After coming back from the United States, Song Zheng didn't stay at home for a few days, and he was going out again, this time he went to the Great Northwest, Ning Hao's "No Man's Land" is now filming over there, if he doesn't go over to see it with his own eyes, he really doesn't feel at ease. Pen Fun Pavilion wWw. ｂiquge。 ｉｎfo

In fact, the last time the two of them talked on the phone, Song Zheng regretted it a little in his heart, not that he regretted supporting Ning Hao to make this movie that was destined to fail the trial, but that he regretted saying too much.

In case Ning Hao's bull energy attacked, and he changed the law to shoot this scene too deeply, when the time came, the money invested by the company would really be wasted.

Don't look at Song Zheng's joy when he said it, as if he didn't care at all, but he still had a little luck in his heart, hoping that this scene could finally escape from the hands of the film review god.

After all, the movie "No Man's Land", unlike Ning Hao's previous "crazy" series, is no longer a comedy this time, but a western film and a road movie, although it is also mixed with some elements of black humor, but it is only rare, and the whole movie is poisonous and bloody from the inside out.

If you think that these are all the characteristics of the film, then it is a big mistake, Song Zheng watched "No Man's Land" no less than ten times in his last life, and every detail of the whole movie has a delicate inner portrayal of the characters, reflecting the complex good and evil, beauty and ugliness of human nature.

Although Ning Hao himself said that this is just a story that he came up with on a tourist road, without so much human thinking, purely for the purpose of making a type of film that China does not have, but such a statement is a bit far-fetched.

The film begins with the story of two monkeys, which is a story about animals, two monkeys in order to steal peaches, one is responsible for stealing, and the other is responsible for sentry.

So, a series of stories that happened later were labeled as "animals", no wonder, people who watched this movie in their previous lives said that in no man's land, there are only bad people, to be exact, they are just animals.

Yes, it is true that in no man's land, there is only life and death, joy and evil, morality and law do not work at all, which seems to be a bit contrary to this realistic society, but it also reflects the reality of society, the dark side of people's hearts, the helplessness and struggle in the face of difficulties, evil and violence, fragility and collapse.

It doesn't matter whether human nature is good or evil, sometimes it's just a thought, perhaps, under certain conditions, the most real human nature will be discovered.

Song Zheng really likes this theme, but he is destined to be disliked by those who have the power of life and death.

Although Song Zheng still very much hopes that Ning Hao can make this movie completely according to his own ideas, sometimes, people have to face reality.

For example, according to Ning Hao's original script, the story ends abruptly at the end of the movie, when Pan Xiao, a lawyer played by Xu Zheng, is in the car, watching the prostitute played by Yu Nan constantly running to save herself.

Such an ending is obviously better for the whole movie, but the ending of the version that Song Zheng watched in his previous life was still modified, and Yu Nan was rescued in the end, which gives people some hope, which is also in line with the approval requirements of relevant departments.

But Song Zheng himself prefers that evil ending, which can bring people more room for imagination, maybe then the audience's mood will be heavier, but the black imprint of this film will become more obvious and more pathetic.

Along the way, Song Zheng was thinking about this movie, what he saw now and what he had seen in his previous life, and when he thought of the end, he felt that his nerves were going to be confused.

It's really not easy to find Ning Hao's crew, it's too remote.

When he arrived at the crew, Song Zheng wanted to bow to Ning Haosan, this guy didn't die halfway when he was choosing the scene, which can be regarded as his great fortune and great creation.

The endless desert and the wind mixed with gravel, at a glance, the stretching Gobi Desert seems to have no end, it feels like a Jedi, it is a place where the unknown and broken are stored, no one wants to be a guest here, rushing to the fate of being slaughtered, in the wilderness, you can't feel the sky and the earth is wide, what you can feel is unusually poignant.

The car sped by, rolling up the yellow sand, and what appeared in front of you was a rough real world, and being in it was like being thrown into a wild place.

