Hearing that Lin Mu was going to come again, Cheng Long suddenly shook his head with a wry smile.

He waited for Lin Mu to get closer before he spoke, "I finally know how your movie stars came from!"

Lin Mu shook his head, "It has nothing to do with these, I just feel that the shot just now is not very suitable!"

In fact, Lin Mu didn't say it explicitly, one was really dissatisfied with his performance, and the other was that he was more accustomed to this way of shooting.

After all, with the development and progress of science and technology, green screen and blue screen special effects will only be used more and more in movies.

In this world, it has always been people who adapt to the environment, not the environment that adapts to people.

If you don't want to be abandoned by the times, you have to keep up with the pace of the times.

There is also a little selfishness, that is, Lin Mu doesn't want to wait for the time to start shooting the red turtle, and then go to explore with Ning Hao and Zhou Gongzi little by little, whether it is Uncle Long or Hua Yi, the application of special effects is much more than Lin Mu.

Otherwise, when Lin Mu invested in Tiangong, he would not have seen such a top-ranked big boss Wang brother and a small steel cannon in it.

Every successful person, regardless of his character or other aspects, is definitely unique in his professional aspect.

For example, small steel cannons.

Domestic directors at the same level as Xiaogang Cannon don't care if they are national teachers and Lao Chen.

In fact, in Lin Mu's view, the national teacher is the most uncompetitive one, and what he is best at is the kind of movies with realistic themes with a sense of the times, such as chrysanthemum beans, red sorghum, alive, and so on.

And what Golden Armor has created the so-called Chinese film business era, but in all fairness, one word, rotten!

However, the national teacher has stumbled on this genre, heroes, golden armor, three guns, thousands of miles to ride alone, and so on.

Lao Chen is okay, but he is also trying, he is a product of the times, similar to Hong Kong films in some senses, and it seems overstretched after there is no operable era and background, which is why it is so urgent to cooperate with Lin Mu in the Holy Martyrdom, because he needs to have a movie no less than Farewell My Concubine to prove his ability and prove that the failure of his great prophet is just a failure, not his failure.

As for Xiao Gangcang, although many people say that he has a bad mouth and no emotional intelligence, you can't deny that Xiao Gangcang has been trying and changing.

Since he and Wang Shuo separated, after completely putting aside the so-called Chinese New Year comedy, except for private customization, each drama is of a different type.

Dinner, Assembly Number, 1942, I am Pan Jinlian, Fang Hua......

As representatives of the older generation of filmmakers, they are still working hard to keep their footsteps from being abandoned by the times, so why shouldn't Lin Mu continue to work hard!

……

Seeing Lin Mu's solemn face, Cheng Long sighed and nodded, "OK, OK, but it's okay, this must be the last time!"

"Well, no problem!" Lin Mu nodded, indicating that he had already gotten it.

Lin Mu is not pretending to be 13, he has really gotten the know-how of so-called green screen shooting.

In a sense, most things don't exist when shooting on a green screen, from the environment, to the special effects, to some inherent props and even people, all of which need to be done with your own imagination.

This is the most difficult, but what kind of emotions and states should be used to face the object of your own imagination is still a question.

This is also the reason why Lin Mu has repeatedly wanted to reshoot.

Although he graduated from Nortel, he is reasonable, he doesn't take many classes, most of his professional knowledge comes from Chinese opera, and most of his filming experience is passed on from Jiang Wen and some seniors, in addition to that, he stumbled on the set and realized it.

It is not an exaggeration to say that he is an experiential school, and the experiential school pays attention to whatever it is, and he must empathize with it and substitute himself into it.

But...... It's such an empty scene, in addition to a railroad track on the ground, a train or something, non-existent, and a group of people watching, such an environment allows Lin Mu to imagine some of his own responses and emotions in the face of this situation at the beginning!

I'm sorry, but the concubine really can't do it!

This time, two, three, or even six or seven reshoots are a process of Lin Mu's continuous experimentation and adjustment of his own rhythm.

Although he is an experiential school, he has also learned a lot of Nortel's routines, but he is used to using the most comfortable and best set when acting.

Not only that, but his routines and ideas have always been basically invincible, but this time it was cold.

Because there are no too many conditions for you to render your own emotions, the experiential school has become narrow, and can only use some basic qualities to deal with it.

This kind of performance has its form, but not its god, Lin Mu is still teaching Da Mimi and Baozi how to play the role of both god and form, and he must not drop the chain.

After trying them one by one, Lin Mu was stunned to find that the method of Nortel, which was called superficial or even unworthy of being called acting, was very useful.

Why, because the methodist school emphasizes the separation of people and roles, people and roles are two separate wholes, the role is in it and the actor is free from it, and everything is used.

For example, Lin Mu and Chen Gong are filming this scene now, this is after the father played by Cheng Long uncovered Wujiang's conspiracy, which led to the defeat of Wujiang's conspiracy, when he fled, Uncle Long caught up with Wujiang, and then he felt that although Wujiang was at fault, first, the crime was not to death, and second, there was a law to sentence him, and wanted to save him, but Wujiang forced Uncle Long to let go of him, and then resolutely jumped into the railroad tracks, and was bulldozed by the oncoming train.

According to Lin Mu's understanding, Wujiang should be in despair at this time, or that the revenge has been avenged and there is no interest, is this kind of scene difficult?

The difficulty is that in Lin Mu's opinion, even if he is discouraged, but when facing the oncoming train, people's subconscious instinct will show his fear.

With fear, Wu Jiang is a living person, flesh and blood, three-dimensional and complete.

Without fear, Wu Jiang is Wu Jiang, a character who lives in the play and is dominated by hatred.

In the eyes of an actor, this cannot be perfectly interpreted, which is a pity and a sin, so he wants to express this fear again and again.

The experiential faction can't save him, so he can only try the method faction, and even Xiao Er's stupid method when he was in the high-energy scene in the refrigerator, using external stimuli to stimulate the body to make a state similar to emotion.

"The seven hundred and thirty-second scene, the eighth scene, action!"

When their standing was over, the scene confirmed that everything was OK, and the field reporter took the clapperboard and knocked it hard, and it started again.