Ding Cheng stood up and bowed deeply, very moved.

Study hard, deeply appreciate the other party's excellent understanding of the action, try to be specific to various details of each move, A is divided into B and C, B is divided into D and E, and finally study how C and D play beautifully.

In contrast, Cheng Xiaodong's action scenes are a bit similar to the feeling of a pas de deux. It seems that there are a lot of fighting moves and the moves collide, but in fact, there is no offensive and defensive switching, and there are no targeted moves.

The audience purely admires the flowers, and it is easy to fall into a kind of numbness after watching long-lasting actions, such as the sword battle between Linghu Chong and Xiang Wentian played by Li Chengjie in "Undefeated in the East", swords and swords are flying all over the sky, and the operation is as fierce as a tiger......

Two unscathed?

To put it bluntly, Cheng Xiaodong focuses on the state and artistic conception of the fight, and has no intention of delving into the attack and defense of his moves, let alone exploring the realistic microcosm.

Yuan Kui's fight scenes are always obsessed with some kind of combo, Party A attacks, B is convenient to dodge or block, and then it is Party B's turn to attack, and Party A blocks ......

The switch between offense and defense did occur, but the reason for the switch was very vague, and the audience could not see the process and entanglement of the switch.

The reason for the switch between offense and defense in his action scenes is usually arranged by the storyline, which belongs to the intervention of non-fight plots, and takes over the offensive and defensive logic inside the fight through the peripheral storyline.

In the last scene of "Zhongnanhai Bodyguard", the killer played by Zou Zhaolong is good at leg skills in the play, and Li Chengjie has been dodging. Because the room was full of gas, in order to grab the faucet, it was inconvenient for Zou Zhaolong to attack with his legs, so it became the Emperor of Kung Fu who used fists and grappling techniques to turn defeat into victory.

Because the environment changes, not the action itself.

"If you want to play beautifully, you must know how to eat!"

The eighth master said earnestly: "In the process of fighting, even if the two sides are equally skilled, they will also eat each other, but it does not mean that they are knocked down, but it is just the true performance of the inevitable negligence or mutual temptation of the two sides of the fight." ”

"You have to learn how to gradually switch between attack and defense through eating moves, or explore the weaknesses of the opponent's moves through medium moves!"

"Once the audience can see the actors' motives and every detail of their attacks and feet, they will be fully engaged and better understand the logic of the action itself......"

"For example, the third scene between you and Tony Jia today, in my eyes, can actually be divided into three steps......"

"The first step is to stop the opponent's attack by intercepting the opponent's move, so that he cannot attack for the time being......"

"The second step is to take the initiative to attack the opponent so that it can only defend ......"

"The third step is to get him hit, which turns it into an open attack and eventually knocks him down. ”

"You hit him, he hits you again, they know each other, no matter the strength or speed, the same trick will definitely not work next time, right?"

Ding Cheng suddenly realized, so it was.

It's easy to say that it's really fighting, but it's still very beneficial to rise to theory. In other words, the types of offensive and defensive transitions are always used alternately, testing each other and gradually escalating, slowly turning sporadic attacks into completely open attacks.

One side presses the other to play, turning the opponent's occasional defense into a long-term defense, and finally knocks out.

"You have to be careful when you get into a fierce battle!"

"Party A let Party B get hit, and use the second and third moves in a row to force it to be beaten for a long time, and when this trend occurs, I will definitely let Party B defuse or drag Party A's continuous attack. ”

"Find an opportunity for him to take a breath, gather strength, and then continue to fight, otherwise it will become a Wang Ba fist fight, what's there to see?"

"The reason why the audience likes to watch action movies is because of the interlacing and entanglement of the moves of the two sides. It is necessary to have two loops just right to keep the transition between attack and defense alternate......"

"Like two beasts cornered!"

"...... with your paws"

"Biting ...... with your teeth"

"Headbutting ......"

"In the end, it looks good when you lose both and fall to the ground!"

Ding Cheng gave a thumbs up,

Awesome!

Take a photo of the notes with your mobile phone, go back to the room and study it carefully, so that Yao Zai can find out the most classic plays of the eighth master, and correspond a little bit to a deeper understanding.

found that his action scenes are like a closely linked cause and effect system, and each action has its own logic and meaning of existence.

"The Matrix 2" he designed Keanu Reeves to be knocked down, turned on his back and turned backwards, and at the same time someone attacked in the rear, Keanu happened to hit the attacker when he turned back, and at the same time used the reaction force to bounce his body back along the original route, the reason for the offensive and defensive conversion, and the rationality and strength of the counterattack convinced the audience.

Not only that, each action has a minimum of mechanical knowledge and human body knowledge, but each cause is exclusive to each action, so it cannot be once and for all, with the generation of new actions, it is necessary to follow up in real time to establish new reasons.

"Tai Chi Zhang Sanfeng" Qian Xiaohao was dodged by Li Chengjie retreating by swinging a knife in the air, if he followed Li Chengjie directly in the air at this time and continued to swing the second knife, he would have committed the problem of insufficient reasons.

So Yuan Heping let Qian Xiaohao pounce forward after landing on the ground, which gave him enough strength to pursue and retreat.

You will find that all the characters he designed have the same physical performance as ordinary people, and all kinds of physical characteristics of life because of fighting.

This is one of the key factors that makes the audience empathize with the characters in the fight.

The basic vital parts of the human body are the consensus of mankind, and the understanding of all countries and nationalities is basically the same. And the attacks on these parts can make the audience empathize, such as counter-joint force, finger skimming, attacking the waist, armpits, ......

The limit of a straight somersault in men's gymnastics is 900 degrees, about two and a half turns. So in addition to the Matrix sci-fi series and comic-themed kung fu, Yuan Heping's action scenes almost never have scenes of more than two straight flips.

Cuban athlete Sotomayor set the men's high jump world record of 2.45 meters on July 27, 93, which has not been broken to this day. Therefore, the jump height of his big moves is almost always controlled within two meters.

Because the action of leaping is often done by the actor himself, Hanging Weiya only assists in the precision and complexity of the action, and renders realistic effects in order to protect its authenticity.

In the final analysis, exaggeration in fighting is the moderate exaggeration and prolongation of force and force. The homeopathic extension of strength is by no means an evasion of force, nor is it a distortion, nor is it a violation.

For the possibility of leaping, the walls are smooth, and climbing along the walls is far-fetched. It can be designed to jump back and forth between two walls to achieve the purpose of going up to the roof, which is a wall walking technique that conforms to physical logic.

Even the god-like Crouching Tiger, Hidden Dragon is full of emphasis on the common sense of mechanics, and Michelle Yeoh grabs the bricks protruding from the city wall to climb upward. Because it is a city wall, it is ancient and rugged, and it is more credible to climb up.

Running with Zhang Ziyi on the roof with light power, various power points are densely distributed in the whole process of running, generally no more than 1 meter. The most important thing is that it doesn't hang in the air for too long.

Once the vacancy time is too long, before the audience can dismiss its possibility with common sense, another focus must be arranged, so that it becomes the reason for the subsequent vacancy.

The whole running process is completed by relay of power points one after another. The aerial actor also uses both hands and feet, just like the legs of a long jumper who straddles back and forth in the air after taking off.

Now it seems that this may be the key reason why it can impress the Oscars!