"This is Zhang Ran, this is his girlfriend Zhang Jingchu!" Luc Besson introduced Zhang Ran to a few people next to him, and then introduced Zhang Ran and them, "This is Miss Charlotte Gainsburgh, this is Miss Melanie Roland! This is Mr. Lars von Trier! This is ......"

Zhang Ran and the others shook hands with a few people and exchanged pleasantries. Pen & Fun & Pavilion www.biquge.info Although there are beauties like Melanie Loren, Zhang Jingchu is by her side, Zhang Ran must not squint, and Zhang Ran is not the kind of person who can't walk when he sees a beautiful girl.

Zhang Ran sat down next to Martin Scorsese: "Martin, I didn't expect you to be here, "The Departed" has finished filming?"

Scorsese was in a good mood and said with a smile: "It's finished filming, the French Film Archive has held a retrospective of my films, and I'm here to participate in the event, how are you?"

Zhang Ran said: "I'll come over to shoot "Paris I Love You"!"

"They approached me at first, but I didn't have time. I think they are right to look for you, and you, along with Wang Jiawei, are the ones who can best capture the feeling of the city. You all like impressionist paintings, and the movies have a bit of poetic realism!"

At this time, Sofia Coppola next to him interjected: "Uncle Martin, Zhang's films can see the influence of Impressionism, but his films lack poetry, do not have the elegance of Wang Jiawei, but have the power of Akira Kurosawa." Sofia Coppola is a fan of Wang Jiawei, and when she heard Scorsese juxtapose Zhang Ran, a young man, with her idol, she couldn't help but refute.

Zhang Ran is a fan of Akira Kurosawa, and he was very happy to hear this: "Thank you, Miss Coppola!"

Scorsese and Francis Coppola are good friends, Sofia Coppola is something he grew up watching, this girl has talent, but her talent is limited: "Zhang Ran and Wang Jiawei's films look very different, but they are actually very close, they both pay attention to composition and lighting, and they both like to cut space. It's just that Wang Jiawei's treatment of space is fragmented, and he likes to break the continuity of space, and the real space is constantly cut, and then the cut space is collaged together to form a hazy space with illusionary colors, so as to reflect the loneliness of the characters. Zhang Ran also likes to cut space, and he often uses walls, doors, windows, curtains and other artificial spaces to create space fragmentation, so that the audience can see the people and objects that are blocked, so as to express the difficulty of communication between people and the alienation of interpersonal relationships. In essence, the two are relatively close. ”

Sofia Coppola didn't like Zhang Ran, and even hated it a little, and this dislike came from the frustration that Zhang Ran brought her. About two years ago, her father, Francis Coppola, told her that she had met a young genius. She looked for Zhang Ran's movie, and after watching the movie, she thought it was good, but it was just good. Later, she despised "Time and Space Warrior", in her opinion, this kind of film is completely degenerate, and the so-called genius is nothing more than that.

However, after "The Aviator" came out, she was completely stupid, Zhang Ran's ability to show was simply beyond her understanding, she couldn't imagine that so many unconventional techniques could be kneaded together so naturally.

Scorsese's words made Sofia Coppola a little speechless, Scorsese was right, she couldn't refute Scorsese, and the resentment in her heart went to Zhang Ran: "You are so lucky, a master like Uncle Martin sings praises for you." ”

"I was indeed lucky to have met Mr. Scorsese. Zhang Ran was a little strange, the first time he met Sophia Coppola, why did she look unhappy, could it be that the eldest aunt was here? He smiled and said, "But seriously, I envy you more!"

Sofia Coppola's face sank: "Why?"

The status of the Coppola family in the film industry is no less than that of the Kennedy family in the political world, and she was shrouded in a family halo as soon as she was born, and everyone said that she was lucky, but no one knew the pressure that this halo brought her.

"You've been on the crew of Akira Kurosawa and watched him film, which was a dream for me, but unfortunately it never came true. Zhang Ran sighed and said, "If only Director Akira Kurosawa were still alive, you could go and meet him and ask him some questions." ”

Sophia Coppola was slightly stunned, it turned out that Zhang Ran was envious of this!

Scorsese felt that Zhang Ran's words were a little wrong, and the director would think about communicating with his spiritual mentor when he encountered difficulties. When Spielberg encountered difficulties in filming, he would turn Kurosawa's films out and watch them, seeking strength from them. Now Zhang Ran is not seeking strength from the movie, but wants to talk to Akira Kurosawa, and it seems that he is in a lot of trouble: "Have you encountered any confusion in the movie?"

Zhang Ran didn't expect Scorsese to see it, and nodded: "In the first half of this year, I made a movie called "Three Fools", which was normal at the beginning, but it always felt wrong when it was filmed. Performance, lighting, photography, everything is fine, but I just feel wrong, I always feel that there is something missing. After the movie was edited, it was technically fine, but I still felt that something was wrong, as if something was missing. But I can't tell what it is, it just feels awkward anyway!"

