Chen Ting was in the factory-run guest house, and after arranging a room for Peng Yichen, he immediately asked someone to send the script written by Wu Tianliang to Peng Yichen.

Sitting in a somewhat dimly lit room, Peng Yichen did not rush to open Wu Tianliang's script, but kept recalling those classic anti-war movies in his mind.

When it comes to anti-war movies, the first thing that comes to everyone's mind is war movies.

A lot of times, war movies and anti-war movies are like twins, two sides of the same coin, and it's hard to tell them apart completely.

In many cases, some films are partly anti-war, while others are blatantly glorifying war.

This has led to a serious differentiation in the expression of anti-war films, and some anti-war films achieve the purpose of anti-war by showing the tragedy of war.

Among this kind of anti-war movies, the most classic is Peng Yichen's "Saving Private Ryan" in his previous life, the movie is so real and cruel that it reproduces the war scenes of the Normandy landing, so that all the audiences who have seen it deeply understand the cruelty and bloodiness of the war.

The other part of the anti-war films is to "reflect on the war", let the audience think deeply about the various factors that cause the war, analyze the distorted human nature in the war, and finally achieve the purpose of disgusting and spurning the war.

In this kind of anti-war movie, the most classic is No War on the Western Front, the movie does not show much about the war itself, but describes a young man who was once full of patriotic enthusiasm, and finally was distorted by the war, from obsessed with war to despair of war. Let the audience deeply understand the whole process of war destroying human nature through the changes of this young man.

But in fact, most of the anti-war movies in China are all under the guise of "anti-fascism" to promote the violence of war, and use the application of violence as a means to stop violence.

In Peng Yichen's previous life, in order to promote the might and bravery of our army, many movies even did not hesitate to portray Japanese devils as mentally retarded and idiots.

Needless to say, a large number of anti-Japanese dramas of "tearing devils" and "grenade blowing up planes".

Even in many of the main theme films shot by regular national film studios, the War of Resistance Against Japanese Aggression is often simplified and embellished.

The people's army is all magnificent, upright, wise and brave, and the Japanese devils are all hideous, insidious and cunning.

The grand narrative obscures the damage and distortion that war has on individuals.

It can be said that in Peng Yichen's memory, whether it is a domestic film in his previous life or a domestic film in China, there are very few anti-war movies that can deeply reflect human nature and move all audiences at the same time.

Among them, there are only a handful of anti-war movies that can reach the classics.

So in Peng Yichen's heart, what is a real anti-war movie.

From the point of view of the insignificance of individual humanity, the denial of all wars in the world. Refuse to use the clamor of war victory to cover up the pain of every individual under the war. - This is the anti-war movie that Peng Yichen wants to make.

But how exactly is such a movie going to be made?

Peng Yichen paced around the room in a tangled way, thinking for a long time and still had no clue.

Until the wee hours of the morning, he lay in bed and turned on the only old-fashioned color TV in the room.

The TV camera suddenly flashed the image of a clown, and Peng Yichen suddenly had a lightning bolt in his head, and he knew what he was going to make an anti-war movie.

Since the main theme of anti-war movies in China always likes grand narratives, face-painted characters, and "hand-tossed devils".

Then he will have to do the opposite.

Specializes in making a main theme movie without any grand narrative and without any tall heroic protagonists.

After thinking clearly about the film he wanted to shoot, Peng Yichen opened Wu Tianliang's script.

Wu Lao's film is mainly about the story of a bookstore owner and his son in Liaoshen who were slowly forced into the mountains and old forests because of the atrocities of the Japanese after the Japanese invaded the Northeast, joined the Anti-Japanese Federation, and picked up guns to defend the Northeast.

Although this script, compared with the previous anti-war movies with the main theme of China, Wu Tianliang's film script avoids the problem of grand narrative.

He skillfully chose the perspective of a pair of small ordinary fathers and sons to describe how the ordinary people in Northeast China, under the iron hooves of Japanese imperialism, were deprived of a happy and peaceful life, and spontaneously embarked on the road of resisting the Japanese devils after being displaced in the flames of war.

But this kind of movie is still too combed and unfamiliar for the younger generation of audiences.

They did not experience that era at all, and they could not directly understand the suffering and pain of the Chinese nation.

In their eyes, this kind of movie written by Wu Lao is still just a movie with the main theme of "bitterness and hatred".

It is impossible to hit the anti-war enthusiasm of these young audiences who have no intuitive understanding of the war against Japan from the depths of their souls.

Only by deeply grasping the common things of human nature and truly touching the hearts of today's young people can it be possible to bring these young people back to that war-torn era, so that they can truly understand what cruel and crazy environment their parents used to create this great country today.

It can also make them cherish today's hard-won good life.

And to do this, we must completely abandon the fake and empty things in the main theme movie and start from human nature.

Thinking of this, Peng Yichen once again read Wu Lao's script carefully.

The framework of this story is already very complete, and Peng Yichen decided to use Wu Lao's script as the basis for his new script.

Then, I added the spiritual black core of the classic anti-war movie I had just thought of in my previous life to this new movie I want to shoot.

After a day and a night of sleepless work, Peng Yichen finally finished writing the new movie script.

As soon as the script was written, he couldn't hold it anymore, collapsed on the old wooden bed in the guest house room, and slept with his head covered for an afternoon.

When the lights came on, Peng Yichen woke up leisurely, calmed down, first washed up briefly, and then simply ate something in the dining room of the guest house.

When he returned to the room, he revised the script he had written, and even made some key plot shots in a simple way of drawing stickmen.

After making these preparations, Peng Yichen took out his mobile phone and called Chen Ting's phone.

Soon Chen Ting rushed to Peng Yichen's room.

"Xiao Peng, the script was written so quickly? This kind of thing is in a hurry, we still have one and a half months, as long as it is not a big scene movie, it should be filmed on time. Chen Ting said as he took the script from Peng Yichen's hand.

Peng Yichen knew that Chen Ting was concerned about his body, and he replied with a smile: "Don't worry, Mr. Chen, my movies are all created under the framework of Mr. Wu's movies, and the workload is not as big as you think." ”

Chen Ting nodded, no longer persuasive, and took the script and a few simple shots in his hand.

Taking advantage of the dim light in the room, Chen Ting opened the script and read two pages carefully and carefully.

Suddenly, as if he had seen something rebellious, Chen Ting was shocked, and muttered, "Comedy?

……