Under the leadership of Guo Fan, Fumao and Gao Jun walked into the studio and came to the crew's base camp. When they were still a meter or two away from the monitor, Fu Mao and Gao Jun stopped and waited quietly, because Zhang Ran was discussing the shot just shot with the main creator of the crew. Although the two of them are not directors, they have been immersed in the film industry for many years and know that it is very annoying to interfere with other people's creations.

Zhang Ran saw Fumao and Gao Jun coming over, and pointed to the chair next to the monitor: "You guys sit down first! I'll talk to you when I'm done with this shot!"

Gao Jun and Fumao nodded at Zhang Ran with a smile, sat down next to the monitor, and watched Zhang Ran discuss with the crew members with great interest.

A few minutes later, Zhang Ran picked up the walkie-talkie and shouted, "Let's rest for a while, we'll reshoot this shot in ten minutes!" After speaking, he turned his head to look at Fumao and asked with a smile: "Tieri, I don't know why you came here this time?"

Fumao looked at Zhang Ran and said sincerely: "I came here to invite you to bring your new film to Cannes for competition!"

Zhang Ran was stunned, thinking that I hadn't said it, "Years, Months and Days" is not suitable for Cannes, why is it coming again, so he said: "Thierry, my movie is 3D plus holographic sound plus 60 frames, not suitable for Cannes!"

Fu Mao dared to come to the door again, so he naturally had the certainty of convincing Zhang Ran, and said with a smile: "It's really not suitable now, but it will be suitable when your movie is released!" He glanced at Gao Jun and said: "We have just ordered a holographic sound system from the peak of the century, which Mr. Gao can prove, and we are also preparing to upgrade the projection system of the film to ensure that it can play 60 frames of the movie." We do this with one purpose in mind, and we want your new film to premiere at the Palais du Cinémath!"

The staff present, whether it was newcomers in the film industry like Guo Fan and Ryan Kugler, or old Jianghu like Zhao Fei, were all stupid when they heard this.

Everyone knows that the Cannes Film Festival is very sure that in order to invite master directors to join the show, it is very important to put effort into it, and it is very polite and virtuous.

In order to invite Coppola to Cannes, the festival president Jacob met the other party's difficulties, allowed two different ending versions of Coppola's clips to be screened at the festival at the same time, and arranged for him to be treated by private jet and yacht, received at the highest standard, and the staff was on standby 24 hours a day.

But in order to ask Zhang Ran to update all the equipment of the movie palace, isn't this a bit too exaggerated?

But if you think about it carefully, you don't think it's strange, Zhang Ran is recognized as the first director of the new millennium in the film industry, except for Godard, Coppola, Scorsese and other old monsters, Zhang Ran has the highest status. When a few old monsters went, Zhang Ran was the first person in the film industry. Generally, when a director goes to Cannes, it is to put gold on the director, and when he goes to Cannes with Zhang Ran's status, it is to improve Cannes' qualifications!

In fact, Cannes is determined to update its equipment, mainly because Zhang Ran revealed in an interview that "Years, Months and Days" is a film that is more artistic, and Zhang Ran admits that he is a commercial film and an artistic film in his creation. Since "Years, Months and Days" is more artistic, his next film should be more commercial. The Cannes Film Festival prides itself as the temple of art films, and it is also Zhang Ran's films, and they definitely want to choose the more artistic one.

Zhang Ran saw Fumao smiling at himself, knowing that he was waiting for his answer, he chuckled and shook his head, and said, "You guys are doing this, I'm under a lot of pressure!"

As soon as Fu Mao heard this, he knew that Zhang Ran had agreed to go to Cannes, and said with a smile: "The Cannes Film Festival is the best film festival, and you are the best director of this era, we sincerely hope that you can bring your new film to Cannes!"

Zhang Ran nodded, he really couldn't refuse anymore at this time.

Others have done this in order to invite you, and it will be a bit hypocritical to refuse!

Zhang Ran said helplessly: "Okay then, let's go to Cannes!" He paused, looked at Fu Mao and said, "Tieri, I'm a little busy, I don't have time to greet you." I look at it this way, let Lao Gao accompany you around, Lin'an is a good place, the Chinese say that there is heaven and there is Suzhou and Hangzhou, there are too many places worth seeing. You guys go shopping, we'll have dinner together in the evening, and we'll talk in detail when the time comes!"

Fumao smiled and shook his head: "For me, there is nothing more worth watching than a movie, I haven't seen how a 3D movie is filmed, I want to see how you shoot it on the set." ”

When Zhang Ran heard Fumao say this, he didn't say anything more, picked up the walkie-talkie and shouted: "Each group is in place, prepare in one minute!"

Fumao and Gao Jun stayed in the crew for a day and watched the crew's filming very seriously.

At five o'clock in the afternoon, the crew finished work, Zhang Ran took the main creator of the crew to have a meal with Fumao and Gao Jundao Lin'an's famous Louwailou, and then took them to Tiangong Chongcai Lin'an Branch, because Fumao wanted to watch the part of "Years, Months and Days" that had been filmed.

During the meal, Zhang Ran briefly introduced the filming of "Years, Months and Days" to Fumao, and told some interesting stories during the shooting. After listening to it, Fumao became more interested in "Years, Months and Days" and wanted to see what the effect of the movie was like.

When he came to Tiangong Chongcai, Zhang Ran directly brought Fumao and them into the screening room, and then asked the staff to play the part of the movie that had been filmed. From the beginning of watching the movie, Fumao didn't say a word, and his eyes were always on the movie screen.

Nearly half of the film has been made so far. The final film is expected to be about 120 minutes, and half should be about 60 minutes. But now they are looking at a rough cut-out version, which is much longer than the final version, almost 90 minutes.

