China Entertainment King of Science Fiction

Chapter 501 Crazy idea, a “different” war movie

For this technological adventure, Chen Jingxing also found a more suitable background.

The background is a real breakthrough miracle in the history of war that took place in the fifth battle of the Korean War.

In the fifth battle, the 91st Regiment of the 31st Division of the 12th Army, led by regiment commander Li Changlin, was ordered to take a roundabout way and penetrate behind enemy lines to fight.

After receiving the order, Li Changlin led the entire regiment to advance with resolute and decisive actions, reaching Brother Peak east of Hazhenfuli and approaching the "37th Line".

However, when the battle entered the third stage, the situation changed unexpectedly - the 12th Army was instructed by its superiors to organize a strategic retreat. Due to the delay in communication, the 91st Regiment took action late.

The enemy troops who quickly came to pursue them were intercepted in the Sanjuli area.

At this time, the main force of the 31st Division and even the entire 12th Army had been ordered to move north, leaving only the 91st Regiment alone behind the enemy lines.

The enemy also took this opportunity to mobilize heavy troops to launch a large-scale pursuit of the 91st Regiment, and set up blockades one after another along the 91st Regiment's northward breakout route.

Then the 91st Regiment, led by its commander Li Changlin, conducted a large-scale, roundabout breakout operation that the enemy had not yet thought of.

The breakout route can be described as "weird", making it impossible for the enemy to grasp its pattern and direction. Not only did it break out of the desperate situation, but it also brought back 119 prisoners.

Chen Jingxing's story design is that due to communication delays, when the 91st Regiment was intercepted by the enemy in Sanjuli, the communication equipment was blown up during the fierce battle during the surprise attack, and it was unable to receive orders from the Corps Headquarters.

First of all, Chen Jingxing's novel, somewhat outrageous and almost delusional idea was indeed difficult to evaluate for a while.

Even a slow-paced long shot with a monotonous scene requires a very long time of repeated practice to achieve smooth scheduling.

Jiang Ruoping took on the role of producer a little bit more deeply, and just thinking about the director's perspective makes me go numb.

Regardless of whether or not these words from the general manager of National Film Group were a compliment, they still gave Chen Jingxing a lot of confidence.

"Spike III" is invested by China Film Group Corporation - usually DreamWorks movies involving military wars or space-themed movies will be co-produced by China Film Group Corporation.

This is a great test for photographic equipment, videographers and even their ability to modify and create equipment.

It will definitely stand out among all the films dedicated to the Korean War and leave a deep impression on our country's film industry and audiences."

Although there will be many special effects shots, the difficulty of the remaining long shots is staggering enough.

The 91st Regiment first made a counter-intuitive breakout move - who said that to break out, you must retreat to the direction of the main force? The 91st Regiment just wanted to "get closer" to the US military!

Therefore, the 91st Regiment resolutely gave up the idea of ​​​​retreating north to break out, and instead headed south toward the enemy's rear.

Chen Jingxing blurted out: "'1951', let's call it '1951'."

An interesting thing happened during this process. The 91st Regiment once marched side by side with a part of the Southern Dynasty Army that was pursuing north. However, because it was dark at the time, the Southern Dynasty Army did not know what was true and did not realize that those who were parallel to them were actually

enemy.

The two soldiers carried communication equipment all the way through the long fire line, through villages and towns, across mountains and rivers, and through layers of enemy blockades, and finally found the 91st Regiment that had escaped from the blocked battle.

But when he looked at Chen Jingxing, whose eyes were shining and his words and expressions were getting more and more exciting, he had an unspeakable thought in his heart.

Weaving and circuitous all the way behind the enemy's rear, they quietly crossed the Namhan River and reached the high mountains north of Neesingi. Then they used a brilliant move - they continued to penetrate towards the east.

Although the filming method is unprecedented and the creativity is crazy, the focus of the film's story is very small. It is just the story of two signal soldiers traveling to find the missing 91st Regiment.

There are also lenses.

Jiang Ruoping was a little dumbfounded after reading it over. "My 1949" is also a gift film for the National Film Project. It is a platter movie that tells the stories of several people from different classes, different identities, and different regions in the year of the founding of the People's Republic of China.

The difficulty of camera positioning is even more difficult than that of actors and interactive scheduling of scenes.

Even though there are more cutscenes, it can't be compared to a war movie with an intense pace.

"1917" has only more than 20 hidden edits in the entire two-hour film.

But now after listening to Chen Jingxing's talk about Amway, he had to admit that this idea that sounded a bit like nonsense at first seemed to be... not unworkable.

Chen Jingxing was already prepared: "Then let's make two movies.

But this was mainly in the palace.

The 31st Division sent two communications troops to cross the fire line and trekked all the way to finally find the 91st Regiment. They brought the 91st Regiment's retreat and rendezvous order from the Corps Headquarters, and also brought precious information about the enemy's defense along the way.

Jiang Ruoping recalled the highway action scene in "The Matrix II" and some scenes in "Inception".

"Did you get the inspiration from "My 1949"?"

Jiang Ruoping was speechless and exclaimed.

Shots are the scheduling of cameras, as well as the scheduling of scenes and people.

