This director needs to apologize

Chapter 84 Genius Dream
The reason why most war films are divided into literary and martial arts groups is because the two have their own division of labor and cannot be biased.

Literary opera is responsible for shaping the characters, while martial arts is responsible for creating the scene. They complement each other and foreshadow each other, and together give the audience an emotional explosion.

There are no war movies that include both literary and martial arts. Chen Yiming only watched one in his previous life.

That is "Hell's Soldiers" filmed by the big-haired Wagner mercenaries, which can be regarded as a recruitment propaganda film and a military instructional film.

They played table tennis for two hours, with casualties and casualties everywhere on both sides. Chen Yiming enjoyed watching it very much.

However, except for the fat machine gunner whose unique body shape left an impression on him, he didn't remember any of the other characters.

This was the result of repeated readings on his computer three or four times. If he just watched it briefly on the big screen, he probably wouldn't be able to remember it either.

Not many actors are willing to act in similar movies. Firstly, there is no room for performance. Secondly, there is no highlight in the whole group scene. If you are in the entertainment industry for no money or fame, do you just want to have fun?

It is true that there are no professional actors in "Hell's Soldiers", and all the actors participating are real Wagner soldiers.

Veterans who have fought in the war all know that when they go to the battlefield, [-]% of the time they are on the battlefield is rushing, [-]% is digging soil, and only [-]% is shooting guns and firing artillery.

The same is true when it is made into a movie. Except for weird movies like "Hell's Soldiers", the battle scenes in war movies generally only take up 1/4 to 1/3 of the film length.

Especially commercial films strictly follow this standard and will not give less, but they will never give too much.

Because the war in the movie needs to be artistically processed, the "fake fabrications" that many movie fans complain about are actually forced artistic compromises.

For example, there are too many people and too many weapons in the camera, which seriously violates the laws of military science. One shell can destroy a company.

The reason is very simple. If there are few people, the sparse picture will not look good!
Another example is the scene where there is a hail of gunfire and bullets, and the actors are still talking about their lines.

This is simpler. People will receive box lunches in the next scene. Why don’t you finish your words to set the mood?
The handful of amateur military strategists among movie fans are really not the target audience for commercial war movies. Most people go to theaters not to learn about war and logic, but to watch stories, stars, and grand scenes.

Therefore, even if "Changjin Lake" was criticized wildly by netizens as being 10 times worse than "Lei" compared to "Li Yannian", it did not prevent this movie from earning 50 billion at the box office.

You can comment that the battle in "Changjin Lake" is dramatic and the details are unreal, but the literary drama of this movie completed the task and laid the emotional foundation in place, and the martial arts scenes were large and shocking enough to amplify the explosion.

With civil and military forces working together, the box office is naturally not bad.

Now Duan Yining has used his painstaking research and stunning performance to give "1951" an additional question, questioning the conventional filming method of separating civil and military affairs.

Duan Yining used his performance to illustrate that there is no literary drama on the battlefield but all martial arts!

The emotional intersection of crisis-release-crisis-release is not what is true in a real battlefield.

Chen Yiming had to make a choice, did he need to present the reality of the veterans, and then create a sense of tension all the time and everywhere for the audience?

You must know that the rhythm changes interspersed with civil and military dramas not only reduce the difficulty for the creators, but also take care of the audience's viewing experience.

Sitting there and being nervous for more than 2 hours will make the audience very tired. There is always time to go to the toilet, right?
Do you still want movie fans to come and watch it again and again?
But it has to be said that Duan Yining's acting provided an opportunity for "1951", a relatively literary war movie, to reach a higher level.

"1951" is actually relatively weak emotionally, including the prototype "1917" in its previous life, which also has this flaw.

One shot is indeed enough to show off your skills, but it will inevitably bring about the disadvantages of over-focusing and a single perspective.

The consequence is that the supporting characters are difficult to portray in one stroke, the emotional bonds of the protagonist are not sufficiently woven, the audience's emotions are difficult to progress, and the climax cannot explode.

Although Director Sa has restored the battlefields of the First World War in the movie to be extremely terrifying, Chen Yiming did not worry much about the fate of the protagonist when watching the movie, because the main plot is established, and he will definitely be able to overcome difficulties and complete the mission.

