muscle actor

Chapter 374
"This is our two screen directors of photography..."

"These materials are pictures that have been made in advance..."

"They were editing for seven weeks before the actual shoot..."

After Ding Cheng greeted other team members, looking at all kinds of fragmentary materials, he looked forward to the next cooperation more and more.

"Your accent is so authentic!" I met two actresses in the play, one played the role of a local female police officer, and the other was my daughter.

"I've seen all of Brother Cheng's works!" Especially Liu Mengyun, who played the role of his daughter, said excitedly, "I can't even dream of working with the number one Chinese actor!"

Ding Cheng smiled and chatted, and finally came to London, where the Cockney accent he had practiced for several years came in handy.

Not only the director, but everyone in the team is very excited, one is to be able to cooperate with a big actor who is in the sky, and the other is that the originally tight budget is finally solved by meeting the sponsor's father.

Su Yao quickly negotiated an investment intention, with a budget of 20 pounds, accounting for 40.00% of the equity, and responsible for overseas issuance and operations.

Anish signed the contract without hesitation, what more could a rookie director ask for?
The shooting started immediately, and Ding Cheng felt a different new experience on the first day, taking various photos, various small videos, various daily clips, from the birth of his daughter to the gradual growth of his daughter...

In the opening seven or eight minutes, the audience can only look at the photos, videos, calendars and other information presented on the computer screen, which not only explains the identity of the characters and the background of the event, but also looks like an independent small unit.

Not only does the plot have a complete beginning, succession and transition, but the rhythm is relaxed and orderly, and the emotions are just right. The ordinary growth experience of an ordinary family, the sense of substitution immediately grabs people's hearts.

Especially knowing that his wife's life is counting down, and the parting with her relatives is getting closer...

"Because our screen activities are not faithful to real time, but are collaged together in a montage..."

"After editing, there will be changes in rhythm. When your character's thinking is blocked, or when things are stagnant, the screen activities will become sluggish and dull..."

"When you suddenly discover important clues and race against time to search for information, the activity on the screen will obviously speed up, and all kinds of information will jump up and down. What you want is the time pressure and tense atmosphere behind the screen..."

Ding Cheng quickly understood the director's intentions, and most of the time he just sat in front of the screen, facing an LCD screen and playing.

The basic operations are all without physical objects, the camera is fixed, and only the dialogue windows, video windows, and web browser windows in the picture frame are constantly changing.

When some key nodes, such as accidentally discovering important clues, the camera will naturally zoom in, guiding the audience's attention to a specific point on the screen.

At the same time, it is accompanied by tense background music, allowing the audience to change from a relatively passive subjective perspective to an almost active subjective perspective. The gaze involuntarily overlaps with the gaze of the characters, enhancing the deep experience of the emotions of the characters.

It is an unprecedented novelty experience!
In particular, I found that this seemingly young director is very good at using pause techniques, one is to suddenly change from active picture activities to relatively static and monotonous picture activities, and the other is to interrupt the coherent narrative.

The former is a concrete manifestation of the ingenious use of computer screensavers. The first time a screensaver appeared was when one was physically and mentally exhausted.At this time, the screen actually switched to a computer screensaver?

A bunch of colorful lines on a black background change unpredictably, replacing a longer real time with a short virtual time.Paired with the background music that creates the atmosphere, it seems to have a symbolic meaning, as if the uncertainty of the development of events and the protagonist's worries give the audience a sense of tension as dark clouds loom over the city.

Knowing that this peaceful picture will end at any time, I don't know when it will end.

Another kind of pause interrupts a coherent narrative, using the tools of a spinning cursor during page loads, a black screen after the protagonist closes his laptop, and sudden transitions from a computer screen to a phone screen.

They are all very short, even instantaneous, but they will allow the audience to have an instantaneous middle part of the coherent viewing of the movie, which may make people anxious or surprised, so as to achieve the director's purpose of guiding the audience's attention and emotions.

I have to say that the creativity is limitless. These lens languages ​​are actually grafted from the original three-dimensional space to a two-dimensional plan, and the audience is not aware of their existence. It seems to be a natural viewing behavior. It is simply too talented!
"Maybe you won't understand..."

"For Asians living in European countries, the pride of being able to see the face of their ethnicity appear as a mainstream image in mainstream media..."

After getting along day and night, Liu Mengyun worships dedicated idols even more. Just like the ones on the screen, they are sunny, positive and full of positive energy.

Ding Cheng understands the other party's feelings. In the empire on which the sun never sets, there were 40 to [-] ethnic Chinese and millions of overseas students.

Although the story is simple, it involves a wide range of topics, such as children's education, parent-child relationship, selfishness of human nature, cold-blooded media, pervasive social media, cyberspace security...

Each individual unfolding is bottomless. If you use the traditional film form, it is impossible to cover all of them.If you can't chew too much, you will appear shallow and weak.

If one or two points are selected to stop, it must be carefully designed through plots, character activities, dialogues, etc., which may not achieve the effect.

What's interesting about this movie is that the way it's visually presented allows for more information per unit of time without having to reveal it through action or words.

For example, the viewers on the Internet scrolled down to see all kinds of comments on the girl’s disappearance. They were clearly objective perspectives, but people couldn’t help but make subjective judgments.

Another example is the unscrupulous snooping of the police scene on the live news screen, which shows the cold-blooded and madness of the media chasing news value.

Compared with the irony of the tunnel, this work takes a slanted sword and enters from a small entry point, but it is more persuasive with human nature.

There are many details of my specific behavior, such as looking through the chat records when I learned that my daughter is not going to take piano lessons, and checking the proportion of missing persons and police information when reporting the crime...

It is not arranged by the screenwriter to better shape the characters, because these are not the reactions that the characters should make in that situation in the first place, and there is no basic hesitation or sluggishness, because they all need the audience more Information.

With the development of the plot, third-person news clips are constantly involved.With the gradual determination of the scope of the real murderer and the continuous rotation of perspectives, the composition logic of the film becomes more precise.

In my opinion, it is by no means to use the medium of the screen as a form of presentation, and provide the so-called cheap reality in a simple way to make the audience respond with belief.

The choice is to carry out a thorough typology, weaving the audience into a game-like plot rhythm, allowing them to continue to be secretly influenced by the huge and complex information in the behavior of downloading and watching in the virtual world, thereby driving themselves to weave pleasure.

And this is precisely the last layer, the search and redemption completed by the audience.

(End of this chapter)