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Chapter 454 Soft Science Fiction

"Interstellar exploration?"

Ding Cheng took over the script and finally saw a big-budget hard science fiction film, looking forward to it very much.

After watching it, I realized that it is not so much a sci-fi movie, but more like an emotional film with a sci-fi shell, which seems to be implying the trend of soft sci-fi in Hollywood.

In recent years, more and more directors have abandoned the traditional methods of hard science fiction, and instead put more energy into exploring the spiritual world of the protagonist, interweaving with the grand time and space of the universe, forming a double text that complements each other.

For example, Nolan's "Interstellar" uses the emotional bond between father and daughter as the main thrust of the entire film; and in "Moon Landing No. 1", Armstrong's self-examination and family relationships form the emotional center of the entire film.

In "Blade Runner 2049", the director directly put into existential thinking, and the whole movie became the spiritual journey of replicant K to find himself...

Director James, even won the Venice Silver Lion Award for seven works, and was nominated for the Palme d'Or four times, but the mainstream commercial market is still unknown.

In Ding Cheng's view, he represents a type of director who is still willing to use his own obsession to bring movies a little closer to art today, when movies have become more commercial.

This requires enthusiasm, but also courage!
Many people always like to describe Nolan as walking freely between commerce and art, as if he was talking about a tightrope walker?

But in fact, Nolan is very safe, but he added a little bit of artistic thinking to the strong atmosphere of commercial films.What is provided to the audience is a kind of self-indulgent satisfaction, as if they can understand the depth and reach the sublime, but in fact it is just a delicate flattery.

Compared to him, James is bolder.

He will not draw a safe zone for himself, and then step on the chain that does not exist under the eyes of the public.On the contrary, if you really walk on the tightrope, as for whether there will be applause, it depends on fate.

Specially looking for previous works to study, his rhythm is slow, but not pretending to be deep or slow, but to leave space for the audience...

Room to roam.

If you blindly seek quickness, this kind of space will disappear instead.The audience can only be led away, blindly accepting everything in front of them.

But slow down, and it's an entirely different story.At this time, the audience can change from passive to active, and have more opportunities to examine the objective world on the screen and wander in it.

This is the effect the director wants, and only in this slow pace can you see the large amount of details laid out.

On the surface, it seems that all the so-called genre films are shot, but in fact they are always competing with the expectations of the audience.

Take the debut "Little Odessa" as an example. It was originally a killer movie, but the coolness and coolness of the killer can't be seen in the film.On the contrary, what I see more is the powerlessness of the killer as a person, behind which is the fate that violence cannot compete with.

"We Own the Night" is a gangster theme, the protagonist is a gangster, and his father and brother are both policemen.The film is contrary to the fate established by "The Godfather", that is, a man joins the gang for family feud, becomes a gang member, and becomes a policeman for revenge. He gives up his original romantic life and turns to the knife on the other side Survive on top.

This reversal tells a story about fate with a great sense of absurdity.

"Two Lovers" is a romance film, but it doesn't see the sweetness of love. It tells the story of a scumbag who wanders between two lovers, and in the end, he can't get the best, but chooses the worst.

The next best thing may be the normal state of love, and it may be the inevitable process of love slipping into marriage.

Even Ding Cheng has to say that James has always been against the public interest!
The image appears to be refined classicism, but at heart he is actually a rebel.

Especially like the kind of wimpy good student in the class, who looks very honest, and his mind is full of ghost ideas.

Come back and read the script again. The protagonist Roy received a mission to fly to the Mars base to contact a spacecraft on Neptune to resolve an energy wave crisis.What surprised him even more was that his father, who had been missing for 20 years, was probably on that spacecraft.

Along the way, he experienced the attacks of space pirates and mysterious creatures, and was in danger one after another, and finally arrived at Neptune, the final truth.

The original passionate commercial blockbuster was put in the hands of James, and the first thing to do was to de-spectacle it?

He has no intention of consuming the gifts and tension of the universe, what he wants to do is something more important and more difficult than exploring the interstellar...

Exploring the human psyche?
Ding Cheng couldn't help laughing. In this sense, "Interstellar Exploration" is more like a road movie.

The story is about such a journey: with great puzzlement and expectation, the protagonist flies from the earth to the moon, Mars, and all the way to Neptune. He expects to answer his ultimate question in the reunion with his father.

This question covers two levels: one is more personal and concrete, and the other is more universal and abstract.

33 years ago, when the protagonist was 16 years old, his father joined the Lima Project and went to the edge of the solar system to search for the existence of alien life. He never returned.

This caused serious psychological trauma to the young Roy. When he grew up, he became withdrawn and reticent, no longer had expectations for intimacy, and even closed himself off.

Through a large number of lenses, the spiritual world of this emotionally disturbed person is presented, such as shallow focus photography.Highlight the characters, blur the environment, and strengthen the sense of alienation...

Especially for the setting of the helmet, one layer is transparent and the other layer is metal reflective material.The former is like Roy's disguise, which seems to communicate with the outside world without barriers, but in fact there is an invisible barrier lying across it.

The latter is even more decisive, completely reflecting the external environment back and completely isolating in his own world.

For astronauts, indifference is a rare gift, no matter what kind of danger they are in, they can be calm and calm.

It was precisely the lack of father's love that created his indifference. In the end, this indifference led to him following in his father's footsteps and becoming a genius astronaut.

However, this fate is not what Roy wants.Seeing his wife leave because of his indifference, it is extremely painful and irreparable.I don't want to be as selfish as my father, abandoning his wife and children, and dying alone.

With this Oedipal sense of fate, he embarks on a journey to find his father.

In other words, it is not so much searching as it is getting rid of!
The director didn't spend a lot of time creating a heroic character with the protagonist's halo, nor did he give the protagonist such a lofty space mission.On the contrary, it adopts a small pattern perspective to show the insignificance and loneliness of human beings.

The famous photographer Ett, who once worked on "Interstellar", used a lot of long-range and close-up shots to visually create a majestic cosmic scene.The vast stars and the aircraft shuttling in the darkness form a hidden interaction between Wan Lai. The sense of power brought by the long lens is gentle and tenacious.

The color selection is also quite careful. For example, Neptune uses a dark blue, which is as calm as the ocean.When the protagonist arrives on Mars, the camera is occupied by orange; this wasteland aesthetic shrouded in fog follows the essence of "Blade Runner", and the careful outline of the apocalyptic feeling conveys the protagonist's face. The fear and insecurity of the unknown.

And when the camera shifts to the space capsule, the tone changes to light blue, which seems to symbolize the hero's courage.The exchange of cool tones and warm tones not only presupposes the direction of the plot, but also undertakes the function of explaining information, which buffers the emotional changes and conflicts of the characters.

At first, it was intended to show the landforms of Mars and the moon with a desert landscape; but in the end, in order to restore the real scene to a higher degree, the film's footage directly used the high-resolution images provided by the JPL laboratory.

When you really get into the plot, the real highlights are the characters’ cognition, status and emotions.

(End of this chapter)