Disaster Artist

For "Deadpool", Blue Whale Pictures has their ambitions, and Lu Qian also has his own ambitions.

On the one hand, in the iconic fight scenes of superhero movies, Lu Qian is ready to output some creativity in the aspect of shot scheduling and artistic design to break his comfort zone.

From "raid" to "fast pursuit", Hong Jiaban has already demonstrated his ability to design different martial arts scenes, all based on their own expertise, but now, Lu Qian hopes to deviate from reality a little and give full play to his imagination , to give some magic to the fight scenes, it's a superhero movie after all.

But don't go too far.

Superheroes are superheroes, and superpowers have broken reality, but without the support of theoretical foundations, the imagination will become a mess.

Bad imagination, like "Fast & Furious 9", "Fast & Furious 2".

Excellent imagination, such as "Ant-Man", "Mission Impossible 4", "The Bourne 3".

A brilliant idea but mediocre execution like "Doctor Strange", "The Matrix".

On the other hand, at the level of "script" and "role", Lu Qian is also ready to implant some fresh attempts——

What does this sentence mean?

In Lu Qian's view, the script of "Deadpool" is relatively weak as a whole, because a lot of space has given way to the mouthpiece, so that the character itself has no thickness and edges.

Simply put, the role is too thin.

Let’s recap the story line roughly:

Deadpool fell in love with a woman, only to find out that he was dying from cancer all over his body, and then the villain offered an opportunity to transform Deadpool and regain his life. Deadpool seized the opportunity and accidentally acquired superpowers, but found himself completely disfigured, Deadpool has no face to face his lover, so he is struggling to find the villain hoping to restore his appearance——

Or revenge.

From the core of the whole story, "love" plays an important role.

Then, if you want to convince or move the audience, then the depiction of "love" is also crucial, otherwise the motive of "revenge" will be untenable and the whole story will become more "light" , and because of the narrative form of the whole mouth cannon, it further makes the story frivolous.

But here's the problem, not just superhero movies, but all commercial movies, the narrative space left for the protagonist's emotions is very limited.

Take a look at "Dead Servant", set up a character, talk about it, and fight, basically there is no extra space for a three-act movie to slowly brew.

Unless Lu Qian wants to shoot a super lengthy movie of 180 minutes, there is really no more narrative space under the premise of keeping the duration of the movie light; moreover, there may be many reasons why audiences go into the cinema to watch superhero movies. But it shouldn't be to watch them fall in love.

Obviously, the brushstrokes of "love" must be there, but not too many; it must be very important to reach the point.

Some people may say that Lu Qian did it when he "raided", and the portrayal of brotherhood is very good, but shooting a movie is like this, there is no template for creation, different stories, different works, different projects. , which means that everything must be overturned and start from scratch. You can succeed once before, but it does not mean that you can copy and paste your own success——

What can be copied is not inspiration, but a template.

"Deadpool", this is a brand new beginning, at least in Lu Qian's mind, it should be brand new and must start from scratch.

However, Lu Qian's brain remained awake, and this was a good start.

It is precisely because of this that Lu Qian wanted to do something new.

Lu Qian's inspiration comes from Edgar Ryder and the classic song and dance movie "Singing in the Rain"——

The most classic passage in "Singing in the Rain" is that after the hero fell in love with the heroine, he couldn't control his joy and happiness, and danced in the rain. This mood is displayed vividly and vividly, which can be called a legend.

From Edgar Ryder to "Singing in the Rain", what they have in common is that they capture a core emotion, and then fill the entire big screen with the emotion through editing, pictures and music. It doesn't take much time, Between a minute and two, that's enough to add emotional depth.

In their lens, the picture is fluid and alive, and can even feel the beating of the heart and the temperature of breathing.

This is what Lu Qian thought.

Add weight to the character's "love" while avoiding unnecessary lengthening as much as possible and breaking the film's three-act narrative structure.

One to two clips, the duration is controlled within a certain range, and the finishing touches light up the story without affecting the narrative rhythm and script content.

In this way, the whole story will be more convincing, and at the same time, it will make the role of Deadpool more rich and three-dimensional.

It is precisely because of this that the scheduling of shots and the connection of the pictures are also crucial, because Lu Qian hopes that the shots can really "breathe".

This is a complicated job, from photographer to lighting engineer to set designer to editor, and even to composer and director, all aspects of collaboration, inspiration collision, precise design, and accurate execution can capture the creative process of the film. That brilliance.

Even before the film started, Lu Qian had to build the entire frame and context to lay the foundation for post-editing work.

The set model, is to play such a role.

Drill, simulate, plan, design, choreograph.

At the same time, it can also be demolished and rebuilt repeatedly.

But ~www.readwn.com~ is this necessary?

I am afraid that many film companies and directors will not agree with Lu Qian's approach, because in their opinion, Lu Qian's work is unnecessary.

Do more.

In today's superhero movies, almost all of them go into the studio to shoot on green screen/blue screen. After the post-cutting, they are all created with computer special effects, so the director's imagination can be fully utilized, and the fighting scenes that violate physical common sense have been become standard.

The way of building the set model is really too primitive and too clumsy. Are you sure it is not a waste of time?

But Lu Qian didn't want that.

He still prefers live action.

The sense of space brought by the real scene is completely different. It is definitely not just the difference between whether the computer effects are realistic enough. This is an all-round difference:

There are essential differences in scene design, shot scheduling, etc. It is basically impossible to imagine a computer special effect scene in an open space and then schedule the shot operation, because there is no sense of reality, which is also the shot scheduling of most superhero movies. All very mediocre reasons.

Imagine if the director wanted to shoot a shot of a character running and dodging, but the set was empty, with no substance.

For actors, they can use their imaginations and pretend that they are tossing and turning - as for the real effect, it depends on the skill of the actor.

But for photographers and lighting engineers, they cannot bypass buildings that do not exist out of thin air, nor can they create light and shadow effects out of thin air. Everything can only be "created" by computers in the later stage - for picture effects, naturally there is no Influence, but the lens scheduling must be quite satisfactory.

The gap between the studio setup and the real shot is very clear and very clear.