"Hello, Mr. Koslick!" In the screening room of the pinnacle of the century, Zhang Ran smiled and shook hands with Dieter Koslick, chairman of the Berlin Film Festival, and introduced, "This is director Ning Hao, this is director Ding Sheng......"

Ning Hao and they are all commercial film directors, and the possibility of competing for awards at the film festival is very small, but the film festival is a very good publicity platform, and if the film wants to be sold overseas, it is inevitable to go to the film festival to promote it, so Ning Hao They are very polite to Dieter Koslick.

Although the Berlin Film Festival is a stage for art films to bloom, it is also inseparable from commercial films and big stars; Chinese films have developed rapidly in recent years, and the Chinese market will inevitably surpass the United States in the future, and no one dares to despise the Chinese market, and the Berlin Film Festival is no different.

After the greetings, Zhang Ran beckoned Dieter Koslick to sit down, introduced his new film, and confessed: "There are still a lot of problems in the movie, there are 26 scenes that need to be reshot, and now it can only be regarded as a semi-finished product!"

Dieter Koslick smiled: "Even if it is a semi-finished product, I believe it will not be bad!"

Zhang Ran has a worldwide reputation, especially after his stunning performance at the opening ceremony of the Peking Olympics, and the whole world is looking forward to his film. If Zhang Ran's new film can be brought to Berlin, it will undoubtedly become the biggest highlight of the film festival and attract the attention of the world, so Dieter Koslick put down the shelf of the chairman of the film festival and personally invited him to China.

As for the quality of the movie, he doesn't particularly care, in the last life, after the Peking Olympics, Zhang Yimou's film "Three Guns" received a flood of bad reviews, and it still entered the main competition unit of the Berlin Film Festival. Zhang Ran's new film is the same way, it doesn't matter if the quality is poor, the key is that the movie is eye-catching enough.

The lights went out and it was pitch black.

The screen quickly lit up, but immediately went black again.

The screening room is pitch black, the screen is pitch black, and nothing can be seen.

After about a minute, there was finally a voice, all kinds of small sounds, which seemed a little noisy, and I couldn't tell where it was or what it was doing.

Dieter Koslick's assistant was confused by this long black screen, and didn't know what this scene meant, thinking to himself, Zhang Ran didn't want to learn "2001: A Space Odyssey" and start with a 3-minute black screen, right?

Dieter-Koslick didn't think that Zhang Ran was learning "2001: A Space Odyssey", Zhang Ran's black screen had no soundtrack, only various small sounds, and he didn't hear a reason at first, but with the buzz of the electric hair clipper, he suddenly understood that this was a barber shop, and someone was getting a haircut. However, he still doesn't understand why he uses a black screen to show why he uses a black screen to show his haircut and shave in a barbershop, and what does Zhang Ran want to express?

After nearly five minutes of black screen, there was a sudden flash on the screen, and then the screen appeared. However, this shot is very special, what appears in front of me is a close-up of Zhang Jingchu's face, and it is a local close-up. The field of view of the lens is very narrow, the picture is illusory, hazy, and even a little out of focus, giving people a trance and vertigo visual effect.

Dieter Koslick knew it was a subjective shot, simulating the eyes of the person who cut the hair. At this time, he suddenly realized why there was such a long black screen, this person was resting with his eyes closed when he was cutting his hair, so the picture was black, and now he opened his eyes, and the picture appeared.

In the shot, Zhang Jingchu saw the other party open his eyes, his expression was a little puzzled, he stopped the movement in his hand, made a sound in his mouth, and gestured in his hand, which meant asking if it was hurt.

At this time, Dieter Koslick and his assistant both understood that the barber played by Zhang Jingchu was a mute.

A calm voice sounded, and the voice was relatively slow: "It's okay, you continue!"

Zhang Jingchu nodded, took a knife and continued to shave, at the same time, the movie camera suddenly moved, slowly retreating, Li Xuejian's back appeared on the screen with the camera movement;

This is a backward montage, and it is also a conversion from a subjective lens to an objective lens, the lens was originally a subjective lens that simulated the viewpoint of Li Xuejian's eyes, but as soon as the lens retreated, Li Xuejian appeared on the screen, and the subjective lens became an objective lens, and the whole subjective and objective conversion was very ingenious!

Dieter-Koslick nodded slightly, very satisfied with the opening of the movie, but at this moment he suddenly remembered something, his face changed, and he called softly: "No! This shot is not just a subjective to objective turn, but first from an objective lens to a subjective lens, and then from a subjective lens to an objective lens, and this lens switches between subjective and objective twice! Not only that, but this shot also realizes the transformation from a sound montage to a picture montage! God, what kind of shot is this!"

Anyone who knows a little about movies knows what a subjective shot is and an objective lens, the objective lens is a lens with a recorded narrative nature shot from an objective point of view, which is used to tell a story, and the subjective lens is a shot with the shooting intention from the perspective of people or animals in the play, which mostly has a strong subjective color.

In the process of practical application, the masters of film art derived a new lens according to the subjective lens and the objective lens, the subjective and objective conversion lens, simply put, from the objective lens to the subjective lens, or from the subjective lens to the objective lens, and even more complex conversion methods, the subjective lens is first converted into an objective lens, and then back to the subjective lens, or from the objective lens to the subjective lens, and then converted to the objective lens.

