palme d'Or winner, Thailan director Rama Yoan, has this style. "

Chen Yiming smiled and retorted, "Of course, no. Director Rama's editing ratio is low because he went through a long preparation period, and what he left behind after several deletions and changes is the essence.

My editing ratio is low because my lack of experience, superficial technical reserves, and weak control can only support me to shoot so many things, and I won’t be able to control any more.

So when making "1951", I simply adopted a one-shot, real-time approach. The time span of the story in the movie was completely consistent with the length of the movie.

Strictly speaking, this movie is a drama that keeps changing scenes, and the editor's job is to connect different scenes.

In the same way, I put into the film elements that I wanted to express and that were within the boundaries of my abilities.

From the one and a half hours of "Holiday" to the two hours of "1951", I think this improvement should not be small. "

Chloe was shocked again and again today, and she was completely numb at the moment. She just murmured in agreement, "Chen, you described an incredible process, and you are also an incredible person.

I really don’t want to admit this. Please allow me to continue to regard you as a very humble young man. After all, I really don’t want to reset my outlook on life.

Let's talk about "1951". After last night's premiere, the feedback I collected was very encouraging. The groundbreaking mobile one-shot, this is the comment I heard the most.

How did you come up with the idea?The idea is even more amazing when you combine it with the fact that you were an office worker last year with nothing to do with movies. "

Chen Yiming continued to pretend to be a newbie, "Maybe it's because I'm a complete layman. Before I started shooting, I never thought about how difficult it would be to shoot a long lens. What moved me was that my friends knew this, but Or choose to go crazy with me.

"1951" was inspired by my experience playing third-person shooter games. The movement distance of the protagonist in the movie is generally consistent with the level flow of the characters in the game.

The prototype is a war story I heard from an elder. He described to me a scene full of hope. At the end of the fierce defensive battle, they held on until the moment reinforcements arrived from the rear, although there were only a dozen reinforcements.

My elder became lifelong friends with one of the 17-year-old young recruits. He told me many stories about that friend and the lifelong impact that battle had on them.

At that time, I had the urge to film this story. The elders are too close to me, and the elders’ old friends are neither far nor close to me. They are more suitable objects for me to present at this stage.

Hence the story of "1951", a 17-year-old recruit who ran for his life for two consecutive hours. "

(End of this chapter)