The opening shot of the film is the night of the Montmartre street, and the whole composition is imitating Pissarro's famous painting "Night on the Montmartre Street", and then the camera cuts to the side of Norah Jones, the eyes are crystal clear, but the sadness is about to overflow, the composition is from Renoir's "Little Irene". Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

Marinilou couldn't help but applaud, starting with two famous Impressionist paintings, which she used so cleverly that she looked forward to the film more and more, while Bergman frowned slightly, a little deliberately.

"Nora, the guest wants coffee!" a call brought Nora back to her senses, and she turned her head to look at the bar, the owner of the café. She answered and hurriedly served coffee to the guest.

Next, from the conversation between Nora and the boss, Marinilou knows the source of Nora's depression, she is American, she is not good at French, and she has difficulty communicating with everyone.

The owner of the coffee shop was a very enthusiastic person, and noticed that Nora liked to sing quietly when she was working, and she sang very well. So, he found the microphone and asked Nora to sing to everyone.

Nora was shy and nervous, she lowered her head slightly, her face was flushed, her hands held the microphone tightly, and she began to sing: "I like the way you love others, and I want you to love me like that......"

As soon as the song came out, Marinilou gave a soft wow, her voice was so beautiful, it was like heaven, and her goosebumps rose.

The camera cuts to the outside of the café, where McGregor walks down the street with a bag on his back and walks into the café. The café guests were listening, but McGregor didn't seem to hear, opened his bag, took out a book and looked at it.

After singing the song, the guests responded with warm applause, and everyone liked her song. The only exception was McGregor, who completely ignored Nora and sat in his seat quietly reading a book.

Then the camera began to switch quickly, and the time passed day by day. Nora sings different songs, her clothes change from blue to red, and her whole body changes from nervous and shy to cheerful, the only constant is McGregor's disregard for Nora.

Nora was a little sad, was she really that bad, why did she ignore me like that?

Marinilou was just as sad and even angry as Nora, what was wrong with McGregor? blind, or gay? Such a good girl ignored it!

Just then, the door to the café was pushed open, and a man in a coffee-colored jacket walked in, sat down at the table in front of McGregor, and began to talk to him. Unlike ordinary people, they use sign language.

Nora on the screen, and Marinilou in front of the screen both suddenly realized, and they both smiled and shook their heads, so it turned out to be like this.

McGregor can't hear and is deaf!

The café owner also saw this scene, and he laughed too. The next day, he placed a mute textbook in front of Nora.

Another night, McGregor was reading a book in a café as usual. At this point, the boss placed the prepared microphone rack in front of the bar, glanced at Nora, and then turned off the headlights of the café, leaving only the light above Nora's head, and then turned on the wall lamp next to McGregor.

McGregor looked up in surprise and saw Nora in the light, and he closed the book and looked at the pretty girl he had never noticed.

Nora shyly waved at McGregor and sang emotionally, "You lit up the room, and you didn't even notice it." It's all I can do to leave you alone. ”

McGregor was stunned, and although he couldn't hear Nora's singing, he could read sign language. He was a little surprised, was this saying to me?

Nora continued to sing: "Don't give me flowers, don't worry about those superfluous things. My dear, it's enough to know that you've noticed me......"

McGregor understood everything and replied in sign language, "I noticed you!"

Nora continued to sing, a big smile on her face, and McGregor listened earnestly and smiled back.

As soon as the song was sung, the café burst into applause, and all the guests cheered. McGregor also understood Nora's intentions thoroughly, and invited her to sit down and talk in sign language.

Norah Jones pursed her lips and smiled shyly as she walked to the seat across from McGregor and sat down.

The people in the café all stood up, everyone with a quarrelsome smile on their faces, clapping vigorously.

This is the end of the film.

Marinilou clapped her hands gently, she loved the short film, it was warm and sweet, a bit like "Angel Amelie". She thinks a lot of people will love the story because it's so beautiful. But she was very worried, is it appropriate to show such a love sketch to Bergman? This is Bergman!

I don't want Bergman to applaud and laugh: "It's good, it's an improvement compared to "The Aviator". ”

Marina's face is incredible, can't it? This is obviously a love sketch, and the shots are very ordinary, which can't be compared with the talented "Aviator" with a strong personal style. How does Bergman say that it is an improvement over The Aviator?

But that's when she heard Bergman say, "I like that zoom lens." While Nora is singing, she and the male lead are in the same frame as the over-the-shoulder shot. At first, the hero's shoulders are clear, but Nora's singing does not get a response from the actor, and completely ignores her. Nora can't see through the male protagonist and doesn't understand why this is happening, and at this time the hero's shoulders become blurred, symbolizing Nora's inner doubts. The shot is very well handled, and a simple zoom brings Nora's heart to life!"

