Movie Master

It was only then that Frank realized how carried away he was. Just ten minutes ago, he was still talking nonsense to Lance, but now he was like a six-year-old girl who got a lollipop, pinching his flowery skirt in front of the crowd. Constantly turning in circles. After realizing this, Frank suddenly looked a little embarrassed.

He restrained his movements a little uneasily, and wanted to sit back on the chair, but found that Lance was sitting in his place-because the laptop was facing his position just now, and now Lance is in front of the computer Recording inspiration; he scratched his cowboy hat again, as if his head was starting to smoke, scratching his ears and cheeks still couldn't relieve the feeling of being at a loss, he didn't even know how to cover it up...

Lance raised his head and cast his gaze. In a panic, Frank scratched his beard and pondered for a while, Uh...so, this story comes from 'Is the customer God'?

Lance raised his eyebrows, Yes, this is 'the customer is God'. Lance stopped the movement in his hands, looked straight at Frank, and then saw Frank turn his head to cover up, grabbed He drank two gulps of beer from the beer mug, almost unwilling to meet his eyes, which made Lance smile.

Although today's interview was a little tense at the beginning, things went very smoothly. Frank is not as tough as he looks on the outside, he is more like a young child with a fiery heart, crazy in love with everything about comics, so the topic of comics always makes him become sensitive. Just like Peter Pan.

In terms of lighting, Lance took the initiative to bring up the topic - he heard Frank's question just now, and Joe's teasing was no exception, but Lance pretended not to hear it, I will try to focus the light on the main characters body, or in the center, and blur the edges to form a strong focus effect, and then match it with colors so that the audience's sight always follows my thoughts.

In fact, this shooting method is not uncommon for movies, but it is not a correct method.

In the view of the academic school, film creators should not force their own ideas into the audience, but should let the audience taste it after watching the work. In fact, this is a system that follows the art appreciation and analysis. In short, there are a thousand Hamlets for a thousand people.

When a film is overly sensational, overly subjective, and overly didactic, it tends to fall to the ground—the audience does not need to be educated by watching movies, and art should be more of a platform for ideas to collide, where everyone can generate their own opinions and opinions. Thought. Therefore, in the process of shooting a movie, the director needs to avoid directly telling the audience, What should you watch, what should you think, what do I want to say, but should use lens language, story structure, character creation, etc. To convey ideas, waiting for the slow fermentation after watching the movie.

For example, in Murder with a Borrowing Knife, Lance used the lighting effect to create that sense of loneliness, but in fact, a lot of blank space was left under the spotlight, including dialogue, performance, and rhythm. The audience fills in, hoping to bring out the aftertaste of the story.

But Sin City is different. Lance hopes to increase the sense of focus in every picture, as if the spotlight is constantly moving with the center of gravity of the story, leaving almost no breathing space. However, this move is not to instill the concept and core of the movie, but to magnify the impact of the visual effect infinitely, just like a comic, forcibly focusing the viewing focus on one point, and then deliberately blurring the surrounding scenes to create the shocking effect of an isolated island in the middle of the vast ocean.

Therefore, the lighting application and screen composition requirements of Sin City will be more stringent than Murder with a Borrowing Knife, but it will also be more dramatic and exaggerated-or, in other words, caricatured.

I also hope to use some exposure effects, or the effect of light and shadow movement, to arouse the emotions of the characters, and use some slightly exaggerated performances to arouse that tension. Bill's more bloody and violent movies. Lance has always focused on professional matters, which relieved Frank's embarrassment, turned his head to look at Lance, but his words seemed a little awkward, Quentin Taranty No? Then why you?

It means that Kill Bill is a movie directed by Quentin. If Sin City wants to incorporate Quentin's style, Frank can directly choose Quentin to direct it. Why did he choose Lance to direct it?

Lance immediately understood Frank's meaning, and the smile on the corner of his mouth was outlined like this. The azure blue in the relaxed and freehand brushwork was so shocking that people couldn't move their eyes away. Lance just looked at Frank steadily like this. Said without surprise, Because I am better.

Frank was willing to believe it.

