This director needs to apologize

Chapter 143 Interactive Movie Review
At 8 pm on August 17, the third screening of "5" officially ended in the Debussy Screening Room of the Palais des Festivals.

The original cast of "1951" that participated in the opening ceremony, led by Chen Yiming, took to the stage to interact with many fans present.

For film festival entries, this segment isn't necessarily cheery.

For example, in this theater, the last screening of the Gallic film "Thriller" was booed wildly.

Local viewers have no consciousness of "supporting domestic products". If they think it's not good-looking, they won't shout "RNM refunds" and will say a lot of ugly things.

Judging from the on-site response, the viewing experience of "1951" was not bad. A dozen audience members left the show in the first half, and the rest of the audience sat until the end.

After Chen Yiming and his party sat down, thunderous applause and whistles rang out in the venue. The five people had to stand up again, applauded and bowed to greet the audience.

Under the organization of the resident translator and master of ceremonies, order was finally restored.

As usual, Chen Yiming and the others have to answer 3-7 questions. If no one asks, they will answer 3 (don’t ask why there are still 3 if no one asks). If there are more people asking, they will answer 7.

The first audience member who was called was a young Gallic man. He asked Chen Yiming, "The movie is very interesting, but I have never heard of the Peninsular War. Did you, the director, make it up?"

Chen Yiming was amused, picked up the microphone and replied, "First of all, thank you for your review of the movie.

The Peninsula War is a real history, and the movie is also adapted from real battle cases.

I may also add that Gaul also sent troops to participate in that war, the navy sent a destroyer and the army sent an independent battalion. "

The young man was stunned after hearing the translation. It took him a long time to hand over the microphone and sit down again.

There were noisy whispers in the auditorium until the second audience member who asked a question was asked to stand up.

This is a blond girl with chubby freckles. She is asking about Liu Dongjun. "Mu, your performance gave me a pleasant afternoon. Can you introduce yourself? I am now your fan."

Xiao Liu took the microphone generously and recited his resume in a broken Gallic dialect, which greatly catered to the self-esteem of the local audience, and a burst of warm applause broke out.

This is Liu Dongjun's innate skill. He has lived in Maple Leaf Country for many years, which is a culturally influenced area of ​​Gaul, so he has learned a little Gaulese.

The third audience member who was called asked Chen Yiming how many editing points there were in the movie. He only found 7, and except for 4 that he was relatively sure of, the other 3 were not very sure.

Of course Chen Yiming would not answer directly, "I personally hope that the audience can view it as a coherent story.

Of course, there may be viewers who want to find the fun of solving puzzles, and I welcome that. "

It was difficult for the director to overcome this, so other audience members began to ask the two photographers, asking in a roundabout way where the connection had been disconnected.

Mr. Sang was not too keen on the trip to Cannes and was willing to be the backdrop for several group outings, so he put all the problems on Paul.

As a Steadicam photographer, Paul had a rare opportunity to stand on the front stage, so he was particularly excited.

He gesticulated with the audience (GUAN) and talked (SHU) about the miracle of "one shot to the end" photography. He burst out all kinds of professional terms like a barrage, making the translator very busy and sweating, and confusing the audience who asked questions. Got to be confused straight away.

As a result, Paul put down the microphone in the middle of speaking and was about to raise his hand again. The audience handed out the microphone at the speed of light, and the translator reached out to pick it up in seconds. He clicked off the words in the middle of his mouth and changed to the next topic.

The Chinese audience at the scene asked Duan Yining, "Teacher Duan, I am your first-generation movie fan. I have followed you since you starred in "Wandering" in 03.

I remember that "Adrift" was also a film with many long shots. Now you are starring in "1951". What do you think are the differences between the two films? "

Duan Yining proudly pouted at Chen Yiming, meaning, look, my buddies and fans have come to Cannes.

But when he answered the question, he was not polite to his fans at all.

"There is nothing the same between these two films, so I have no way of answering your question. And I am not the star of "1951," the star next to me is.

Regarding the differences between the two movies, you have to ask the two directors. I can talk about my own differences.

When I acted in "Drifting", I was 27, just a few days after being admitted to the military art troupe. At that time, I had just finished my life as a drifter in Beijing, so I actually acted in my true colors.

Now that I'm 35, I can step out and play some complex characters. Unfortunately, I can't find a camera willing to stare at my face for a whole day.

It's not easy to meet this guy." Duan Yining pointed at Chen Yiming, "But he still doesn't want to give me a straight face. "

Lao Duan's fans were struck by what he said, and they immediately turned their anger on Chen Yiming, "Director Chen, in the movie where the staff sacrificed their lives, why didn't you take a picture of Teacher Duan's face? I've been looking forward to the camera turning over."

It was rare for the translator to take a break, so he had no control over the situation, so the two groups started chatting across the steps.