After the movie ended, the lights in the screening room came on, and everyone looked at Fumao to hear what he had to say. Zhang Ran said directly: "What do you think, what do you think?"

Fukumao didn't speak, frowning, constantly recalling the scenes from the movie. The movie speaks Chinese, and it is a dialect, and there are no subtitles, Fumao doesn't know what the characters say at all, and most of the scenes are green screens, and there are no special effects, and many details can't be seen at all. But just looking at the camera, Fumao still clearly felt the uniqueness of "Years, Months and Days", and the style of this movie has changed a lot compared with Zhang Ran's previous films!

Zhang Ran's early works, like Ang Lee, were typical of Hollywood melodrama models, with a strong shadow of Akira Kurosawa. But since "One Man Puts on the Lights", Zhang Ran has gotten rid of the influence of Hollywood and Akira Kurosawa. When "Future Apocalypse" was released, critics believed that Zhang Ran had found a way out in traditional Chinese culture and was returning to traditional Chinese culture. In "Years, Months and Days", Fumao almost does not feel the influence of Western culture on Zhang Ran, and the whole film is completely Chinese.

"Years, Months and Days" has a huge difference from Zhang Ran's previous films, that is, the whole movie is dominated by long shots, and there are many long shots and panoramic shots, and the rhythm is relatively soothing, which is very different from his previous films. "Future Apocalypse" has long shots, but overall it is still dominated by short shots, and the movie is very fast-paced.

Fukumo remembered Akira Kurosawa's "Chaos", Kurosawa's early works were also mainly short shots, and when filming "Chaos", he used a lot of long shots, which were also based on long shots and panoramas, and there was only one close-up shot in the whole film for more than 100 minutes. He felt that Zhang Ran was paying tribute to Kurosawa, and asked: ""Years, Months and Days" is somewhat similar to "Chaos", using a lot of long shots, and the scenery is dominated by long shots and panoramas, is it a tribute to Kurosawa?"

Zhang Ran was stunned, thinking that although they are all long shots, and the scenes are mainly panorama and long shots, but in fact they are very different, not the same at all, okay, shook his head and said: "It has nothing to do with Akira Kurosawa's "Chaos", the reason why our film uses panoramas and long shots a lot is because of the composition, and the composition of our film is basically Chinese composition. The composition of Chinese painting pays attention to the distance, and one of the most important theories is the three distances, that is, the flat distance, the lofty and the far-reaching. The composition of our film is mainly far-reaching, and the far is the long view, since it is a long view, the film naturally uses a lot of long shots and panoramic shots. ”

Fu Mao nodded slightly, he didn't know much about Chinese painting, but he still knew a lot about Chinese-style movies, so he said: "I like Hou Hsiao-hsien, Ang Lee, and Hu Jinquan's movies very much, their films also use a lot of Chinese painting elements, but they are basically fixed camera shots, and your shots are all sports shots, what is the reason for this?"

In fact, starting from Zheng Junli and Fei Mu in the 30s of the last century, many Chinese directors have tried to connect films with Chinese painting in various ways, but this docking has never been very successful. Because there is a big difference between Chinese painting and film, film pays special attention to light and shadow, and pays attention to perspective, while Chinese painting happens to not pay attention to these. It is difficult for the concept of Chinese painting and the concept of film to be compatible, although several generations of Chinese filmmakers have tried, but the final effect is not ideal, and it is always difficult for Chinese painting and film to be perfectly integrated, so we can only extract some elements of Chinese painting and put them in the film.

Zhang Ran used to study oil painting, and his understanding of Chinese painting was very superficial, and he could not appreciate the beauty of Chinese painting at all. However, during the Beiping Olympic Games, in order to find creativity from traditional works of art, Zhang Ran read a large number of Chinese paintings, consulted a lot of materials, and communicated with many painters. By the time the Olympics ended, he had a very deep understanding of Chinese painting, and became a die-hard fan of Bada Shanren, and he also hoped to make some attempts at the docking of Chinese painting and film.

Zhang Ran said slowly: "It should be the difference in concept, they treat the picture of the movie as a painting, and pursue the creation of the artistic conception of the picture, and the painting will not move, so there are more fixed camera shots." My philosophy is a little different, in my opinion, the lens is the viewer's eyes, and the content inside the lens is the painting. There is a theory of Chinese painting called "Wandering Views". When we look at the paintings in the Louvre, we look at them standing or sitting. But when you look at some Chinese paintings in the Forbidden City, you can't stand or sit and look at them. Because some Chinese paintings are particularly long, with banners and vertical banners. Because the painting is so long, you can't see everything at once, you can only slowly see from left to right, from right to left, rush down to see up, from top to bottom. When you look at the paintings, you have to move around, which is the tour. My film is to use our eyes to see the painting, to use our eyes to see the stories and characters in the painting, we are moving, and the camera is naturally moving!"

Fu Mao didn't understand Chinese painting, but Zhang Ran's words were easy to understand, and he still understood and truly understood Zhang Ran's thoughts. He suddenly remembered the scroll shot in "The Aviator" that was talked about by many people and even imitated by many people, so he said: "It sounds like a variant of the scroll shot, you created the scroll shot when you were in "The Aviator", and most of the shots in this movie are scroll shots, or this new version of the scroll shots, can I understand it that way?"

Zhang Ran laughed: "So to speak!"

The Festival de Cannes places great emphasis on the artistry of cinema, leaning towards the art of cinema itself, and with a particular penchant for stylized films. "Years, Months and Days" is obviously such a movie, and it is a film with a very unique style. Fumao said sincerely: ""Year, Month and Day" is really suitable for Cannes!"