For example, in "The Rest of the Desert Island", when the protagonist just came to the lonely island, the director used the objective-subjective-objective conversion technique to explain the protagonist's initial overall impression of the island.

Zhang Ran's shot is better than "The Rest of the Desert Island" The lens is much more difficult, and it is much more clever, this lens has no picture at the beginning, only sound, and the sound is in a normal state at first, but when it comes to nearly three minutes, the sound is getting louder and louder, as if ringing in people's ears, at this time the lens is converted from objective to subjective lens, this subjective and objective conversion is completed through sound; and then, Li Xuejian opened his eyes, the lens began to pull back, and the subjective lens was converted to the objective lens, which was completed through the picture.

The most wonderful thing about this lens is that there are not only two conversions of subjectivity and objectivity, but also the conversion of sound and picture, which is the conversion of sound montage to picture montage!

It's a seemingly simple shot, and the scheduling is not complicated, but there are several variations hidden in it, and they are all super difficult ones!

This shot is really exaggerated and perverted!

When filming, many directors often seem very deliberate if they use too many skills, giving people a feeling of showing off and showing off their skills. But Zhang Ran's shot has no sense of artificiality at all, but gives people a sense of simplicity, simplicity, and long charm.

Dieter-Koslick thought to himself, when filming "The Aviator", Zhang Ran's film was full of passion, unbridled with his creativity, and the movie was full of aura, but now he is more and more calm, and the lens of the film is lightweight, without traces, and he really has the temperament of a master!

As Dieter Koslick gets excited about the first shot of the film, the movie continues to play and Zhang Ran's steel slag walks into the barbershop.

Zhang Jingchu glanced at Zhang Ran and continued to shave Li Xuejian. When Li Xuejian saw a guest coming, he gestured and said, be smart, don't delay your business. Zhang Jingchu shook her head, snorted at Zhang Ran, and motioned for him to wait.

Zhang Jingchu poured some talcum powder on Li Xuejian's face, then dusted off his hair stubble with a towel, pinched his face and looked at it a few times, before it was finished. Zhang Ran stood up and wanted to take over the house, but Zhang Jingchu numbled again and motioned for him to let another old man come first.

Li Xuejian got up and walked out, and just when he passed by Zhang Ran, he suddenly glanced back at Zhang Ran, instinctively feeling that this was a dangerous person.

When I walked out of the barbershop, it was already dark. Li Xuejian paced down the hill when he heard a gust of wind and couldn't help but turn his head, the lights of the barbershop looked lonely on the hillside. The camera pans sideways to the city below, and in the slight blackness, the whole city is brightly lit.

The name of the movie finally appeared on the screen, and everyone was in full bloom!

At this moment, Dieter Koslick suddenly stood up, turned to Zhang Ran and said, "Zhang, can you play it again?"

Zhang Ran was stunned, he didn't understand what Dieter Koslick was going to do, was there something wrong?But the guest wanted to replay it, and he couldn't refuse it, and said with a smile: "Of course you can!" He immediately motioned to the staff to replay it immediately.

The lights in the screening room came back on, then quickly went out, and the movie began to play from the beginning.

It is still a black screen for nearly five minutes, it is still a sound montage, it is still a depiction of space through sound, and it is still a transition from an objective lens to a subjective lens through sound; and then Li Xuejian opens his eyes, and at the same time as Zhang Jingchu communicates, the camera begins to slowly pull back, and the camera changes from a subjective lens to an objective lens.

The last time I saw this, Dieter Koslick was thinking about the problem of subjective and objective conversion, ignoring the content of the shot, and now when he rewatches it, he finds a lot of things that he didn't notice last time, and this discovery makes him tremble with excitement!

Dieter Koslick found that Zhang Ran's use of mirrors in this shot was extremely ingenious, and it was simply amazing.

The mirror is a very magical prop, although the characters inside and outside the mirror are exactly the same, but it is the contrast between truth and falsehood, virtual and real, so the mirror can not only expand the physical space of the picture, but also extend the inner world of the characters. Many directors like to use mirrors to express the inner state of their characters, and even use mirrors as a hint of mental illness or multiple personalities.

In the scene of "One Person's Lights", Zhang Jingchu shaved Li Xuejian, the position of the two people is face to face, and there is communication between the two people. But in the shot, Li Xuejian turned his back to the audience, and Zhang Jingchu faced the audience. For the audience, it is to communicate directly without seeing their line of sight. In the mirror, everything is reversed, Li Xuejian is facing the audience, and Zhang Jingchu is facing the audience. In this way, the picture of the movie becomes very peculiar, Li Xuejian and Zhang Jingchu, who were originally face to face, their faces become parallel, facing the audience at the same time.

Two people who were originally facing each other and had a communication in their line of sight, under the action of the mirror, in this shot, the line of sight became a parallel relationship, and there was no communication. What does this mean? It shows that the characters seem to be able to communicate with each other, but in fact, their hearts are full of estrangement and are in a state of non-communication, which shows that two people are lonely, and it shows that people cannot communicate with each other, and this is the theme of the movie - loneliness!

Dieter Koslick felt his soul tremble, oh my God, it's crazy, there is so much content and variation in this shot!