The bloody violence of Kill Bill has an artistic beauty, but it comes more from the plasma and killing of Quentin's aesthetics; while the aesthetics of Sin City is more inherited from Frank's original comics, compared to plasma For the film, the cold violence constructed by colorful colors will go deep into the bone marrow. You may not see too much scarlet blood in the movie, but you can feel the wildness and roughness of that kind of violence and cruelty.

Frank suddenly found that he was willing to trust Lance. He believes that Lance can bring Sin City to the big screen and do it well; he believes that Lance can give Sin City a completely different style of comics, and it is still exciting. Kind of; he believes that Lance is the best choice for Sin City, and it is irreplaceable.

When did this kind of trust start... Frank couldn't trace it back, but he realized that maybe Sin City really waited for the best time to be put on the screen.

However, I still need a little help from you. Lance's words interrupted Frank's thoughts, which made Frank show a curious expression. He felt that Lance had already considered all aspects of the movie, but now Lance unexpectedly It was really an accident to take the initiative to show weakness.

In the last life, Sin City invited Frank to join the crew as a director. Although Lance is not sure what advice Frank gave on the director, it is undeniable that, as the creator of the original comics, Frank has great ideas about the style and style of the comics. The understanding of the plot structure is undoubtedly the most profound.

In the comics world in the early 1990s, illustrators and authors were usually separated, which easily caused a disconnect between plot and painting. Frank was a rare all-rounder at the time. The Sin City series of comics took a different approach, and established his position as a master once it was released.

Therefore, Lance could indeed use Frank's help.

I not only hope to put 'Sin City' on the big screen, I also hope it can become a cautionary fable. Lance directly stated his ambition without any hesitation.

Frank raised his eyebrows. He had learned about Lance's blueprint through Cole before. City of God, Murder with a Borrowed Knife and City of Sin form a trilogy of crimes. This is indeed a grand plan. And now, Lance actually took the initiative to talk about this plan in front of him, which undoubtedly made him feel even more pleasantly surprised. Before he knew it, Frank's embarrassment had dissipated, he turned his head, re-entered the state of concentration, and looked at Lance seriously.

I don't know if you've seen 'A Clockwork Orange', but I'm going to learn from the film's reflection on violence. In 'Sin City', the emphasis is on fighting evil with evil... Lance said his idea Simply put it out, At the same time, I also hope to continue the definition of darkness in 'Rashomon', that is, the real evil does not lie in 'doing wrong things', but in interpreting one's selfishness from the perspective of justice , and this selfishness has become a crime, but he claims to be righteous...

Frank fell into complete silence, listening to every word of Lance very carefully, lest he missed a word, and then he would not be able to follow Lance's thoughts, Wait, explain in more detail.

It's very simple. For example, Nancy, she was kidnapped. Later, Hardigan rescued her, but eight years later, she disappeared again. Hardigan had to sacrifice himself again to save Nancy. Lance said The whole story was told very succinctly, and the details were stripped away. Frank nodded to express his understanding, But, has anyone really thought about it, is Nancy the victim?

Frank couldn't help breathing, and looked at Lance in disbelief, Jesus Christ, of course Nancy is the victim! She was only eleven years old when she was kidnapped, and that disgusting Roger is a /child/ Obsessive, he kidnapped her, and then he persisted, always wanting to hurt Nancy, of course she is a victim!

Frank's emotions seemed very agitated.

Crimes against minors are very severe felonies in American law, and the moral condemnation is even more unimaginable. It can be said that almost everyone can be punished. Nancy is such a character in Sin City. She is a victim. Hardigan worked hard to save her, but she finally fell into the bar and became a dancer. It can almost be said that Nancy is a ray of sunshine in the darkness.

However, Lance hopes that the whole story will go one step further. He not only hopes to dig out the stories behind the characters, but also hopes to integrate the concept of Rashomon into it, truly interpreting poor people must have hateful things, hateful things There must be something pitiful for a human being. The definition of these two sentences.

Therefore, even in the face of Frank's slightly out-of-control emotions, Lance still did not flinch. Instead, he raised his chin, widened his eyes and said, So, Nancy is innocent, and all mistakes are Roger's?

Of course! Frank nodded without hesitation, but after he finished speaking, he always felt that something was wrong, but he couldn't say it out. This feeling was very uncomfortable, very uncomfortable!