Scorsese understands what is going on, and there are two abilities that are particularly important as a director, one is the ability to create, and the other is the ability to judge, which is often referred to as artistic sensibility and intuition. Now Zhang Ran is there a problem with his sensibility and intuition. He smiled and comforted: "Every director has a time when he can't find a feeling, and when I was filming "Bad Streets", I also lost my feeling, and I didn't know what the film would be like when it came out. I know everything in every scene, and I know that many scenes are good, but I can't smell how to intersperse them and what the taste is. Every movie has a flavor, and what the director is looking for is that feeling, relying on this to impress the audience. In the unknown situation, you can only stick to it. I always feel that what I do in my hands is not what I think in my heart, and it always tastes wrong. ”

Zhang Ran's eyes lit up: "Yes, that's the feeling, the effect of shooting always feels wrong, and I don't know what's wrong." I feel like I'm losing my way now, and I don't know where my film is going. Exploring the technique, exploring the inner world, expressionist style, documentary style, I'm a little lost right now!"

When Scorsese heard Zhang Ran say this, his face sank, if he just couldn't find the feeling, he felt that what he was shooting was not right, just insist on shooting. But Zhang Ran is not only not feeling it now, but he is a little lost and can't find the direction, and the problem is more serious.

Scorsese thought about it and knew what the problem was. Zhang Ran's confusion comes from his film style, the biggest feature of "The Aviator", the most praised is the use of the lens. He compresses the space of the film through horizontal lenses and telephoto lenses, and expresses the constraints of reality on people through screen cutting. But at the same time, he breaks the frame of the film and extends the time and space of the film through means such as background sound outside the painting. That is to say, while compressing the picture space, the picture space is open.

However, these techniques are skillful, just like Liu Xiang ran to 12.88 seconds, it is very difficult to continue to break through. Zhang Ran is facing a situation similar to Quentin's original filming of "Pulp Fiction", which plays with structure and creates a precedent for circular structure films. After "Pulp Fiction", Quentin has experienced a long period of confusion, and "Pulp Fiction" has played the structure to the extreme, and it is not new to take out the ring structure.

Quentin also understood this, and he began to change his style and shoot "Dangerous Liaisons", which failed both at the box office and word of mouth. This defeat was a big blow to Quentin, and it took several years to recover. Quentin finally recovered, but more directors failed to slow down, and since then they have sunk and rolled in bad movies.

Scorsese likes Zhang Ran, and in his opinion, Zhang Ran is an imaginative and talented director, so he decided to help Zhang Ran: "When you finish filming "Paris I Love You", put the movie on the table, sort out your thoughts, and think about what you are looking for and what you want to express. In addition, I suggest you watch more old movies, I especially like to watch old movies, making movies is like a painter painting, learning from some masters can enrich your color palette and expand your canvas, you will find so many things to learn, watching more old movies may bring you some inspiration. Speaking of this, Scorsese suddenly remembered that someone once said that Zhang Ran's movie road would be difficult after watching "The Aviator", and immediately said: "You suggest that you can go and meet someone, if you can talk to him, maybe it will inspire you." ”

Zhang Ran asked, "Who?"

Scorsese said, "Bergman!"

Ingmar Bergman is one of the greatest masters of cinema of the 20th century, having written more than 50 films in her lifetime, including "The Virgin Spring", "The Shadow in the Cup", "The Shout and the Whisper" and "Fanny and Alexander" won the Academy Award for Best Foreign Language Film four times.

Ingmar Bergman's work has had a huge impact on many contemporary directors, including Godard, Woody Allen, Ang Lee, and others who have drawn nourishment from his films. Celebrating Bergman's 70th birthday, Woody Allen said that Ingmar is perhaps the world's greatest film artist since the invention of cinema.

Hearing that Scorsese asked him to meet Bergman, Zhang Ran was slightly stunned, if he could see Bergman, he would naturally not be able to ask for it. He remembered that when Ang Lee was filming "Lust and Caution", he encountered a lot of difficulties, and the whole person was on the verge of collapse. With the help of friends, Ang Lee met Bergman on Faroe Island. Ang Lee was like a child holding the old man and crying, and this man who was called the father of the spirit by Ang Lee saved him. In the end, Ang Lee returned to the magic capital and completed "Lust and Caution"

However, Zhang Ran knew that it was not easy to meet Bergman, and he didn't know how many famous directors wanted to go to Faroe Island to meet Bergman, but they were ruthlessly rejected, not to mention a fledgling new director like himself, he shook his head lightly: "I want to visit him, but he doesn't like to meet guests, I heard that Sokolov wanted to visit him, but he was rejected, let alone me!"

At this moment, Lars von Trier, who had been drinking and chatting with Charlotte Gainsbourg, suddenly said: "What can that bastard hiding on Faroe Island do to help others?

Everyone present looked at Russ von Trier in amazement, how did Bergman recruit Feng Maniac?

Russ von Trier snorted when he saw everyone looking at him in amazement: "Bergman has always been very, and he is also old. We can imagine that Bergman still used to handjob regularly on Faroe Island in his old age. Whether it's in his refuge, in his sprawling library, or in his projection room, in the highest temple of Swedish culture, sits an old man who is desperate to fight for a handjob. He himself said that he was as lustful and painful as he was old. So I think he must have been handjob a lot, and his seminal vesicles must have been so small that he would have to wait days for the amount to be shot, poor old fellow!"

The people present were dumbfounded, Bergman is indeed lustful, everyone knows that it is routine for him to sleep with the heroine of the movie, but the old man is also a world-famous master, how can you say so unbearable. (To be continued.) )