Ning Hao also looked very surprised when he saw Song Zheng, his image at this time was really difficult to compliment, he was wearing a big vest on his upper body, a pair of big pants underneath, his hair was messy, his beard was unkempt, and his eyes were bloodshot.

"Zhengzi!Why are you here!?"

Song Zheng looked around, Huang Bo was sleeping against the wall, Xu Zheng was holding the script, his expression was struggling and he didn't know what he was studying, only Yu Nan, who played a prostitute and a delicate woman in the movie, looked a little normal, and people were painting their fingernails.

After watching it for a while, Song Zheng admired Ning Hao even more, how these actors got together is really amazing.

There are not many actresses, Yu Nan alone can increase the average appearance, the actor can be described as miserable, Duo Bujie is still a cold-faced handsome uncle, the others, I'll go, this is falling in the demon cave?

Xu Zheng can actually mix up his appearance and take responsibility.

Compared with "Crazy Stone", it makes people more desperate, and compared with "Crazy Racing", it is not far behind.

"Why can't I come, you, I threw real money into it, even if I throw it into the water, I have to listen to it!"

Ning Hao grabbed his hair and smiled, he didn't have the heart to follow Song Zheng to greet him, beckoning people to the next scene, Song Zheng didn't bother him, and when the filming started, he dragged a chair and sat behind Ning Hao, even if he came to study.

Watching Ning Hao filming is definitely a brain-burning masochistic behavior, because you never know what he is going to do next, and this guy is also very peculiar in grasping the key points.

In his previous life, many people said that Ning Hao was the best at playing montage, and in the movie "No Man's Land", he used this punishment to the extreme.

Compared with the three-line narrative in "Crazy Stone" and the five-line narrative in "Crazy Racing", this movie has become a single line, which is not false at all.

Although it is Xu Zheng as the main line, the repeated appearance of the characters in it, and the connection is particularly perfect, the most reflective level is the lighter that often appears in the movie, and it can be said that the biggest highlight in it is the use of lighters, of course, there are many other unique plot settings, and they are almost as exciting.

Song Zheng watched "No Man's Land" in his last life, and after watching it, the deepest feeling is that this movie, which has whetted the appetite of fans, is indeed worthy of waiting and movie tickets, at least this movie can make his eyes nail to the screen, and he didn't think about leaving for a second, which is commendable in itself.

However, Song Zheng has always felt that the version he has seen is not a masterpiece, and I believe that there will not be too many objections to this, it seems to be a little bit hot, what is this heat?

Song Zheng thinks that the style, characters, themes, and the handling of some scenes are a little worse.

For example, the style, the whole story, the plot, and the details all have a strong sense of realism, but the film's images, music, and some atmospheric rendering methods, including rhythm, are a little beyond reality and have a certain artistic style.

The actors' performances are sandwiched between the two, and they are more inclined to a realistic style, which makes the style of the whole film not uniform enough, and it is a bit of a rush.

Some might say it's called mash-up, well, if it's really intentional, what about the effect?

I'm sorry, but Song Zheng didn't see any positive effect on the whole film, on the contrary, it lowered the artistic quality of the film, and at the same time had a negative impact on the audience's feelings.

Because style is one of the natural attributes of the work, it is the breath exuded by the film, which acts on the audience in a subtle and silent way, and feels whether this is a natural masterpiece.

Based on the materials shown in this film, it can develop in two styles, one is a more realistic direction, this is because the script and actors' performances are biased towards this direction, if the image, music, rhythm and other aspects are also adjusted accordingly, then it may present a desperate and cruel style, or it may use the lens language to present a calm, objective, and realistic style, but in any case, it will bring the audience a more real, Empathetic fear, or more empathetic touching, if it is done to the extreme, will be classified as a literary film.

The second is to maintain the style of images, music, etc., adjust the script and performance, and make a style that transcends life and reality, such as legendary, take legend as an analogy, then the script must be revised first, just like an absurd style movie must first have absurd events, and increase legend in events and details.

