1993 My China Entertainment Age

Chapter 22 The shooting of the first scene begins, and the soul painter comes online!

It is worth mentioning that the "memory of youth" in all classic youth movies often appears together with the "memory of the times".

"The Murder of a Boy on Kuling Street" tells the story of Taiwan Province in the 1948 Republic of China. A boy used a knife to break through an era of total martial law.

"The Beautiful Legend of Sicily" took place in Italy during World War II. A boy peered into the temptation and destruction of a goddess, just like this messy land.

"Once Upon a Time in America" ​​tells the story of how the American dream of a group of boys and a girl was shattered in the United States during Prohibition.

"The 400 Blows" tells the story of Paris in the late 1950s, where 13-year-old Antoine ended his childhood at the mercy of others.

"Sunny Days" is a film adapted from Wang Shuo's novel "The Ferocious Animals". It tells the story of a group of children, including Ma Xiaojun, living in a military compound in Yanjing, China, in the 1970s.

The story of spending one’s youth among the sunshine and red flags everywhere.

9pm.

The crew of "Sunny Day" is preparing to shoot the first scene. This scene is actually very simple, it is just a fight. The key is to use the big one to bully the small ones.

The plot is not complicated. A group of young men were taking a bath in the bathhouse. Suddenly a girl came in and molested the boys. Then a boy named Yanggan made rude remarks to Beibei and was beaten by the "King of Children" Liu Yiku.

A slap in the face.

And the girl played by Yu Beibei is none other than the second female lead Tao Hong.

What I have to say is that Jiang Wen, who has always presented himself as a tough guy, is somewhat perverted at heart. He always likes to have actresses in his movies not wear underwear or show their breasts.

Tao Hong, who was filming for the first time, was the first actress to be "persecuted" by Jiang Wen.

After hearing what the assistant director told her about tonight's scene, Taohong was immediately shocked. She felt that the scale of the scene in the bathhouse was too big, so she backed down and ran to confess to Jiang Wen that she didn't want to.

After filming, she couldn't accept this kind of scene.

Facing the determined Tao Hong, Jiang Wen really had no choice but to do the next best thing and let Tao Hong wear a white shirt, but still asked her not to wear underwear underneath.

Taohong still couldn't accept it, so she asked director Jiang Wen to wear a white vest underneath to prevent exposure as much as possible.

After calming Tao Hong's emotions, Jiang Wen took out the storyboard manuscript he had drawn, carefully read it, reviewed it, and then explained the scene to every actor present.

As we all know, the storyboard plays a vital role in the presentation of a film.

The storyboard is an indispensable preliminary preparation for directors to create a film. The role of the storyboard is like the blueprint of a building. It is the basis for photographers to shoot and editors to do post-production. It is also the basis for actors and all creative staff to understand the director's intention.

Understand the content of the script and provide the basis for re-creation.

For the director, the storyboard is equivalent to a simulation exercise before the director goes into battle. It will be constantly modified, refined, interpreted in the mind, perfected, and finally presented.

By the way, the storyboard manuscripts drawn by each director are different. For example, the storyboard manuscripts drawn by Xiangjiang director Xu Ke are of a high standard and have a comic-style feel.

However, many times the storyboard manuscripts of great directors just outline the scenes and plot content in a wide range, but in Xu Ke's storyboard, he will show the expressions of the characters and the intensity of the characters' opponents.

If Xu Laoguai's storyboard manuscripts are like the free and unrestrained line beauty of a cartoonist, then Feng Xiaogang's manuscripts are like the artistic beauty of finished oil paintings.

As for Lao Mouzi's storyboard manuscript, it can be said that the drawings are very "regular", detailed and cautious.

Lao Mouzi's storyboard manuscripts are very particular. They don't have the casualness of a master's strokes of a pen. Instead, they are more cautious about the film. Especially in the description and production of each scene, there will be corresponding annotations.

