Taking the stage with notes, Tsui Ke's master class began to lecture on Hitchcock and encourage young filmmakers

Taking notes on stage and releasing reference stills in advance for the audience to listen to while looking at pictures, the famous Hong Kong director Xu Ke turned a master class into a film professional class. Yesterday, the Fifth Pingyao International Film Festival held a master class for director Xu Ke, but in the whole event, Xu Ke did not say a few words about his own creation, but used the suspense master Hitchcock's famous work "Telephone Murder" as a case to give fans a film lecture full of dry goods.

Directed by Xu Ke

At the beginning of the master class, Tsui Ke said that there are many directors who have influenced today's films, but Hitchcock may be the best person to share this time. "First of all, he has a lot of works, and he has made more than fifty films in his sixty years of practice, and he can see them now, because they are very market-oriented commercial films, and the audience has a certain familiarity with him." The Pingyao International Film Festival is a very young film festival, and Hitchcock will be more relaxed, because he is a director who likes to joke with the audience and loves to play tricks, and will make some comedic elements in thrillers. Xu Ke believes that understanding the history of film is very necessary for practitioners, because if you do not know the history of film, it is not clear why a film is made like this, how the audience reacted to it at that time, and will not understand the impact of the work on history.

Xu Ke first introduced Hitchcock's creative background of the times and film history background, and then officially entered the analysis of "Telephone Murder". He said he watched the film when he was probably sixteen or seventeen years old and thought it was more than just a thriller. He said that Hitchcock did not attach importance to the film at the beginning, because it was adapted from a stage play, the scene was single, there was too much dialogue, and it was not conducive to filming, but the film eventually became a classic suspense work, which was mainly due to Hitchcock's mastery of suspense elements and various exquisite lens language and editing techniques.

"Let's look at the 13th picture. This picture is interesting because from a photographic point of view we don't like this kind of composition, two people on both sides, a large empty space in the middle, we often say that this is a 'tug-of-war shot'. But Hitchcock used it many times, because he wanted to show through the lens that these two people had a strong opposite, which was his intention. Xu Ke asked the audience to take out their mobile phones and look at the reference stills while listening to him analyze the subtleties of Hitchcock's lens language. The subtlety of Xu Ke's observation of the details of the film is amazing, not only the camera angle, the scene, but also the color of the character's costume and the prop material.

When asked by the founder of the film festival Jia Zhangke, is it better to create a good work with a relaxed and unintentional mentality? Xu Ke responded that the realm of "unintentional" is very rare, some directors do not draw the shots in advance, and then feel and determine the shooting method when they go to the scene, such as Jia Zhangke; some directors do not have a script in advance, and write on the spot, such as Du Qifeng. "The problem is that he's going to find something he doesn't have, and I really don't know if that's a good way to find it." He confessed that he would also have a feeling on the set, sometimes he told the photographer that it was good now, and the photographer said, I didn't play well, you are OK? He summed up the problem as a contradiction between artistic creation and the film industry. "The difference between the text script and the set is very large, and there will be all kinds of possibilities on the scene that you can't imagine. So I'm also in favor of going to the scene and letting the atmosphere of the scene inspire your ideas. ”

During the audience question session, a fan said that Xu Ke was very good at shooting women, such as Wang Zuxian and Maggie Cheung in "Green Snake", and she wanted to ask for advice. Xu Ke laughed and said that the two protagonists of "Green Snake" are snake spirits, and the two actresses will deliberately imitate the characteristics of snakes when performing. "As for how you ask how the images in the movie are shaped, it's hard for me to say, because it seems like you're going to feel like you're going to do it, and there's no specific logic or method to say it."

A fan mentioned that Xu Ke and Wu Yusen once sat in the tractor body of a tractor when they were young, lamenting when they would become great directors. Recalling that moment, Xu Ke laughed and said that in fact, he liked the feeling at that time and was very open, "At that time, I felt that I wanted to do a lot of things, and I didn't know if I had a chance, but I told Wu Yusen that if I didn't keep insisting, how would the opportunity come?" Everything you experience at that stage will be useful to you in the future, but when you reach an age, you will not have the opportunity to experience that very open mindset. He used this to encourage young filmmakers: "Now is the time for you to absorb nutrition and life experience, God has given you a very good environment, so that you understand what is life, what is growth, what is life, so you must cherish this time." ”

(Original title: Xu Ke Master Class Opens Hitchcock, Encouraging Young Filmmakers - Cherish the Present, Absorb Nutrition and Life Experience)

Source: Beijing Daily

Author: Yuan Yun'er

Process Editor: L061

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