Disaster Artist

The debate on whether a superhero movie is a "movie" has been deadlocked for a long time. In fact, the key core significance lies in the understanding of "movie sense" by ordinary audiences.

Are superhero movies a movie?

of course.

Do superhero movies have a cinematic feel?

No--

At least most of the time, it does not exist, because the construction of the entire superhero universe requires the film to form a series-style interaction, which greatly weakens the construction of the sense of film; at the same time, because the film work requires assembly line work, it greatly weakens the director's creative space.

So, how should we understand the matter of "movie sense" and "creativity"?

There is a very simple and intuitive paradigm.

In most films, a character moves from one city to another. If the director needs to show such a spatial transfer, what should he do?

Or, go directly to the subtitles, edit the two shots before and after, and then tell the audience through the subtitles that you have arrived in a brand new city. This is a lazy approach.

Or, it is a classic routine that achieves the goal through a combination of a series of pictures. The protagonist goes to the airport, the plane flies in the sky, the plane lands, and the new landmark building is shot, and it ends.

This is a very routine and very boring shooting method. It is like a mathematical formula. Every director needs to apply it directly when the character is transferred between cities. After the same formula is used hundreds or thousands of times, all inspiration sparks. It was completely strangled and annihilated.

So that when the director wants to make some new attempts, he will be considered "futile" by the producer and forced to give up.

So, what about filming or creative shooting?

In the time and space that Lu Qian is familiar with, British director Edgar-Wright once showed his talent in such an ordinary bridge.

Wright aimed the camera at the protagonist, who was holding a pile of groceries, highlighting the breath of life. At the same time, the camera was always aimed at the protagonist's utterly dejected expression. The protagonist leaned his head on the "window" with an expressionless face. Born without love, shaking gently with the movement of the vehicle.

but!

The scenery outside the "window" is always changing. First, there is the picture of taxis passing by the city street scene, then the picture of the plane taking off and landing in the sky, and then the picture of the train passing through the countryside. It is the picture of the taxi arriving at the destination.

During the whole process, the camera is fixed on the protagonist, and the protagonist remains motionless, but the changes in the vehicle occur silently. The consistency of the shooting angle and the composition of the picture ensures that the focus and center of gravity of the picture will not change. At the same time, the picture outside the window will not change. Quickly flip through like a comic book.

The world is moving.

That's how magic was born.

This is not only the art of shot scheduling, but also the art of editing.

Wright made full use of his ability to quickly edit and connect. The pause time of each picture was calculated in milliseconds, and the entire "transition" time was between 30 seconds and 60 seconds, and the "routine template" time. The difference is almost the same, but the picture presented is fluid and lively——

alive.

The so-called cinematic sense is like this. Through composition and editing, through sound effects and soundtracks, a little magic is injected to give life to the image, and then the audience is immersed in the big screen and mesmerized.

A movie that really has a "movie feel" doesn't actually distinguish between business and art. Even popcorn can also bring a stunning movie feel.

What those big directors oppose is not the superhero movie itself, but the routine of making superhero movies by assembly line, which is a kind of destruction to the vitality of the movie.

However, ordinary audiences' understanding of this topic is often superficial or even wrong. They believe that the so-called cinematic sense is an art film, or the so-called cinematic sense is the bitterness and hatred of DC movies.

So much so that they launched a frantic attack on the big directors who complained about Marvel movies, and they dismissed them, or they criticized DC movies. Popcorn proud.

However, it is not.

In DC movies, "Batman: The Dark Knight" is a typical cinematic work; but in Marvel movies, "Captain America 2", "Black Panther" and "Wolverine 3" are also the same.

Originally, Edgar Wright was going to direct "Ant-Man". He put forward many imaginative ideas for the film, but Disney was too restrictive. The creative vitality of the special, and finally directly forced him away.

The Disney side is very hard-mouthed, thinking that Wright is missing a good work, and they don't need Wright at all.

But the actual situation is that the "Ant-Man" that was released later, the part that made the audience applaud, almost all came from Wright's creativity and inspiration.

Now, it was Lu Qian's turn.

Lu Qian knew the importance of "Deadpool". He hoped that he could expand his hands and feet without restraint, so he sacrificed some interests in exchange for the "stand by" of Lions Pictures, and finally won 100% control over the crew, and All his previous works are the same.

In fact, Lu Qian also tried Wright's technique. In "The Raid" ~www.readwn.com~ Does anyone still remember the beginning of the movie "The Raid"?

How to make all the characters come on stage in just two minutes, while being able to feel the edges and corners of each character? Lu Qian gave his answer:

A series of sharp and concise lens stitching, the picture and the soundtrack perfectly match, with the chilling atmosphere of the pouring rain, the whole sense of rhythm continues to output like a surging river.

In the eyes of the audience, the brilliance of the fighting scenes is undoubtedly the core reason why "The Raid" has received so many accolades and created box office miracles; in the eyes of professionals, they also agree, but it needs to be added that the whole film's At the beginning of the chapter, you can already see the excellent language of the lens, and the expectation value of watching the movie has been raised early.

This is the movie. "Movie" can also be a verb.

Therefore, Lu Qian needs 100% of the creative rights of the film to avoid the interference of Lions Pictures.

After all, judging from the foresight and back-and-forth of Lions Pictures for more than ten years, they have a lot of previous records. They may break their promises at any time in the middle of filming and come to interfere with Lu Qian's creation. This is Lu Qian's request to implement his own in black and white. The root cause of creative rights and clinching rights.

This time, Lu Qian also has his own ambitions.

For Blue Whale Pictures, "Deadpool" is a strategic transfer to further expand the territory; but for Lu Qian, this is a movie.

A superhero movie, a popcorn movie, a movie that unleashes all the wild imaginations in your head.

Creative inspiration is surging.

For "Deadpool", Lu Qian hopes to make some attempts, which is different from "raid" and other superhero movies. Through lens scheduling and editing, the film is given vitality-

More than just fight scenes.