There are many movies that feature long shots. For example, in the Russian movie "Russian Ark", the director used a full 90-minute long shot to show the gorgeous scene of the Russian palace.

Faced with Chen Jingxing's inquiry, Jiang Ruoping sighed: "It's incredible, if it can really be filmed, although I can't imagine what kind of audio-visual effect it will bring to the audience, it will definitely leave a name in the history of war movies.

The personnel, props, positions, lines, military movements and performances all need to be coordinated and coordinated smoothly.

To let the protagonists breathe, fear and hope, their interactions with each other, the environment, enemies, and local village people are all included in the camera.

If nothing else, the shooting method and presentation alone are worthy of a Golden Rooster Award for Best Picture.

The second part will talk about how the 91st Regiment launched a large-scale roundabout breakout operation."

Chen Jingxing and his DreamWorks always seem to have a reckless, unconstrained, and daring style of thinking and doing.

The enemy is not only the US military, but also the Southern Korean army.

A long shot from the end is not just about following, from the sky to the following perspective, from the following perspective to the rock cave, from day to night, from slow to lightning fast, from still as a virgin to as moving as a rabbit.

"Where's the name? Do you have any ideas?"

The immersive war experience with ample relaxation, changing perspectives and panoramic display allows the audience to truly feel the sense of urgency and mission.

Amid the heated discussions among many filmmakers in the industry, Jiang Ruoping knew that this was preparation for the filming of "Spike III".

Naturally, it is impossible to take a true shot to the end.

This allowed the 91st Regiment to find another way and kill the enemy through unexpected directions and routes!

This "1917"-style "one shot to the end" movie conceived by Chen Jingxing is the first half of the entire story.

He is not an amateur and knows that the biggest difficulty in long shots is scheduling.

He knows how Chen Jingxing and the DreamWorks crew used quite creative and crazy ideas to achieve real shooting.

Not to mention a scene with wide open terrain, changing terrain, including night scenes, as well as chases, explosions, breakouts, battles, running, crawling, etc. The rhythm of the scene changes, and the scenes are sometimes large and small.

The movie envisioned by Chen Jingxing was not only crazy and bold, but Jiang Ruoping felt a headache just thinking about it.

Other classic films that are famous for their long shots usually have a few or ten minutes of long shots that are considered very powerful, and the scenes are generally not complicated, mainly in literary films.

Taking into account the box office of "Wolf Fang II" of more than 4 billion, such a big battle is not incomprehensible, but it is still staggering.

This movie will definitely be co-produced with China Film Group. If Jiang Ruoping can say this, there should be no problem with this project.

This has been a hot discussion topic among filmmakers in the industry.

Sometimes high and sometimes low, sometimes slow and sometimes fast, the scene transitions are long, and the camera surround needs to be completed from time to time.

It just requires genius creativity and strong execution.

The difficulty of shooting such a long shot is not comparable to that of following the protagonist as he moves forward and backward in several rooms.

It can be said that the 91st Regiment, the U.S. Army and the South Korean Army danced a waltz, completing a successful hide-and-seek in military history. The 91st Regiment ended up not having any involvement.

This miracle of breakout, which is rare in the history of war, is actually very suitable for making a suspenseful war movie.

That’s why it’s a fake mirror to the end.

This requires extremely high shooting skills and aesthetic attainments.

Of course, the so-called uninterrupted long shots are of course fake uninterrupted.

The 31st Division sent two communications troops to cross the fire line and trekked all the way to finally find the 91st Regiment. They brought the 91st Regiment's retreat and rendezvous order and the enemy's defense information as the first part, using a fake shot.

The final form.

Limited time mission + one shot to the end, this is indeed something no one has thought of before.

The elements are very rich.

This young man is truly a mad genius.

For example, DreamWorks went crazy before. It built an unprecedented super greenhouse in the DreamWorks Digital Film and Television Base under construction in Shanghai, and then built most of the actual shooting scene of the giant ship in the super greenhouse.

Unless the whole process is shot virtually, there is no technology to achieve it.

"But doesn't the name "1951" feel a bit too big?"

If a director of a national film company, or if he himself had come up with this somewhat crazy idea - to shoot a war movie in one shot - he felt that it was unlikely that he would have had such an idea, even if it happened in a moment.

Any outrageous idea will burst like a bubble in the next moment.

But even if it requires editing and splicing, it would be incredibly difficult to shoot a movie like this.

And this seems to be really only available to Chen Jingxing and DreamWorks.

"Mr. Jiang, what do you think?"

Let the audience become them, let their hesitation become the audience's hesitation, their despair become the audience's despair, and their heroism become the audience's heroism.

A war thriller full of entertainment, courage and wisdom shot with a special uninterrupted long shot.

Although there is no fierce battle, the intellectual game between the three parties, the mutual prediction, and the tense pursuit of the action are all worth filming.

Through multi-line narrative, it is possible to make a "Dunkirk"-style war movie that is slightly suspenseful and even brain-burning, but also more exciting.

In this way, both the upper and lower parts of "1951" can realize Chen Jingxing's idea of ​​being "different" from other war movies.

It may not be a brilliant success at the box office, but it will be enough to leave a deep impression on the audience.

(End of chapter)