If normal shooting methods are used and combined with montage editing techniques, the content of the film can be expanded exponentially.

In this way, the suspense can be set on other characters, and the uncertainty of life and death can be used to reflect the cruelty of war, and the audience's unknowns and expectations can always be maintained.

Similar to the story structure of "Saving Private Ryan".

Of course, Director Sa did not fail to set up suspense. For example, the second protagonist died unexpectedly.

Unfortunately, the result is the opposite. Instead of being surprised, the audience will feel angry and feel that they have been fooled.

Due to the limited viewing angle, there is no foreshadowing for the death of the second protagonist!

But this is an inherent flaw of the one-shot shooting method. Except for the two protagonists, the other characters are all scraps and tools. The relationship between the characters cannot be woven. How else can you foreshadow it?

The original design of "1951" is the same. Starting from Hou Yong, the mission issuer, fellow traveler Duan Yining, 589 company commander Zhang Yi, individual soldier Maodou, scout Zhang Yu, and all the way to Tianma Mountain instructor Shi Lei, it is a relay race The companion in running.

Chen Yiming also had to face difficult problems that Sao Dao failed to solve.

A few veterans on the road only appear on screen for a few minutes. How can they leave an impression on the audience?
How should we emotionally pave the way for the sacrifices the veterans have made in order to cover the messenger team?
Lao Duan gave Chen Yiming an unconventional way of solving problems. War is inherently unpredictable, so there is no need to foreshadow it!

The state that Duan Yining presented conveyed a kind of cruelty to Chen Yiming's heart very intuitively.

I'm right here, don't even think about it.

Either you die or I die.

Chen Yiming quickly constructed the scene in his mind, putting the old scene from that moment into his final scene in the movie.

The death was clean and crisp, but not abrupt.

Then he performed similar treatment on Zhang Yi, Mao Dou, and Zhang Yu, and also fixed them on their respective last scenes.

There are still no flaws, and even after being put together, it is smoother than the original treatment of the script.

Why is this so?
Chen Yiming repeatedly asked about his inner feelings and found that from the perspective of an ordinary audience, the reason why he could smoothly accept the "sudden death" of one veteran after another was actually because "they are very powerful"!
Duan Yining helped Chen Yiming refine a commonality that only veterans on the battlefield can truly possess, that is, the intention to kill with a sword in his heart manifests itself.

This commonality will be slightly indifferent when Zhang Yi first appears, but will be slightly neutralized by Maodou's baby face, and then explode in a fusion style during Zhang Yu's small-scale battle.As the scenes progressed to Duan Yining's sacrifice, Chen Yiming had already accepted the veterans' "death as home" in his heart.

It's not a creation, it's not for sensationalism, it's the best choice under the battlefield situation at that time.

When Chen Yiming continued to "imagine" Shi Lei's appearance, he found that the motivation problem of the "last battle" that he had been worrying about for a long time was easily solved.

Deputy Instructor Jin is a strong person, and keeping the initiative in his own hands at all times is the choice of a strong person.

Similarly, the warriors who survived Tianma Mountain to the end were strong, and they would naturally agree with the instructor's choice.

This emotional progression reminds Chen Yiming of the time when he was listening to Li Yucheng talk about his combat experience and was involuntarily dragged into Mr. Li's rhythm.

It turns out that the root of my lack of confidence was here.

After all, imaginary things can only move himself. Only when Duan Yining simulated Li Yucheng's state at that time did he really begin to believe that the emotions that affected him could also move the audience.

Chen Yiming looked at Duan Yining, who had returned to his idle state, and sighed silently in his heart, you TND are really a genius!

When they first auditioned for this scene, the two had a debate about the importance of technology and art. In the end, Chen Yiming narrowly won (actually under the leadership of Captain Li Jian), allowing Duan Yining to accept the less artistic role of a tool man. Law.

The handling of the sacrifice scene is not particularly well prepared, but the "delay" method somewhat alleviated the abruptness of the death of the staff officer.

At the beginning, he was very bold in saying that whose acting style was better for the movie as a whole would be judged.

