China Entertainment King of Science Fiction

Chapter 183 A long shot that’s silkier than Dove

Large areas of farmland interlaced with green and yellow, as if accurately measured with a ruler, appear in the lens, occasionally dotted with houses with white walls and black tiles.

The camera continues to push forward, as if the endless viaduct is like a long dragon crossing the farmland, and in the distance is a vaguely looming urban scene composed of skyscrapers.

A high-speed train passes quickly.

In fact, the empty shot at the beginning of the film is also a scenery carefully found by Chen Jingxing. It is a section of the Beijing-Shanghai high-speed railway passing through the plains.

The films made by Chen Jingxing have always paid great attention to showing the modernization and unique and beautiful scenery of China. After all, his films still have a large market overseas, and many things require a subtle influence.

Chen Jingxing has always felt that cultural export should naturally show the good things about his country. Of course, China must have a lot of backward and dirty places. However, most of the China under the lens of foreign media or European and American media is backward and dirty.

Poor, so Chen Jingxing is not worried that if he doesn’t take pictures of China’s backwardness, foreigners will not know that China has a backward side.

Moreover, he also believes that domestic directors, especially those who take their films to Europe for awards, really do not need to keep filming the backward side of China.

European and American audiences receive negative information about China in the media and film and television cultural works, and there are even negative information about China. It is completely redundant for you to film these. You are just trying to do what you want, and the audience will not buy it. People want to see these in the news.

You can see it in the media, no need to go to the cinema.

True cultural export must go in the opposite direction, and modernization is the best carrier for cultural export.

The camera slowly got close to a window on the high-speed train. Hu Ge could be seen leaning his head against the window, as if he was sleeping. Then the camera slowly passed through the window as if it had the ability to pass through walls, leading the audience's gaze in.

Inside the train.

There are many ancient costume dramas about soul-traveling in China, but all they show are the body and face of the person being worn. Chen Jingxing extremely cleverly uses the appearance of the person who travels through time as the first perspective, but in the eyes of the people around him, he is another person.

This novel setting can bring great contrast and impact.

Hu Ge stumbled to the bathroom amidst Wan Qian's worried voices. After locking the door, he turned on the faucet and flushed it to his face, as if he wanted to clear his mind. However, when he raised his head, he almost screamed and stepped back.

Lean against the wall.

"Han Yang! Han Yang!" Wan Qian called Hu Ge worriedly from the opposite side: "The flight attendant is checking the ticket... Didn't you put it in your left pocket?"

Then the camera follows a flock of wild geese from the other side of the viaduct to a high-speed train. Along with the cry of the wild geese, the wings of the wild geese are reflected on the window of the high-speed train. One of the wild geese - actually the camera - locks on one of them.

The train window, close to Hugo's face, and then penetrated the window into the interior of the train.

Chen Jingxing's "artistic talent" will soon be shown in "Gravity", which may make film critics feel that his change is too abrupt - after all, in the previous works, his camera language was quite "simple"

"——It may make some people wonder whether the long shot of "Gravity" was designed by an animator on his behalf. After all, "Gravity" is not essentially different from an animated feature film.

This shot caused some excitement in the film critic area. From the beginning of the film, the camera passed over farmland and house viaducts amidst the sound of birdsong, accompanied by subtitles from the director and producer, and then a group of flying geese appeared next to the camera - let

People suddenly feel that the perspective of the camera is exactly one of the wild geese.

"I just thought about it and what you said before makes sense. I am too..."

When the camera returned to the center, Wan Qian was sitting opposite, saying something to the audience in the theater with a smile on her face.

Although there are no time loop film and television works in this dimension - the time concept movies are still limited to the "Back to the Future" trilogy. Since the rise of comics in the 1990s, there have been no science fiction classics about time concepts since then.

Ordinary viewers may just find this long shot interesting, but film critics and even some senior movie fans are extremely surprised, not only by the creativity of this shot, but also by the fact that this long shot has no sense of special effects - even slightly more experienced movie fans can

Definitely, this shot was definitely made with special effects, including the flying geese and the lens going through the glass.

Although many viewers had already speculated that it was a soul traveling through time, the picture in the mirror of another person completely different from Hu Ge in the same lens as Hu Ge still brought a huge impact.

The sound seemed to come from a distant place, the volume gradually increased, the picture changed from blurry to clear, and a face with blurred outlines was reflected on the car window where the sun was shining.

This is also a long shot that is smoother than Dove, and it is far from over. It is just a first-person perspective that makes the audience seem to be possessed by Hu Ge. As the camera zooms out and turns 180 degrees, the scene begins again.

Back to the third person perspective.

Then the camera slowly turned 180 degrees, and the picture was fixed on Hu Ge's confused face, and then zoomed out.

However, there are still online articles, including costume time travel TV series, which Chinese audiences are familiar with, so the first thing many viewers think of is soul time travel.

This is a two-minute long shot.

Then, after checking the ID and ticket, the flight attendant joked, "Are you asleep?" and returned it to Hu Ge, which further confirmed the speculations of these viewers.

The sounds of chatting, phone calls, snoring and children crying all seemed extremely real.

Hu Ge swept his confused eyes across the carriage while Wan Qian looked worried. He and Wan Qian were in the middle of the carriage, and almost every seat was filled with passengers.

Many viewers in the theater also expressed surprise, because the camera showed a close-up of the ID card. The name on the ID card was Han Yang, but the photo looked nothing like Hu Ge. They were completely two people.

Sina reporter Chu Jiang couldn't help but admire in his heart. Although he felt that Chen Jingxing's performance during the interview was a bit outrageous, he still had to admit the talent of this young director.

"Buddy! Hey, buddy!" The passenger sitting next to him patted Hu Ge on the shoulder.

Therefore, he also gradually began to play with the lens language in "Source Code". It is said that after reading a book a hundred times, its meaning will appear automatically. The three consecutive movies he made before also greatly trained and improved his lens sense.

He used all his novel ideas on "Source Code", which was one of the reasons why the filming progress lagged behind.

The two-minute long shot at the beginning is definitely a perfect combination of film technology and art.

Under the impatient eyes of the flight attendant, Hu Ge mechanically dug around to find his ID card and ticket. Then he was stunned as soon as his eyes glanced at the ID card.

An audience member who had just muttered, "It turns out that the character played by Hu Ge is named Han Yang" exclaimed: "Holy crap, isn't this a soul-piercing thing?"

At the same time, real exclamations rang out in the theater.

He is truly a talented director, able to make the soul-traveling setting, which is a bad idea in Chinese TV dramas, so suspenseful and thrilling.

However, the setting of soul traveling is not very novel. Chen Jingxing, who is known for his big imagination, would be a little disappointed if he just played this kind of bad joke.

Thinking of this, Chu Jiang couldn't help but feel a little excited. He was excited about the bigger ideas that Chen Jingxing might have in the future, but at the same time he was vaguely looking forward to whether Chen Jingxing had exhausted his talent and had no new amazing science fiction ideas.

In contrast, it was the latter possibility that made him even more excited as a reporter.

(End of chapter)