Director He's words made everyone fall silent again, and Producer Lin thought of a series of coincidences from getting the book to the selection and shooting before, which seemed to have the same feelings as Director He. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ

At this time, the photographer Lao Wu also slowly opened his mouth, he is a photographer who pursues the beauty of composition and the sense of picture, there will always be such and such in the past shooting, either the environment and the set, or the actors' positions, and even the regrets in the small details of the costumes and props, but in order to rush the work, and in order to save film, this regret is only buried in the heart. But this shooting, completely different from his previous works, he will easily shoot what he thinks is perfect, he will easily capture some details that are difficult to capture with the camera, he will subconsciously close the picture or push it into the distance, as if there is another director in his head directing all this. But this feeling both excites him and scares him, because he feels more and more like a marionette behind the camera.

The more the three of them talked, the more empty their hearts became, and they were all confused for a while. The strange thing is that I am afraid to get together to talk, inspire each other, and hint at each other, and we can talk about things when we have nothing to do.

That night, the three of them went to a food stall in Higashishijokou, got a few dishes, and drank a case of beer. We talked until the stall owner fell asleep on the small table, and finally reached a consensus. As the so-called wine strengthens people's courage, art is born from the side of courage. The birth of a great film work must be the product of soul possession, perhaps possessed by the predecessors of the movie, perhaps possessed by the customs of the times, or even possessed by the characters in the story, the generation of everyone's strange feelings is the prelude to the birth of a great work.

can't retreat, let alone avoid, the sense of mission of making a movie may only be once in a filmmaker's life, and many abnormalities on the set are the harbingers of God's favor. Inspired by a common mission, the three of them quickly reached a consensus, persevered to the end, and continued filming, but the strange things that happened to the crew on the set, the three of them worked together to find a way to hide it, and appeased the actors and the rest of the team together.

But after waking up the next day, Producer Lin quickly realized the gap between his ambition and reality, and immediately turned up the phone number of a friend of mine, so there was a long conversation between me and him at the Great Wall Hotel.

I stood in front of the floor-to-ceiling window of the room, at this time the sky was a little light, the Jingshan Forbidden City in the distance had a faint layer of bright color, the water waves of the Liangma River slowly emerged, maybe in a few minutes, Beijing will wake up from sleep, people will forget the dream in the dark, as if it never happened, until the night comes again, there will be another familiar reincarnation.

Lin and I drank a full bottle of whiskey, for him, wine was a stimulant in memories and conjectures, and when he was done, he was powerless to resist the onslaught of sleepiness. For me, wine is a condensed alternative to time, and when I finish it, I am confronted with the poetic imagination of the unknown and curiosity of a new day.

I joined the crew of Lin Productions, and my job was very simple, with an easy explanation for all the oddities, getting everyone on the crew used to the unaccustomedness, and making sure that everyone didn't go insane due to overstimulation. But don't do any magic things, those ghost and god things may be the source of inspiration, let it possess you, after a permanent work, short-term fear is a necessary cultivation for filmmakers.

After that, the changes in the crew were obvious, Director He abandoned all private behaviors that had unnecessary loss of energy and physical strength, Lao Wu was like a soldier before the expedition, meticulously maintaining his equipment, and Producer Lin and the crew quickly got together, promising a lot of bright prospects that would make everyone full of chicken blood. Unlike them, I just sit in the corner and observe silently, and maybe all the clues are sketching a story that we have never heard of.

During the interval between filming on the set, I chatted with Cheng Manlin a few times, and she didn't feel the frivolity and pride of the actor who quickly became popular, she was very quiet in her bones, and even had an indifference that did not match her age. It makes me very suspicious of the background of her story that Producer Lin told me before.

In addition to asking me about the story of this building and the origin of the names of some of the surrounding alleys, she also begged me if I could take her to the Forbidden City, to Guozijian, and to Liulichang when there was no her play.

One day after that, I took Cheng Manlin to walk through the deep street outside the Donghua Gate, and listened to her learn Tsing Yi singing with Peking Opera ticket holders word by word by the Guanzi River. I took her across the bridge of silver ingots, and watched her hold her cheeks in front of the barbecue grate, staring at the lamb being scalded, and puffs of white smoke rising from the fragrant mutton fat. I took her through Luoguxiang and watched her climb the big locust tree with the half-grown children in the alley, pick the bunches of white locust flowers, put one in her mouth, and marvel at the sweetness of the stamens. I took her to the Liuli Factory, watched her happily pour tea for Guo Erye and beat her legs, and then picked up Guo Erye's paintbrush and painted seriously on the kite.

