Disaster Artist

Su Ziyi was stunned—

Although Lu Qian didn't say much, he just read the three-page script and listened to the outline of the story, and he has already described the framework of the movie; and grasping the key points, laying the tone for the whole movie, the core soul immediately becomes clear up.

How did Lu Qian do it?

The understated words just overturned all the inspirations in Su Ziyi's mind, and then inspired more inspirations, surging.

However, after thinking about it, the person in front of him was Lu Qian, so he didn't seem so surprised.

Su Zi's mind was filled with turbulent thoughts, and the last words he blurted out were,

"It seems that you really just caught a cold, and it shouldn't be a serious problem."

As soon as he finished speaking, Su Zi realized that he was off topic, and patted his head, as if his brain was filled with water and was about to empty the water. Then he raised his confusion and brought the topic back on track.

"But how?"

"I mean, I see what you mean, but I don't know how."

From the lighting engineer to the director, Su Ziyi did have many, many inspirations, but how to convert it seems to be missing a key fragment.

Lu Qian was not surprised at all—

The film students who are from major classes, during their studies, the teachers will let them rotate in various positions. The main intention is reflected in two aspects:

First, understand how the different links of the film production system work, so that you will not be a complete layman; second, you will be able to understand other people's work more professionally in the future practice process; and third, you will have a better understanding of the overall film creation. Clear and vivid concepts.

Second, looking for your own interests and specialties during the rotation process is actually somewhat similar to hospital interns rotating in different departments. Ji Xu went through this process and finally realized that he is not suitable to be a director. Infinite interest, to determine the future.

Su Ziyi did not come from a major.

He, like Lanchuan's countless amateur film practitioners, is often taught through actual combat exercises and the masters on the set. Their strength lies in their practical ability, and they can also generate more inspiration during the actual shooting process. academic framework.

But the disadvantage is that they lack a professional and systematic understanding of other aspects of film production, and only "see" some things on the set, which is one-sided and biased, because it looks simple, but it is hidden Professional knowledge is not so simple.

Like now.

Standing in Su Ziyi's position, the director's work is clear at a glance, and when he rehearses in his mind, it seems that there is nothing special, isn't it just giving orders? But if you really stand in the director's position to conceive the screen, composition, and video, you will soon find that your brain is not enough.

However, the work of a director is like artistic creation, which requires both technology and inspiration. There is no need to draw conclusions before trying.

The smile on the corner of Lu Qian's mouth rose slightly, "Ah Yi, you are looking good. Think about it, what are you best at?"

Su Ziyi:? ? ? "…light?"

"Yes, lights." Lu Qian nodded.

"Actually, in the final analysis, a director is a storyteller who uses his own images to tell the story. The difference is that you decide how to say it."

"Screenwriters are good at telling stories with words. If a screenwriter becomes a director, then the script must be the top priority. He may spend more time on the presentation of lines and performances, and promote the narrative through the ups and downs or turning points of the plot, which really impresses the audience. What matters to the audience is the story itself.”

"Actors are good at telling stories with their performances. If an actor turns into a director, then the lens can capture the actor's performance delicately and truly. Whether it is a close-up or a long-range shot, they hope to capture the emotions conveyed by expressions or movements, and Sparks between actors."

"This is the director, so the pictures, emotions, and stories that different directors see in their eyes and minds are all different."

Here, you can say a digression—

Why are directors of superhero movies considered to be assembly line workers, shooting and producing works without a sense of cinema?

It is because they are forbidden to express anything, and even the story must be carried out according to the screenwriter's settings. Their shots are not allowed to be mixed with personal inspiration, tendency, perspective, etc. Naturally, the characteristics of the position of "director" also It was completely killed by the film company.

Very, very occasionally, there are some directors who can give superhero movies some cinematic audio-visual effects through lens scheduling and editing, which is a worthy part; but often, film companies will use noisy soundtracks and terrible lighting ruin it all.

Therefore, the sense of film is out of the question.

The line of sight returned to Su Ziyi.

"And what about the gaffer? Naturally, you should tell a story with light."

"The lines, in fact, can be less, and less, as much as possible."

"You should focus on the lighting and the picture. The plot only needs to leave a general outline."

"Do you still remember the creative direction we explored in the last two works? How to use the picture results and the rhythm of the camera to promote the narrative~www.novelmt.com~Lighting is also part of it."

"You should focus on your own pictures to show the relationship between the characters. Even if the plot does not have a detailed narrative, it is enough to capture an atmosphere and an emotion."

"For example, when they met for the first time, how did the crowd flow, how did the light and shadow change, what was the crowd doing in the background, were they under fire? Did they run away? And how did the eyes and emotions between them burst out? , What is the relationship between the turbulent crowd or the narrow space? With them as the core, the entire picture is presented."

"For example, when they quarrel or even break up, the position between the two people, the role of light between the two people, the relationship between them and the space, how little by little, how little by little suffering, how light and shadow should be How to form the relationship between the characters? Who is more sad and painful? Who can feel the pressure brought by the space and the times? What about others?"

"For example, when they meet again, do they hug immediately, or look at each other but dare not approach, how does the surrounding light and shadow change at this time? The distance between them, the distance between them and other people, the surrounding space What kind of scene and situation did they have at that time, and will these situations affect their mood and state?"

"Ah Yi, we have discussed more than once or twice about the importance of light to the psychology of the characters and the atmosphere of the plot. See, this is your strong point."

"You should play well. As long as you can grasp the light and create an emotional atmosphere through camera scheduling and sound effects, I think this can become an excellent work. As for those plots and lines, honestly Say, you don't need to expose your shortcomings."

"Making strengths and avoiding weaknesses is the correct answer."