The Best Actor in the Vase of Meiyu

Chapter 544 Art Discussion
Movie title?

Gus was slightly surprised, because contemporary movie titles tend to become more and more straightforward to adapt to the faster and faster pace of life, trying to avoid making the audience think as much as possible. Only a very, very small number of movies still pay attention to the title, which is the direct result. that is:
No one cares.

This was the first time anyone had asked Gus what the film's title meant since the project was set up.

As outrageous as this is, it is what it is.

Gus couldn't help but glance at Anson, and his thoughts came back, "Alan-Clarke, do you know this director?"

Anson shook his head, "Sorry, it seems I still have a lot to make up for."

Gus waved his hands repeatedly, "No, no, no, it's completely normal that you don't know. This British director is not widely known, and the exposure of his works is also very low."

"Last time you mentioned Wong Kar-Wai, there was a scene in 'Fallen Angel' where a killer went on a killing spree in a mahjong parlor. The scenes were impressive and filled with surly and bloody scenes that could explode at any time."

"That set of shots was inspired by Alan Clark."

Anson raised his chin slightly, slightly surprised, because he had never heard of director Alan Clark, let alone that his directing style had an influence on many subsequent directors.

Gus could detect the concentration in Anson's eyes, and couldn't help but become excited.

"In 1989, Alan Clark shot a thirty-seven-minute short film, 'Elephant,' which was groundbreaking in its exploration and use of Steadicam lenses."

"In his films, the camera often closely follows the protagonist, who could be anyone. In the short film 'Elephant', the protagonist is a murderer."

"At the beginning, the camera follows a man breaking into a building. When the audience follows his impatient and hurried footsteps and searches for a while, they slowly realize that he should be looking for someone, but they almost search the entire building and see no one. Until he Finding the person he was looking for in the utility room, he took out his pistol and shot him decisively, then turned around and ran away."

"The camera cuts back to the scene of the murder. The silent scene maintains a calm onlooker's perspective. We know this is a murder, but we don't know the relationship between the murderer and the deceased, nor the ins and outs of the matter."

"Violence is often impactful; and violence without reason is even more so."

Words are just words, but imagination can create pictures.

Anson raised his head and looked at Gus, whose eyes were shining with excitement, "Director, this shot... is the same style of 'The Bourne Supremacy'?"

Gus:? "I haven't seen the movie you're talking about."

Anson, "Ah..."

"The Bourne Supremacy" debuted this summer. The shots that follow the protagonist closely throughout the whole process are generally described as "hand-held follow-up shots." But now it seems that they are typical Steadicam shots, which are closely followed by hand-held and follow-up shots. The back and back of the protagonist's head create a dislocated sense of immediate vision, creating an immersive and exciting viewing effect.

After the movie was released, it received critical acclaim and became a unique series in the spy movie trend that has swept the world since the turn of the millennium.

Image style and lens language undoubtedly play an important role.

There were emotional films like "Fallen Angels" before, and tension-filled films like "The Bourne Supremacy" later. It seems that this director has indeed brought many influences.

Anson did not continue to disturb Gus and motioned for Gus to continue.

Gus didn't ask any more questions. He was in the mood and couldn't stop talking.

"The next thirty minutes of the short film are all spliced ​​together with the same clips. The camera keeps following the murderer, walking between different buildings and streets, and finally completes the next crime."

“We can smell the violence that is about to explode but we don’t know when or how it will be targeted and targeted.”

"This short film caused a lot of controversy. Is such a pure display of violence really necessary? Isn't it another impact on the moral level?" "In fact, this is the purpose of the director."

Gus glanced at Anson, and he could notice the focus and enthusiasm in Anson's eyes. Without the need for words, Gus became excited and became more and more enthusiastic as he spoke——

This is the first time I’ve seen Gus like this.

"The essence of showing violence is to oppose violence."

"We need to understand the background of the film and who the director is based on -

The Troubles of Northern Ireland. "

"Violence under the integration of nationalities, all of this violence has no reason, no interpersonal relationship and no cause and effect. It is a simple opposition, venting those magnificent hatreds on helpless individuals, a kind of pure hatred."

"The eighteen cases in the short film are all from real events that happened in Belfast. The director adapted and created artistically based on police reports, using a tragic way to make people pay attention to the elephant in the room -

It has always been there, but everyone is pretending not to see it or hear it. Crimes keep happening, hatred keeps spreading, destroying the social structure in a devastating way, but no one cares. "

"so."

"Rather than recreating the crime in a calm and objective way, it is better to use a new way to question the destruction that violence brings to us and society, destroying everything in an unreasonable way without warning."

"Whether it is an audio-visual sensory or a moral level, it can create powerful destructive power. In essence, this is a work that opposes and condemns violence. The director deeply hates violence."

"We need to pay attention, we need to listen."

"Otherwise, these violence will not stop."

"Huh. Those people say that a movie that promotes violence may stimulate more crimes; but the reality is that without movies, violence is already happening. If more people are not allowed to see and hear it, if the system is not allowed to face up to the problem and provide Addressed, violence will continue to destroy the very foundations of society.”

Eloquent and eloquent.

Speaking of the latter, Gus couldn't stop the car at all. It can be seen at this time that Gus obviously thought carefully about death, violence and life when shooting this movie.

There was a hint of understanding in Anson's eyes.

"So, the director's work is also called 'Elephant', and it was inspired by director Alan Clark?"

Gus nodded, "Alan Clark sadly passed away not long after he shot that short film, so he has no way to defend his work, but we should look at Northern Ireland over the past few years, everything proves his vision. "

In fact, not only Anson, but Gus was also very surprised by his performance.

Gus likes to discuss movies, and he often discusses them with Matt Damon and Jesse Affleck, but he rarely loses his temper. Once the verbal floodgates are opened, he can no longer stop the car.

So, what is the reason?
Involuntarily, Gus looked at Anson again——

Anson is sincere.

When the other person is talking, he always looks intently into the other person's eyes. He not only listens attentively, but also often reveals deep thoughts. The depths of his blue eyes seem to be exploring and extending. Unknowingly, the words are flowing. The gushing continued.

Therefore, conversation becomes a kind of enjoyment.

(End of this chapter)