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Dim bathroom.

Pan Hengsheng hunched his waist and pouted his buttocks, holding a huge camera in his arms, and stepped back lightly, and seven or eight people such as the lighting engineer and the radio engineer next to him also moved with him as he retreated.

Above the bathtub, Qiu Litao hung Weiya, nestled up, holding the camera vertically in a very weird and uncomfortable posture, facing the turbid bathtub water in front of him.

Inside the bathtub.

Liang Jiahui closed his eyes tightly, his whole body trembled slightly, the green tendons on his neck collapsed, panic appeared on his face, his body trembled more and more, and his hands began to struggle unconsciously and indiscriminately.

For this group of shots, Wu Xiaozu chose three lenses to open at the same time, and to ensure the continuity of the subjective and objective shots of the characters' actions.

At the same time, in the camera, it not only includes the sense of spatial pulling of the camera, which brings sudden preconceived psychological hints to the audience, but also the presentation of the rotating camera to show the panic and struggle of the characters themselves.

This is for the scheduling of lenses, which may be well completed in the future with the cooperation of cameras and drones, but——

This is definitely a new attempt on Hong Kong Island at this time. Combined, a minimum of 70 sets of these lenses are required.

When Wu Xiaozu proposed this idea, Qiu Litao and Pan Hengsheng both felt that Wu Xiaozu was crazy.

The three videographers were dripping with sweat on their foreheads, which was both extremely nervous and exciting. All of them clamped the eggs tightly, collapsing the nerves of their whole bodies.

Ye Weixin, the little fresh meat standing next to him, clenched his fists, his palms were full of sweat stains, and the handles of the fishing line he was dragging were red marks.

The light group controls the temperature and color of the lamp.

In this scene, Wu Xiaozu asked that the lamp should not be as cold as those ghost movies, but also cold. The whole color temperature appears cold and dim. To this end, Zou Lin chose a lot of blue light sticks as the light source points captured by the lens.

With a wave of Wu Xiaozu's hand, Ye Weixin cut the fishing line......

"Ahem, ahem, ahem......"

Liang Jiahui, who had been holding in the water for a long time, suddenly opened his eyes, and the camera of being wrapped in a sealed bag underwater moved with his gaze.

Suddenly!

An emaciated, pale man grabs the edge of the bathtub with his hand.

"Ahem, ahem...... Ahh

Liang Jiahui vomited bitter water, and the whole person fell out of the bathtub without warning.

Bang, this fall is definitely true, in order to show the panic of the character, this set of shots has to be done in one go, so there is no cushion next to the bathtub as a cushion.

Liang Jiahui did not ask for a stand-in, but really threw himself on the cold and dirty floor tiles.

"Yes...... Ahem...... People?"

"Hey!!"

At this moment, Liang Gaohui bent down slightly, his shoulders shrunk inward, looking back and forth in panic, his eyes were completely full of fear of the unknown. If you look closely, his Adam's apple seems to be very difficult to swallow, and people can't help but fall into this panic with him.

"Pu you Eminem, this is the eighteenth layer of hell?!!" Liang Jiahui was so frightened that he had to make his voice out to strengthen his courage.

"No, you're not dead. Suddenly, a deep voice came.

"Who!!Who's there?" Liang Gahui's face changed suddenly, and his hand touched the wall indiscriminately.

suddenly

The incandescent light above his head flashed, he subconsciously closed his eyes, and when the light came on, Qiu Litao, who was hanging above his head, moved with it.

The incandescent light tube flickered continuously, the bathroom was dark and bright, and the sound of electricity was like a child's laughter in a quiet enclosed space.

The camera is advancing rapidly, and a close-up of Liang Gallium's facial features is reflected in the lens.

……

The theme of the play "Fear Room" is human nature and life. Wu Xiaozu thought more.

In the whole play, the metaphor of lighting, the hint of space, and the interpretation of the lens are undoubtedly interpreting Wu Xiaozu's understanding of this movie.

Wen Ziren in this movie, in fact, presents a completely Western-style horror expression. In contrast, he later added a lot of his own personal ideas to the filming of "Latent" and "The Conjuring".

Wu Xiaozu is quite fond of the theme of "choice", or this is a label of his personal film style.

Secret room, torture, banter, play, darkness, coldness, blood, all these are like building blocks, and the ultimate goal is actually to build a display of Wu Xiaozu's self-style.

So far, several of Wu Xiaozu's films can clearly show his film style.

Just as "The Birth of a Word" brought about a revolution in film structure, Wu Xiaozu, who is on Hong Kong Island, is unaware of the impact of this film abroad. In this play, Wu Xiaozu uses the picture sense of Western oil painting to interpret the oriental interpretation of cause and effect.

In the eyes of Westerners, this is a mocking and incomparably brilliant way of dissecting human nature.

Choice, this theme actually runs through "The Birth of a Prefix". Wu Xiaozu didn't understand that when he stepped out, not only did he not catch the egg, but also made him attract the attention of many Western filmmakers, especially the independent film industry.

The Nantes Tricontinentals Film Festival, which is the godson of Cannes, also recommended this film especially for his father.

In the film circle, especially the major film festivals, there is a constant struggle for the right to speak. Oriental cinema is represented by Japanese cinema, and a group of filmmakers led by Akira Kurosawa have made a great name in the Western film industry.

As time went on, Japanese cinema began to decline. On the contrary, it is the mainland films with profound heritage that have begun to attract the attention of the West.

However, there is more speculation and curiosity about China. For example, Chen Kaige's "Yellow Earth".

Wu Xiaozu's films are different, not only are the film pictures full of oil painting-like violent aesthetic style, but the film structure really breaks the shackles of the past.

In particular, Wu Xiaozu's way of telling through lens, color, space and time really shocked many filmmakers.

On the eve of the fifth generation of the mainland film industry starting to stand up for awards, Wu Xiaozu began to explore movies with the common film language of China and the West. This is a later comment from "Seeing and Hearing".

For Wu Xiaozu at this moment, the most important thing for him is to quickly finish filming this "big-cost" movie. For a horror movie that is mostly an indoor plot, Wu Xiaozu gave full play to the style of "eating and taking cards" in terms of funds.

In the supernatural atmosphere, the filming speed of this movie is also extraordinarily fast.

When the filming of "Fear Room" started, "Crazy Boy 2" also ended filming and entered the post-production stage.

Wu Xiaozu has always paid attention to this movie, and he will naturally not leave it behind the money-making business.

With more than half of the filming of "Fear Room", the drama "Crazy Boy" has officially completed the post-production.