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In sharp contrast to other directors, Jiang Wen is an out-and-out soul painter. The storyboard manuscripts of other great directors are full of details, but Jiang Wen's stick figure manuscripts have a unique style of painting and come with their own codes, which is unimaginable.

, the final film will be so powerful.

In today's scene, Liu Yiku, played by Jiang Xiaofeng, has to slap a kid who talks nonsense.

Although this scene was not a scene filmed by Jiang Xiaofeng, because he had played a minor role in the Shaolin Temple, but today's scene in the bathhouse allowed Jiang Xiaofeng to truly experience what "the torture of acting" is.

Before the filming started, a large group of young men, including Jiang Xiaofeng and Xia Yu, were asked by the assistant director to strip naked.

Jiang Xiaofeng was afraid that if his dick was too big, it would scare everyone if he showed it, so he wanted to discuss with the director whether he could leave it off or wear underwear or something.

Just as he was hesitating, Jiang Wen walked in while shouting: "Are the children ready?"

Seeing a big shot like director Jiang Wen staggering out wearing only a pair of shorts, without any of the baggage of an idol, Jiang Xiaofeng gave it all.

But then, Jiang Wen asked Jiang Xiaofeng to slap a child in the mouth, but he couldn't do it anyway.

Because the child who plays the role of Sheep is tall, it just reaches his shoulders.

Therefore, Jiang Xiaofeng is just as quick as a dragonfly to touch the water.

Jiang Wen on the side was not satisfied, so he continued filming.

One, two, three...

Until the eighth shot, Jiang Xiaofeng still started a little lightly.

"If you don't continue to slap me, we will keep coming and fan you until dawn."

Jiang Wen was a little annoyed. He told Jiang Xiaofeng to hurry up and the long-term pain would be worse than the short-term pain.

So, for the last time, Jiang Xiaofeng finally gritted his teeth and rounded his arms.

"Crack!"

After a crisp round of applause, the crew fell silent instantly.

After filming this scene, Jiang Xiaofeng felt relieved.

But in fact, this is the beginning of a "nightmare".

The other scenes that followed were shot more often than this one.

Basically, you have to take more than 20 shots of each scene to barely pass.

Later, Jiang Xiaofeng and everyone found a pattern and stopped thinking about everything. If there were more than 10 items, everyone was looking forward to 15.

After 15 points, everyone shouted to keep on keeping on, and I passed after 5 or 6 points.

However, because Jiang Wen's requirements were too strict, the actors spent three days and three nights under the tap during the filming of the two- to three-minute scene in the bathhouse.

Finally, several young men, including Jiang Xiaofeng and Xia Yu, almost vomited after taking a shower.

Especially Xia Yu, her skin was peeling all over her body and her hands and feet were blistered.

After filming the scene in the bathhouse, Xia Yu instantly felt a sense of relief and complained to Jiang Xiaofeng beside him: "Brother Feng, I've been really scared of taking a bath these days. I don't want to take a bath for a week."

Jiang Xiaofeng felt the same way and sighed: "Who says it's not the case!"

Like Jiang Xiaofeng and Xia Yu, as a director, Jiang Wen also gradually found his confidence in the bathhouse scenes.

However, among the several young actors, the one Jiang Wen was most satisfied with was not Jiang Xiaofeng, who played the second male lead Liu Yikku, nor Xia Yu, who played the first male lead Ma Xiaojun, but Tao Hong, who wanted to quit the crew from the beginning.

In fact, it was a bit difficult for Tao Hong when she first started filming.

Since Taohong grew up in a closed training environment, she had almost no contact with boys.

In addition, Taohong was very reluctant at first, had many worries, and had no acting experience. Jiang Wen initially did not have much hope for her acting skills.

Unexpectedly, when the filming actually started, the little girl showed no stage fright and acted very naturally. Jiang Wen couldn't help but be impressed.

ps. Share an Easter egg chapter of Jiang Wen’s storyboard manuscript.

(End of chapter)