The actor's performance should also be adjusted, get rid of the realistic style, you can try to exaggerate moderately, then there will be a variety of possible styles, such as a cool western, or the style of violent aesthetics, or by strengthening the intensity of the character's inner presentation, etc., to make a film that is both legendary and infectious, or even a comedy.

In these two style directions, Song Zheng personally prefers the latter, because although the former has a stronger psychological impact, it is not beautiful, and from a commercial point of view, it should also be the latter.

Without considering the calm and objective realistic style, there are still some debatable points in this film.

For example, the scene that is being filmed now, a rivalry scene between Xu Zheng and Duobujie in a restaurant, this is to pave the character of the two people, but it seems to be a bit repetitive with the previous scene in the detention center, the scene in the detention center before the courtroom scene of the film is the scene where Xu Zheng and Duobujie met for the first time, which is worth considering from the perspective of drama and style.

In terms of playmaking, is there a need for this scene to exist?

This scene has little effect on the narrative, mainly plays the role of shaping the characters, as far as Xu Zheng is concerned, the focus is to convey that Xu Zheng is concerned about money, so as to have the most important preliminary shaping of this lawyer.

For Duo Bujie, in fact, it is more through the image to create a "evil and terrible" image, Duo Bujie's "terrible" is to be created after the court scene and before the scene where the two eat, otherwise that scene does not have Duo Bujie's huge oppressive force on Xu Zheng, and Duo Bujie's every move cannot make people feel nervous, thus generating the tension of that scene.

So, is this scene really necessary?

First of all, the shaping of Duo Bujie's "terrible" can be completed in the court scene, for example, adding a line of the policeman, the policeman yelled at Xu Zheng: Do you know who he is? Do you know how many lives he carries?!

You can also further assist in shaping it at the beginning of the dinner scene, for example, several ruthless characters at the next table are making loud noises, Duobujie glanced at it, and the ruthless characters recognized him and left quickly.

These informative shapes are more powerful in the way the film mainly relies on image rendering.

Let's talk about the creation of Xu Zheng's character, just imagine, if there was no scene in the detention center, Xu Zheng exonerated Duobujie in court, and said when he got out of the court: Give money quickly, otherwise I will let you lose this lawsuit again.

This in itself completes this image-building.

In fact, in Song Zheng's opinion, the scene in the restaurant was very good, Xu Zheng took the signature on the bill and threatened Duo Bujie in a suggestive way, he could help him get rid of the crime, or help the police reconvict him, this behavior itself is very convincing, as long as it is used well, it is enough.

For example, Xu Zheng went straight to the topic and asked for money at the beginning, but Duobujie didn't want to give it, at this time Xu Zheng came prepared and threatened him directly, so that the character came out immediately.

Moreover, this also forms a flip, an unexpected surprise for the audience, and the effect is more logical than the existing way.

Therefore, from the perspective of the play, the scene in the detention center is completely redundant, and it may be a matter of adding to it.

From a stylistic point of view, there is also a place in the whole movie that should be considered.

In the image performance of Duobujie, deliberately let him fall into the dark, producing a "terrible" atmosphere, deliberately making this kind of picture, is a style with a sense of comics, will give the audience a hint beyond reality, that is, this "demon" in the dark cannot be an ordinary person.

However, for a long time in the future, Duobujie's character image could not keep up with this contrast, and he did not have any abnormal behavior before he hit and killed the old lady.

If Duobujie fits this image, when he and Xu Zheng eat, dip the chili noodles and eat a freshly peeled milk sheep cake, and introduce this is the most tender sheep while eating, which is about the same, and also introduce the origin of his red car, and add a sentence "I did it" when talking about his wife's death. It can be said that the style in this scene is not very suitable for this movie.

The scene where Xu Zheng rode a horse to save people after overturning the police car is also a place worth considering, the vast world, the shocking music, Xu Zheng rode alone, and the atmosphere was set to a very high level.

However, although there is a kind of tragedy here, it also has a hint of romanticism, a feeling that the world is alone and the shadow is left to its own devices, which is undoubtedly inappropriate.