So after Lao Duan returned, he tried his best and turned around and gave him a powerful counterattack.

Now Duan Yining has come up with a better acting method, but other characters need to join in the fight. What should director Chen Yiming do?
Do you mean what you say?Or break your promise and gain weight?

……

Chen Yiming did not make a decision on the spot. He interrupted the topic temporarily.

As "revenge" on Lao Duan, he selectively forgot about the hot pot dinner that night. Director Chen was so petty.

The next morning, Sang Ping led the Bayi Factory detachment to the station. In the afternoon, Lao Jia led Liu Dongjun, who had been staying in the countryside for a full month, also arrived.

The cast and crew of "1951" are basically here!

Many people met for the first time, gathered in the large conference room at the station, and looked at each other curiously.

Especially the first protagonist Liu Dongjun, whom only a few people such as Lao Duan and Xiangrui have the honor to meet, is the focus of everyone's attention.

The conference room was well heated, so Xiao Liu took off his cotton coat, revealing a wrinkled blue jacket and black trousers underneath.

Perhaps for the convenience of working, he now has a hairy head on his head, which makes his already long chin grow even longer.

There was a silly smile on his face, and he ignored the probing eyes of the people around him. His torso was slumped in the chair, his hands hanging casually, and his whole body was filled with a sense of leisure.

Like an idle man who finished his farm work in the middle of the afternoon and rested against a tree in the grain drying field at the head of the village.

Chen Yiming nodded with satisfaction. What he wanted was the energy to lie down wherever he wanted.

If he had backed down and chosen Li Mingliang, he would probably have had a grand image of a village party secretary after experiencing life. Once filming started, it would have been difficult to seamlessly join the cast, and there would have been some frustration.

This is called character determining destiny.

Seeing that everyone had arrived, Chen Yiming started to introduce the whole group to each other.

If the crew of "Holiday in Magic City" was a county team, then the crew of "1951" is now an independent troupe.

Producers: Ma Yunteng (Platinum Jue), Ding Xiaofei (Golden Shield), Hou Liang (Moying Investment).

Production Director: Bao Nana
Director and screenwriter: Chen Yiming

Assistant Directors: Fu Ruixiang, Zhang Weining (Chang'an Factory)

Special consultant: Sha Pingju (General Political Literary and Art Center)

Art Director: Lin Xiao (Moying Factory)
Chief Photographer: Sang Ping (Bayi Factory), Paul Harrison (Nuts)

Main lighting: Wang Lizing (Moying Factory)
Main props: Lu Ping (Moying Factory), Yang Xiaoguang (Bayi Factory)
Pyrotechnician: Luo Baohe (Bayi Factory)
Actors: Liu Dongjun, Duan Yining, Hou Yong, Shi Lei, Zhang Yu, Maodou, Zhang Yi and students from three schools.

In fact, all the behind-the-scenes units of the crew have not yet arrived. In addition to the stunt photographers on standby from Bayi Factory, there is also the makeup team led by Liao Feifei from Magic Film Studio, the special effects team led by Magic City Boulder Workshop, and An Xiaofeng from Bayi Factory. Recording team led by.

In terms of post-production, Chen Yiming has contacted the composer Ge Jiming of Magic Film Studio in advance and asked him to free up his time to produce the soundtrack for the film. Ma Erye even said hello to the Magic City Symphony Orchestra in advance and invited him to be responsible for the music recording.

The crucial sound effects were personally performed by Shi Ping, director of the Bayi Factory's sound effects workshop.

In addition to the above-mentioned fixed behind-the-scenes units, "1951" also has other follow-up units due to its special nature.

The Magic Film Distribution Department will send a photography team to follow the entire process, taking stills and recording behind-the-scenes.

There are also Alai's flight attendants, Pacific's merchandisers, and the coordinator of the General Political Department Literary and Art Center.

When filming started, there were more than 100 engineers and soldiers involved in all aspects of the film, excluding extras.

After leading a large crew of several hundred people to film in the barren mountains for several months, Chen Yiming has never had such a dream in his life, and now his dream is about to come true.

(End of this chapter)