Marina Nilou suddenly realized: "When you say that, that scene is a bit interesting." ”

Bergman smiled: "He played a little trick and used a lot of impressionist compositions, and the audience would think of impressionism, but this time he is closer to post-impressionism in terms of light and lens language, not pursuing the depiction of natural light like "The Aviator", but strengthening the rendering of emotions and the pursuit of spiritual light." ”

Zhang Ran scratched his head and said, "It's not post-impressionism, it's Chinese painting." Some time ago, I was bidding for the opening ceremony of the Olympic Games, and there were a lot of excellent artists in the team, and in the process of working with them, we saw a lot of traditional Chinese paintings. I used to study oil painting, but I never studied Chinese painting, so I have a very shallow understanding of Chinese painting. I learned a lot from working with them this time, especially the paintings of Bada Shanren, which I couldn't see good before, but now I think he is even better than Van Gogh. Chinese painting pays attention to artistic conception, and the expression of inner emotions goes further than post-impressionism. During this time, I was quite confused and didn't know where I was going, so I just thought that maybe I could find a way out by learning from Chinese painting. I don't know if it's right or not, but I don't have a direction right now, so I'm going to give it a try. ”

In fact, the integration of Chinese painting into movies is nothing new, Hu Jinquan's lens is full of the artistic conception of Chinese painting, and any picture is intercepted, it is a brilliant Chinese painting. But this style of film is slow-paced and simply not pleasing in today's fast-paced world. Zhang Jizhong's "Smiling Proud Jianghu" is Hu Jinquan's style, and he is very good at creating artistic conception, but how many people dislike the slow rhythm?

Zhang Ran is not the kind of director who ignores the audience, and he will definitely not learn from Hu Jinquan, knowing that the audience doesn't like it and still shoots. He felt that maybe he could be like Xu Beihong's horse, freehand and realism go hand in hand.

Bergman nodded approvingly: "If art leaves its own cultural matrix, it loses its soul and value, so the creativity of artists must be rooted in the traditional culture of the nation." It's right to find a way out from your own cultural soil, you're smarter than I thought! Many people will be completely confused and don't know the direction when you reach this stage, and you're doing a great job!"

Zhang Ran said: "Mr. Bergman, I don't understand what you said about this stage?"

Bergman looked at the screen of the movie and said slowly: "If the world of cinema is a house, I have been knocking on the door all my life, and I am rarely able to sneak into it, and most of my efforts have ended in failure." Only Tarkovsky, Fellini, Akira Kurosawa and Buñuel were able to move freely through it. Antonioni once found the right path but eventually lost his way, and most people did get into the courtyard but only wandered in it. ”

"I still don't understand, Mr. Bergman. What are you talking about about this house?"

"Movies pay attention to the language of the lens and the scheduling of scenes. The handling of each shot is carefully designed by the director, but as a director, you have to learn to hide this sense of design, so that everyone feels that everything happens naturally, not deliberately arranged by the director. Really good directors all their shots are carefully arranged, but you don't see the slightest artificiality. When you look at it, you think that's how everything should be. ”

This time, Zhang Ran understood, and Bergman actually said two words - nature, and these two words made him fall into deep thought.

In traditional Chinese culture, there is a saying that the threefold realm of life is that the mountain is the mountain, the water is the water, the mountain is not the mountain, the water is not the water, the mountain is still the mountain, and the water is still the water.

The same is true of the realm of the film, the director of the first realm pays attention to skills and pursues the external form of expression; the director of the second realm begins to emphasize the feelings of the individual from the outside in; and the highest realm is to return to nature, which is that there seems to be no skill in the movie, and it looks like there is nothing at all, and it is nothing, and there is nothing, and it seems to have everything.

Bergman thinks that Tarkovsky and Akira Kurosawa did it, and only a few of his own works have reached this level. However, Zhang Ran believed that this was just modesty, and if he was able to say this, it meant that he had already walked into the house.

If you think about it carefully, in fact, the first two realms are arts, while the third realm belongs to the Tao. The highest level of the movie is the relationship between Tao and art. Just like Zhang Sanfeng taught Zhang Wuji to let him forget the routine first, this is the requirement from art to Tao.

Zhang Ran suddenly understood why Bergman didn't reply to Lars von Trier and ignored him. Madman Feng has lost himself in the operation and is too formal. Bergman may have liked it before he was sixty, but now that he has resolved his inner resentment, he naturally doesn't like this kind of extreme film.

Zhang Ran has watched movies for more than 20 years and studied movies for more than 10 years, and the two words of nature have given him a new understanding of movies.

Of course, Zhang Ran was far from seeing the door, and perhaps he would have been knocking at the door all his life, as Bergman said. It's like when we look at the clouds in the sky, they seem to be very close, but in fact they can't be touched at all. But at least he now has a direction and knows where to go, which is better than many people.

Zhang Ran sat on the sofa and thought for a long time, and finally raised his head. He exhaled heavily, rubbing his hands his face to sober himself up.

Bergman asked, "Do you figure it out?"

Zhang Ran shook his head and said, "No, but I know what direction to work into." ”

Bergman said, "That's good!"

Zhang Ran bowed to Bergman: "Thank you, Mr. Bergman! I hope that one day I can walk into that room and have another conversation with you!"

Bergman smiled, "I'll be waiting for you!" (To be continued.) )