I have a vague feeling that Cheng Manlin is not like a tourist who has never been to Beijing, she understands a lot of things that old Beijing understands and likes, she understands the free and easy comfort in the bones of old Beijing, and the Beijing she sees is not a wandering view, but more like a reunion after a long absence, of course, it is impossible for a Hong Kong girl of this age to have this feeling, and I can only smile bitterly and retract these whimsical thoughts.

After that, Cheng Manlin was still unsatisfied, and she was still pestering me to go on, but I was concerned about things on the set, so I called Zeng Qian and asked her to take Cheng Manlin to play. Zeng Qian, a workaholic, reluctantly agreed, and the next morning, she came to the set to pick up Cheng Manlin with a sad face. Unexpectedly, when she came back in the evening, Zeng Qian, like Cheng Manlin, became elated. The two of them were like sisters, discussing the next day's itinerary, Zeng Qian also called the Cao team, threatening to break off the relationship, asking him to drive the car early the next morning, and the two of them were going to Tanzhe Temple to play for a day.

I didn't care about the madness of the two girls, and the day I came back, something new happened on the set.

When I joined the crew, although Director He and the production director didn't know where I came from, they had enough respect for the management and politely arranged a seat for me without asking too much.

Xiao Ye, the woman in red at the beginning of the story, is the twenty-seventh scene filmed by Director He, and it is also the first anomaly I have seen. What the woman in red said was only magnified by her own senses. People are like this, they no longer believe in what their eyes can see, and other senses will be infinitely magnified, and more illusions will be produced that do not exist. There are often ghosts, but ghosts devour people, not the human body, but the spirit. Getting people to believe in their existence and get fear is only the first step.

That evening, it was the thirty-second scene, and everyone gathered in the corridor on the second floor. Director He finished the play to the woman in red, and readjusted the camera position with the camera. The woman in red seemed to have recovered from the horror of the previous day, but I still saw her unconsciously glance around the corner of the stairs.

Ye Ling, a woman in red, graduated from Chinese opera, was still unknown at this time, and her appearance was quite beautiful, but a few years later, she went to South Korea and came back and became popular.

The woman in red began to run towards the end of the hallway, her feet staggering, the soles of her shoes and the wooden floor rattling a mess, as if something was chasing her from behind, and she glanced behind her in horror from time to time. The staff installed slides on the ground in advance and began to push the camera forward.

The woman in red ran to the end of the hallway, stood where she was, hesitated, and reached for the handle of a dark brown wooden door. Suddenly, the woman in red shook, as if she had been electrocuted, shook her hands hard, seemed to be breaking free from the doorknob, and screamed miserably.

Wu Camera, in his forties, he didn't seem to notice anything wrong, and kept waving at the drama of pushing the pulley, as if he wanted to get closer and shoot a close-up of a woman in red.

"Stop, stop," Director He jumped up from the monitor and ran forward. The woman in red at the end of the corridor was already kneeling in front of the door, one hand still clutched on the handle, but her head was lowered, as if she was sobbing incessantly. Director He squatted down beside the woman in red and comforted her. The female staff members of the two crews ran over, put on a dress for the woman in red, and helped her back.

Director He arranged for everyone to shoot other scenes first, and then came back and sat down next to the woman in red, and the woman in red cried and told Director He that she really couldn't shoot anymore, it was too scary, and she wanted to resign and go home.

From her intermittent conversations, I could hear a rough idea. Originally, according to the requirements of the script, the woman in red had to run to the end of the corridor to screw the door of the innermost room, and found that it couldn't be opened, so she went to screw the opposite door, unscrewed it, and hid in, and the scene was over.

But during the filming, when she ran to the end of the corridor, she suddenly heard someone shouting her name, not the name in her play, but the real name in life. She froze for a moment, thinking it was her own hallucination, but when she reached the end of the room, the voice sounded again, telling her not to twist the handle of the door.

At this time, she hesitated a little, but still subconsciously reached out her hand. But at that moment, she suddenly found that the doorknob was a little strange, it seemed to be very different from the common handle, and then looked closely, it turned out to be a wrinkled and old hand, poking out of the door, Xiao Ye sensed that something was wrong, and wanted to retract the hand, but the old big hand suddenly opened and grabbed her wrist.

(Birds fly in the air, fish swim in the abyss, non-art.) Therefore, those who are birds and fish do not know that they can fly and swim. If you know it and think it, you will fall and drown. The feet of the Jews gallop and catch, and when they gallop and listen to and see, they respond to the opportunity and do not wait to think about it. If you think about it and then you can do it, you will be tired. It is to let nature last for a long time, and get the usual. --"Prudence")

(To be continued.) )