And the reason is mainly due to the setting of "horseback riding", coupled with the picture effect, if you don't ride a horse but stop a passing car, or try to get as close to people as possible when riding, don't shoot the vast world, there is no problem.

The first question is still a minor one, and the second question is whether it is appropriate to set the atmosphere so high here?

This is obviously not the high tide of the film, but the death of Xu Zheng in the end, and the emotions here are the same emotions as the emotions of Xu Zheng's death in the end.

It's not that it can't set off the atmosphere, but it shouldn't be so overdone, it should be low-key here, at least much more low-key than what was set in the script.

The final high tide scene, especially the death of Xu Zheng, objectively speaking, it is the ending of the protagonist of this film, what effect does this ending want to make?

To move people, or not to move people?

Is it thought-provoking or shocking?

These are all possible options, and there is no right or wrong, because a story is ever-changing, and there will be multiple versions that hold up.

What effect this ending will have depends mainly on what the film wants to express.

In this film, this effect does not feel too obvious to Song Zheng, or he is not sure what effect he wants to make.

But judging from the use of suicide bombings, Xu Zheng's saying "We are human, you are not", and the tragic atmosphere rendered by Xu Zheng when riding a horse, it may be that he wants to move people, and highlights the transformation and sublimation of the character played by Xu Zheng, and this is also the normal way of commercial films.

Assuming that this is the effect that the film originally wanted, then unfortunately, it was not very well done.

There are two conventional ways to make a person's death very moving, one is to make the audience fall in love with this person, or sympathize with this person, reluctant to let him die, or unwilling to see him die.

The second is that the greatness of this person's death is altruistic self-sacrifice.

In fact, it is mainly the first type, and the second type is often a supplement to the first type, or the second type usually needs the foreshadowing of the first type.

In this movie, Xu Zheng is neither lovable nor sympathetic, in fact, even if he starts to create this effect ten minutes before his death, it is still too late, but Ning Hao did not do this, so he can't go the first way.

However, the moment Xu Zheng died was not self-sacrifice, because he was dead, he was seriously injured, and he couldn't escape the clutches of the bad guys, which made his death a natural expectation and lost his touching strength.

However, these are only superficial reasons, and the internal reason is that the movie itself does not clearly show the process of Xu Zheng's transformation, and why it has changed.

The character's behavior from beginning to end is natural, believable, and natural, and the viewer can feel that there seems to be a change and it is not false, but they cannot clearly realize what this change is, so they cannot feel the power of this change.

The power that leads to change and the power that bursts out of change itself, and in the end, can only be forcibly instilled with the line "We are human, you are not", which is very blunt and ineffective.

The reason for this is that the character of Xu Zheng is not in place, this person is superficial, and he has not gone deeper, and he has not found the point where the value is placed.

You must know that in this story, the in-depth shaping of the character of Xu Zheng is very necessary, because the events in this story themselves have no connotation, or even no resonance.

Therefore, the theme and resonance of this story can only fall on the characters, specifically on Xu Zheng's transformation, so the transformation of Xu Zheng cannot only stay at the degree of authenticity and credibility, he carries the inner things of this movie.

And the film is not in place at this point, and it should be dug deeper, for example, why is Xu Zheng a lawyer who is mercenary and disregards justice?

Here is only one possibility, whether he feels that the city he lives in is actually a hunting ground for people to eat people, and those people in his circle are just brightly dressed beasts, including himself, and those people in no man's land are just more direct beasts.

However, the character played by Xu Zheng is not pure, he also has humanity, and the prostitutes he meets in the no-man's land will touch the area of his heart.

When the prostitute begged him to save her for the first time, he hesitated, or did not hesitate, but when the prostitute was dragged away by the father and son in the black shop, he was touched by the pleading and desperate eyes left behind.

