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Eighty-four-year-old Woody Allen still talks a lot.
[On a rainy day in New York], the male protagonist played by "Sweet Tea" Timothy Challemet, chattered to his girlfriend at the beginning.
"I'm going to book a room in Carlisle, the same hotel I talk to you about, and the pianist at their bar will sing the songs he used to sing on Broadway. I might contact my dad's ticket seller who could help us get tickets for Hamilton. ”
During this time, his girlfriend, Ellie Fanning, interrupted him once, saying, "I can't believe I'm going to interview the director of Once Upon a Winter, you can help me think about what meaningful questions there are."
Sweet Tea thought about it, but even continued the topic just now:
[On a rainy day in New York], her girlfriend is a school newspaper reporter who is going to interview a very famous director, she is both excited and nervous, and asks Sweet Tea to help her think of any good questions to ask. Sweet Tea didn't listen to what his girlfriend said at all, and kept taking care of herself and living in her own world
Of course, his girlfriend is not fuel-efficient at all.
After meeting the interviewee, Fanning began to talk a lot, just like compliments such as "It's my honor to interview you." And the mood is very emotional, panicked and also said that Akira Kurosawa is her favorite director in European films.
[On a rainy day in New York], the little girlfriend played by Ellie Fanning went to interview a well-known director, and the admiration was overflowing
In addition, there are screenwriters played by Jude Lowe, Hunter who is a family friend with sweet tea, and other characters, all of which can speak at a speed like a cannonball, overlapping and overlapping. It even overshadows the picture and controls the rhythm and climax of the movie.
This kind of high-density dialogue, since Woody made [Fool in Prison], has become his most eye-catching feature - the talking film.
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Talk
"Tuberculosis" refers to tuberculosis, and the phrase "tuberculosis" is used as a metaphor for someone talking like a tuberculosis person's cough, endlessly.
One issue of "Watching Movies" magazine wrote: "Before tang monks asked the sentence 'Your mother's noble surname', we all underestimated the lethality of the talkers: soldiers are not bloody blades, and killing is invisible." ”
For example, in [Female Spy], Jason Statham plays a waste wood agent who can talk from skyscrapers to Cirque du Soleil and then To Obama to Congress; [Shut up!] In the middle, teasing the iron egg is also a small mouth, others eat a small butter biscuit, he can pull for half a day, "Do you always use the same side of the mouth to chew?" I ask because maybe your left tooth is broken..."
[Shut up!] ]
Ge You in [Non-sincere Do Not Disturb] confessed in the church, and the end was also the "Kang Nagging Family" style, from kindergarten bedwetting to middle school graduation to the countryside, forcing the priest to endure, "Sorry, our church is too small to contain his sins." ”
[Do not disturb]
Such a leprosy role is too numerous in the history of cinema, but what if the word "movie" is added after "talking"?
Talking movies, a type of film that is not strict, mostly focused on dialogue, and the proportion can even cover the picture, controlling the rhythm and climax of the movie. It is also a joke about movies with many lines.
For example, [Anne Hall], 90 minutes, 1500 sentences of dialogue; [Claire's knee], 105 minutes, 1400 sentences of dialogue; [Twelve Angry Men], 90 minutes, 1300 sentences of dialogue; [Married Life], 167 minutes, 1700 sentences of dialogue; and [Love before the dawn breaks] and [Love at sunset and dusk], the former 105 minutes, 1200 lines of dialogue, the latter 80 minutes, 1300 sentences of dialogue.
[Love at sunset and dusk] Is short in length and has a lot of dialogue
Remember that in Nolan's [Dunkirk], the regular ticking sound of the stopwatch runs almost from the first mirror, hitting the audience's nerves throughout; in Tsukamoto's [Iron Man], the beating is the rumbling drum sound, which belongs to the industrial metal, the notes in the waste capital;
Then in the film, the stormy monologue or dialogue is equivalent to Nolan's ticking sound and Tsukamoto's drum beat.
In this regard, Woody Allen has long been a master.
In the movie [Manhattan], he plays a man who is unsuccessful in writing and has a mess of feelings, short, thin, chattering, open-mouthed Bergman, closed-mouthed Nabokov, and especially likes to brag about his first-class kung fu in bed, wandering between several lovers.
[Manhattan]
[Anne Hall] is full of intellectual complaints, self-deprecation and neuroticism, the lines are too numerous, and each sentence is releasing information points, although it is trivial, but the audience immediately pays attention to it, even if it is a dispensable joke.
Woody also makes a big splash at the camera in the film, as if he makes sense all year round.