Speaking of which, I really feel sorry for Lao Duan about that scene, because the original design and subsequent rehearsals were all a two-player scene, with each person excelling in the middle line.Moreover, in the previous version, the lines in the old section were more tortuous and rich, instead of being spoken at the speed of light in one sentence like in the finished film.

How could Chen Yiming be stumped by such a question? He immediately said, "Just like the author of a novel cannot control the fate of the characters in the book, the characters in the movie also have their own choices."

Duan Yining intervened without hesitation and said, "I didn't want to choose that. Don't blame me."

"Hey!" Dozens of audience members who could understand Chinese booed immediately. The remaining audience members who didn't understand Chinese followed suit decisively when they saw the excitement. For a while, the auditorium was filled with boos.

Chen Yiming remained calm and waited for the sound to subside before raising the microphone again, "I mean, the camera also has its own ideas, and I respect it."

"Ugh!" There was another burst of boos, and the audience immediately shouted Paul's name, actually reminding him of someone's bad blame-shifting behavior.

It's a pity that Paul didn't understand what was said on and off the stage just now. As soon as he heard his name, he immediately entered the performance state, smiling and waving, and nodded "YEAH, YEAH" while waving back.

This is the end of the brief cross talk drama. It's okay to make a small fuss. It would be unfriendly for one of you to enjoy yourself in front of outsiders for a long time.

The end of the interaction with the audience means that Chen Yiming's schedule is halfway through and he can relax for a few more days.

That evening, "Daily Screen" officially released the first issue of the media jury's ratings. "1951" was temporarily ranked tied for third place with a score of 3.0.

A total of 20 films have been shortlisted for the main competition of this film festival, half of which have been officially released.

A total of 12 media judges were invited. In addition to Cannes itself, there were 11 media reporters from Nut, Gaul, Britain, Sweden, Henan, Pyramid Country, Thailand and other countries.

The film that currently ranks first is the local drama "Burning Leaves" with a score of 3.4, ranking second among all previous Cannes Film Festival scores.

Ranking second is Germany's political satire film "The Newbie", with a screening score of 3.1.

"1951", the nut film "Fourteen Months" and the British film "Stakes" both scored 3.0, ranking third.

Among the media judges' evaluation of "1951", the film review by "Hollywood Reporter" columnist Pollack Jackson is the most representative.

Pollack listed three major innovations made by "1951" and spoke highly of them. He even believed that "1951" further expanded the scope of world film history.

The first thing to bear the brunt is naturally the unique "mobile one shot", or "mobile long lens".

Although some judges believe that "1951" is a movie made up of long shots, but the splicing is more subtle, but in terms of its essence, after all, it is different from "Rope", a groundbreaking film that has a complete one-shot.

Pollack strongly refuted this view. In his view, the essence of film theory is the art of visual deception. The starting point for evaluating a film should always be the film itself, and there is no need to go into its behind-the-scenes production.

The work behind the scenes certainly has its significance, but that belongs to the level of technical discussion, not the category of film appreciation.

From this perspective, "1951" does have unique qualities. It is the first attempt to apply the dramatic principle of the Trinity out of time and into space.

If the constraints are more stringent, "1951" has achieved the ultimate that it can do, that is, guiding the audience to travel through the limited space completely and without stopping within the limited time.

This is a useful attempt to expand the boundaries of film possibilities. The result of the experiment is not crude and crude, but a masterpiece that is quite enjoyable and thoughtful.

Any filmmaker should express goodwill and encouragement to the designer of the experiment, Director Chen Yiming.

If the second innovation is global, then the second innovation is national. Pollack calls it "the art of blank space under the paradigm of Eastern philosophy."

Pollack reminded film critics that the fate of almost all the characters in "1951" is in a "Schrödinger state", which means that the outcome does not depend on the script and performance, but on the psychology of the audience themselves when watching the movie.

Are any of the friendly soldiers the protagonist encounters along the way definitely dead?

It seems that one of them is a soldier in the reconnaissance group who was shot by an enemy observer.

Is he really dead?In fact, it's not necessarily true, because if a kind-hearted audience believes that he was just injured and unconscious, it is not completely unreasonable.

Previous war movies, especially those that reflected battles on the front line, tended to use a large number of direct explosions, blood, and dirt to highlight their anti-war stance and guide character arcs.

"1951" obviously followed the same path, but in terms of specific implementation, he used the technique of leaving blank space to avoid the death of the martyrs and amplify the emotions of the inspired ones, leaving a lot of room for the audience's imagination.

If this was a montage film shot normally, the technique of leaving blank space might be counterproductive, but precisely because of the limitation of "one shot to the end", this Eastern-style blank space can maximize its positive effect.

This is also a useful and interesting technical discussion. At least now I have a strong interest in "blank space".

(End of this chapter)