In these days, those thoughts about the theater are frequently on the hot search. "The last movie to watch in the cinema", "the movie I want to see when the cinema opens"... Such topics have been repeatedly mentioned and fermented on various social platforms.
Behind these topics, there is more of the audience's love for the cinema, hot and simple.
Through the "520 Confession Season", we may wish to use the most sincere words to express the most sincere love to the movie.
24-frame cipher, but also 120 frames of "resistance"
"After the invention of cinema, human life has been extended at least three times longer than before."
This line from the movie "Yiyi" directed by Yang Dechang has become the thought of many fans. The director borrowed this 173-minute video to condense the hardships of life with long and delicate emotions.
We are often immersed in the limited duration of the film, experiencing the sadness expressed to us by the creators, and the most restrained empathy with the characters. This is a gift from the filmmaker to the audience, and it is also an audiovisual enjoyment that the audience expects.
The film has its own own code, a string of numbers that began in Factory Gates and has been challenged by technology ever since.
Director Abbas's posthumous work "24 Frames" records the truth of the film's twenty-four frames per second, in the mode of still photography and moving image. When the film returns to the sense of tranquility of nature, it is like a native system, the so-called motion record, which is fed back in each frame of the image.
This high order of formal art is that the creator leads the audience to everything to explore the secrets of the 24 frames.
No one can shake the truth about 24 frames. Director Peter Jackson tested the waters with "The Hobbit" and didn't seem to perform as expected. Ang Lee does not seem to give up, but instead makes the film into a thing that flashes 120 pictures in a second, which is more than a challenge, he is single-handedly carrying the possibility of change.
From "Billy Lynn's Halftime Battle" to "Twin Killers," Ang Lee has repeatedly thought about breaking the "rigid" film syntax, and if it's okay, he still hopes that the next work can be completed with 120 frames of technology.
In a world different from other cinematic dimensions, he believes that the god of cinema is still protecting him and that a beautiful new world awaits him.
In this world of constant exploration, film is a kaleidoscope in the hands of directors, feeling it all from a variety of different angles.
Jiang Wen's "One Step Away" uses the guide tube to "play" this toy happily, and integrates the purest love of the fans into it. Looking closely, maybe he almost used the mouth of the horse to confess to the movie.
The movie is like a dream, and the actors are unbridled
The charm of the director lies in the creation of the image, and the actors add agility to the film.
"Actors should be crazy, I'm one." Ruan Lingyu said that she dedicated her best youth to the film, and she gave her understanding of fate to the film, but she never knew that the movie was ultimately just a movie, just a dream.
The movie "Ruan Lingyu" tells her all about her path from film, she will only play the image of a rich wife at first, and then to the epoch-making role in "Goddess", which is her transformation from "vase" to actor.
This change is just projected on the actor Maggie Cheung. At that time, Maggie Cheung, who was still considered by the public to still be less good at acting, seemed to have completely opened up from this work, and in a trance, in this movie, the audience seemed to be unable to distinguish who was who.
Interspersed with interviews in the film, when director Kwan Kam Peng asked her the same question as Liu Jialing: "Do you hope that in half a century, anyone will remember you?" Maggie Cheung thought about it, "I think that half a century later, it is not very important that others still remember me, even if someone really remembers me, it is different from Ruan Lingyu." ”
Sinking into the play and fading fame and fortune, all of this became a footnote in her subsequent acting career.
In the movie "The King of Comedy", Yin Tianqiu, who holds "The Self-Cultivation of Actors", is serious about the drama and has long reached the realm of madness. That sentence, "I am an actor", is that as a dragon runner, he is obsessed with his work and will make the greatest argument for a humble life.
After 20 years, Zhou Xingchi once again brought "The King of New Comedy", and Yin Tianqiu, whose dream did not come true, is no longer there, in exchange for a dream that also insists on his ideals. Zhou Xingchi, who is nearly a year old, no longer cruelly puts reality in front of the audience, but instead turns the spirit of fighting for the movie like a dream into a happy ending that seems to be like a dream.
What is the reality of waking up from a dream? We see actors who are full of spirit on the big screen, and often overlook the larger number of extras in a work. Chicken soup or force, Er Dongsheng used all his strength to let this group of neglected people speak out in "I Am a Passerby" and show all their sentient beings.
They record movie memories
The mystery of cinema is not only the complementarity of directors and actors, but also the need for different departments to be integrated.
In the movie "No Difficulty in the Jianghu", the producer Hao Huan, who holds the dream of film, has cooperated with his old friend director Vincey for more than 10 years, but the two have not had any works. During the filming process, accidents were frequent, resulting in an elusive plot direction. On the one hand, it is forced by the pressure of external investors, on the other hand, it stimulates new ideas, but it adds color to the final work.
This mode is actually a paraphrase of "Camera Don't Stop! The model of "" uses the love of all the creators for the movie to prompt them to complete an impossible task, and with this love, they have achieved a lovely film.
Especially in the last scene of the movie, during the filming, the rocker camera broke. At this time, the rest of the crew set up a wall while waiting for the camera to arrive. The shot that the average audience sees may be an ordinary second, but on the spot, the staff has to pay a great price.
Or Ma Weihao's "Meet in Landscapes and Rivers", which details the past of the 60s on the set. From cathay pacific denmao's Chinese set to shaw's Huangmei drama set, the tone is bright and romantic, the story is lively and gentle, the screenwriter becomes a director, and the stubborn actor becomes a film. The old times are accompanied, and the stories on the set are connected.
In the movie "The Story of Lisbon", director Wenders uses poetic beauty to record the story of the film recording engineer. Sound is created, like memory, and it is the only substance that bears witness to reality. Wenders tries to ask "what is memory", but the real answer is always asking farther and farther.
Zhang Dalei seems to have given the answer in "August". When the little boy was in the editing room of the film studio, picking up the lost film, the light and shadow of the past moments all came back through it.
With the revolution in film technology, my father, as an editor, had to choose to leave home to go to the crew to record on the spot. In the compound, the uncle who painted the poster also had to change careers to earn a living. But no matter how the result changed, those romantic ideals have not changed.
Just like in the movie, the father pulled the film to the end, walked to the living room, Xiao Lei woke up from the dream, lying on the crack of the door, watching his father swing his fist at the air. He was amazed, but he couldn't understand. The answer to why the father threw his fist may only be known to the father.
All questions stay in the child's seeming understanding. In this mood, it has also slowly left the seeds of love movies for children.
In film creation, each department is like a gear, polishing and influencing each other, and only when it is fit enough can it create a masterpiece. But now, perhaps we would like to say that I want to see you on the big screen again and end this "off-site" thought.
What was the last movie you went to the cinema to see?
What movie do you most want to see in the future?
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