[Anne Hall]
In [Midnight in Paris], he began to run wildly towards the "dropped book bag", the lines quoted the scriptures, and also gave the French film critics a stinky foot, the dialogue seemed careless, but in fact, it was calculating, and even held back.
[Midnight in Paris]
It is said that when French director Eric Houmai was asked if his work had too many lines, he always used Woody Allen as a shield.
In fact, these two people are half a pound in terms of talking.
Whether it is the "Four Seasons on Earth" series or the "Six Moral Stories" series, Hou Mai's films are all characters talking and chatting, which can be called "stories without stories".
No wonder Hou Mai would say, "I don't express, I present." I present people who move and talk. ”
"Four Seasons on Earth" Series [Summer Story]
But he and Woody still have some differences, if Woody Allen is a fast-paced, high-speed "paragraph", then Hou Mai is not hurried, not slow, tepid "philosophy", and the atmosphere is strong.
For example, [Claire's knee], the dialogue involves love and art, and the characters can point to the country, but they can be windy and snowy, and they are very petty.
[Claire's Knee]
Richard Linklater's "Love in" series inherits both styles, from Woody Allen's neurotic boredom to Humey's fresh romance.
The male and female protagonists roam the streets of Vienna and Paris, from the experience of love to the essence of love, from we are just a stardust of the universe to feminism, from death to art and then to philosophy.
[Love Before dawn breaks]
They have talked for one nine years, two nine years, three nine years, and they have become the "love bible" in the hearts of countless people.
headstream
In 1927, the world's first sound film [Jazz Singer] was born, and sound began to become one of the most infectious elements in the film.
To talk about the origin of film in the history of cinema, it is natural to go back to the 30s when sound first appeared. During this period, two types of films flourished, one was song and dance films, and the other was "Screwball comedy", which was famous for its speech.
It began in 1934 with Frank Capra's "One Night Affair".
Claudet Colebe runs away from home and meets the poor journalist Gable, who is typically straight-talking and says "you little thing who doesn't know how to be a good villain", but will still help her drive away all the hookers, as if inadvertently saying "Not for you, he is too noisy".
He also said that he would write a book specifically about how to stop the car, and when he had money in the future, he would take his sweetheart to the island under the moonlight of the Pacific Ocean.
[One Night Winds]
It is just a love story of a rich woman and a poor journalist, who knows that it has opened an era of talking.
In such films, there is often a pair of romantic couples with well-behaved personalities and strange behaviors, who either run away from marriage or meet true love, which can always lead to a funny and humorous funny thing anyway.
And because most of them are adapted from stage plays, enjoying the dialogue between the male and female protagonists on the screen and the machine gun has become a great pleasure in the process of watching the movie.
For example, Howard Hawkes's [Girlfriend Friday], the opening scene is the heroine's dialogue with the old lover in the office.
The two spoke as fast as bullets, often one side of the voice did not fall before the other party preemptively covered, half a day before the heroine remembered, "I am here to tell you, I am going to marry someone else", okay.
[Girlfriend Friday]
This is definitely a typical example of hearing being larger than visual, and has influenced many later film creations.
Billy Wilder even made a movie in the '70s called "The Storm of the City" to pay homage to this neuro-comedy.
105 minutes, 2400 lines of dialogue, everyone is like a machine gun, or some kind of machine clockwork, you say a word to me. Not only is he fast-talking, but he also understands witty irony and witty irony, and he also carries the output of ideas, philosophical speculation and whimsy.
[Wind and rain in the city]
Of course, neuro-comedy is not a passive water, it comes from stage plays, from radio plays, and even back to the invention of cinema, which can be pushed back to the ancient Greek drama song team performed at the Dionysian Festival.
Ancient Greek dramas mostly consisted of song teams and character recitations
Pushed to China, there are storytelling and cross-talk, Japan has wild talk, comic talents, American culture has talk shows, and so on.
However, when these language arts are combined with the picture forms of the film, it becomes a kind of sound and painting art, that is, a film of speech.
In this kind of film, there are no ups and downs of the story, the plot of dog blood and tears, the fantasy of the imagination, and some are just talk-like conversations, cross-talk, and bluntness about life.
comedy
Arguably, there is nothing more intimately relevant than comedy and drama. At the end of the day, language itself is a great tool for creating comedic effects, isn't it?
Beginning with ancient Greek drama, wordplays such as humor, banter, ridicule, satire, puns, etc. are the sources of laughter. Playing word games is an important common point in the later transition from sitcoms to sketch comedies to postmodern comedies.
Stephen Moffat's sitcom Pairs is a masterpiece of English language art.