Later, the prostitute still hid in the trunk of his car and escaped, but this prostitute who was full of lies had Xu Zheng's fading light, and one or several behaviors moved him, such as saving him once, such as not hesitating to save Xu Zheng with his hard-earned money, he unconsciously had a special feeling for her, it was love mixed with something.

In the end, when the prostitute was caught in the car by Duobujie to be taken away, he saw her pleading and desperate eyes again in a daze, which became the last impetus for his action.

In the end, he sacrificed himself for her sake when he could completely protect himself.

Of course, it's easy to say casually, but the reshaping of the characters is not a simple matter, and it will involve changes throughout the film.

There is also the ending, whether it is the ending in Ning Hao's original script, or the ending of the version that Song Zheng saw in his previous life, it is actually very good.

The revised ending, strictly speaking, cannot be regarded as a continuation of the dog's tail, because this ending is actually easy to become the most touching part of the whole movie, and the audience's long-suppressed psychology can also be greatly satisfied, but the problem is that Ning Hao may have been a little emotional when he did this ending, so it was a little sloppy, and it didn't have the purpose of moving people at all.

These are the things that Song Zheng can summarize after sitting behind Ning Hao for a whole day, watching Ning Hao shoot for a day, and also reading the script for a day.

Song Zheng also knows that the film changes the existing trajectory and adjusts it in any direction is a huge system project, which may need to be adjusted more or less from the script to the image, music, performance, etc.

But these adjustments are worth it in Song Zheng's opinion, if Ning Hao made "No Man's Land" the same as in his previous life, and finally due to the lack of style and the ambiguity of the theme, it was really a pity that it was a little far from the masterpiece.

Just as luxury and art may be one step away, don't underestimate this one.

After finishing work in the evening, Song Zheng told Ning Hao everything he thought, and after Ning Hao heard it, he immediately fell into silence.

Song Zheng didn't bother, he knew very well how much courage it took to give up the existing ideas, completely break and reintegrate, and many scenes filmed before had to be restarted.

Ning Hao's heart wavered, he knew that what Song Zheng said was very reasonable, but if he revised it according to Song Zheng's opinion, this operation would be a little too big.

"Zhengzi! If you really change the ~~~~~~ as you say."

Song Zheng didn't wait for Ning Hao to finish speaking, and then interrupted him: "Let's make sure now, are you going to change in that direction, is it realistic or surreal!?"

Ning Hao was stunned by Song Zheng's question, hesitated for a while, and said, "Even if I want to change it, I want to follow reality!"

And so it was!

Song Zheng seemed to have heard the sound of his money falling into the ditch, but he had actually thought of this a long time ago.

"No Man's Land" was regarded by Ning Hao as a work of transformation, and naturally it would not be changed according to surreal ideas, and finally turned this movie into an absurd comedy.

"Okay!

Song Zheng also let go, since Ning Hao was going crazy, he would simply accompany him to the end, at this time, if Ning Hao was forced to go towards a surreal line of thought, it would simply cost Ning Hao's life.

"But, Zhengzi, I really want to change, isn't the price a bit big, character building, and there are still many plots that need to be changed!"

Song Zheng has made up his mind, and he can still allow Ning Hao to continue to hesitate: "Then are you planning to shoot something that is not worth four or six, or are you planning to go to the classics!"

Does this still need to be considered?

Who is a director who doesn't want to be able to leave a classic and a masterpiece in his lifetime!

"Okay! I'll change it!"

Song Zheng let out a sad cry in his heart, he knew that if he changed it according to the ideas he provided, this "No Man's Land" would not pass the trial at all, even if there was no scissorhand Zhao Baohua, others would kill "No Man's Land".

But since he was shot anyway, he simply died completely, and he didn't leave any thoughts for himself, even if this "No Man's Land" was destined to not be released, but at least there was a classic left, and it was finally a bit of a gain.

"Okay! let's start from scratch now, if it doesn't work, it will be remade, you don't have to worry about the funds, I'll solve it!"

If you want to go crazy, then go crazy to the end.

Song Zheng also really wanted to see what kind of thing Ning Hao could toss in the end.