It is said that it is the most undisciplined three vulgar jokes, but it uses the most exquisite language paragraphs, real magic pens and flowers, elves and ghosts.
"Enemies in Pairs"
The sketch comedy represented by the Python Theater Troupe is a collection of paragraphs, and all of them are spitting out lotus flowers and making people happy to the point of hilarity.
Find a random one, [Python and the Holy Grail] gatekeeper, are from a sentence can pull the principle of bird migration "strange".
[Python and the Holy Grail]
In Kevin Smith's [Crazy Clerk], the two clerks are full of adult jokes and boring passages. If you don't speak, you will die, and what you say is typical of some boring words.
[Crazy Clerk]
In Sasha Byron Cohen's [Borat], the Kazakh Borat is embarrassed as soon as he opens his mouth in the United States, annoying Americans of all classes. But there was nothing that could plug Borat's stinky mouth, and he wanted to talk and puncture the fake paper.
[Borat]
There is also screenwriter Alan Sorkin, who has loved to listen to the sound of human dialogue since childhood, and has a natural sensitivity to language and sound.
He put that sensitivity into the movies [Jasmine' Poker Game] and [Social Networks], both of which are filled with fast-talking, high-density dialogue that can't be stopped.
The latter, in particular, is a college student played by Andrew Garfield, chattering around a chicken, almost making people laugh and cry.
[Social Networks]
The Japanese movie "Seto Inland Sea" has a bit of this meaning, the difference is that it does not have a huge background as [social networks], but from a certain aspect of life, the entry point is very small, the style is also very literary, and it can always shake out some hilarious small lines.
The protagonist is two boys in the second year of high school, every afternoon after school will meet to sit by the river, basking in the sun, playing mouth cannons, the biggest trouble is to be bored with exams, but also said that social is to rely on acting skills, eat an overly long fries also have to spit for half a day.
[Seto Inland Sea]
There is no grand historical background or salvation theme, and in the whole universe, the protagonists are most concerned with themselves. Not enthusiastic about politics, no sense of social responsibility, troubled by some trivial matters of life, without any positive energy, and not serious at all.
The same is true of Quentin's [pulp fiction], where Vincent and Jules are two killers who are supposed to carry knives and guns, with cold and domineering faces, and they are a little idle, and on the way to kill people, they are still discussing hamburgers, Bibles, and foot massages.
[Pulp Fiction]
Speaking of Quentin, I have to mention Jiang Wen, who taught him to be "bullish".
That [Let the Bullets Fly] is also a film of words, the first sentence and the next sentence are seamless, the dialogue and dialogue are closely linked, and the characters can hardly be heard panting, like a group of cross-talks.
The most famous is the "Hongmen Banquet" scene, the characters have many words, and each sentence is short and powerful, who speaks the camera to give who close-up or close-up, characterized by a word: fast!
Circular track, three machines around the shooting, triangle relationship to cut, forward and reverse, over the shoulder, before the words are finished cut to each other, or cut the reaction lens, and stay for at most one second, the movement is minimal.
This is a common way to shoot a film. The same is true of the opening scene of [The Falling Dogs], but the arc movement is even greater; Woody's Old Man's [Hannah Sisters], the "Eat in Circles" scene also uses a similar approach.
From top to bottom: [Let the Bullets Fly], [Falling Dogs], [Hannah Sisters]
Speaking of Woody Allen, he was actually a comedian in his early days and wrote scripts for some stage plays. Therefore, in his films, there have always been stand-up comedy and stage drama elements.
Like [Annie Hall], Woody in it is like a stand-up comedian standing in front of the camera, chattering and talking to himself. And those chatter are so funny, so that the philosophies about love and life are full of humor and ridicule.
[A rainy day in New York] continued this style, sweet tea drenched in rain walking the streets of Manhattan, remembering that the sexy ex-girlfriend had given people a ** at the Jewish coming-of-age ceremony, sour and slippery pulled a bunch, saying that this should be included in the Jewish holiday customs, stronger than fasting.
[A rainy day in New York]
For example, a middle-aged man asked for two plates of cold vegetables and a pot of wine, and when he drank until his face was red, he began to sob, lamenting that the country was finished, scolding intellectuals and civil servants, and complaining that his wife did not understand himself.
This is the talk of the film, worship of gold, alcoholism, widowhood, old and bad, a chicken feather, and funny and funny.
It makes the protagonists of the middle class, the unscrupulous private lives, and the stinky temper of intellectuals lose again and again in front of life. Then, in the vast expanse of light and shadow, gently narrowed.