02. At the door of the hotel, night. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

[Mr. Ku's (father's name) colleague said goodbye to him to celebrate his promotion and walked out of the hotel. Mr. Gu drank a lot of alcohol and was drunk, and the others drank less. 】

Dad (serious): Thank you for saying goodbye to me.

Colleague A: Gu, are you okay? I'll call a taxi for you.

Dad (polite, rigid expression, unkind appearance): No need, my house is quite close, I walked back, just sobered up.

Dad walks towards the end of the street (shaky, lonely), close-up of his back, stretching the camera to give a panoramic view, until Dad disappears into the crowd.

Colleague A: Lao Gu is so old and his family is here, but he has to go to such a remote place alone.

Colleague B: Hey.

……

This is the script for the second scene, the number in front of it is the scene number, and the film is not shot in chronological order, but in the order of location. For example, when Bai Xuejia was filming "5 Centimeters per Second", Makoto Shinkai gave priority to filming the scene of Yashan in the middle, and after returning to Tokyo, he filmed the story of Kiki and Akiri's childhood at the beginning of the movie and the adult story at the end of the story.

The script is written in the order of the story, but when shooting, for convenience and saving, all the scenes in the same scene are pulled out and filmed together, and this scene number is convenient to find and sort out the required shooting clips.

Every time before the start of filming, the scene reporter will hold a slate and put it in front of the camera to make a board. The slate board records the number of scenes and takes, and after the shooting, the editing relies on this scene to edit the parts that are needed. Otherwise, without this slate board, finding the shots you need from those thousands of minutes after a film shoot is completed is tantamount to looking for a needle in a haystack.

In the evening, they found a family with more traffic and a more lively civilian restaurant. At the door of the hotel, Misaki finds a good angle, and Ema Yasuhara and Ying Lili start setting up tripods and fiddling with the camera.

It's more than 8 o'clock, which is considered the peak time for eating, and there are drunk guests coming out of the restaurant from time to time. There are those who are staggering, those who are holding each other, those who are intentionally angry, those who nod their heads and bows, those who shout loudly, those who are grief-stricken, those who are standing, those who are lying on their stomachs, and those who bend over and vomit in the dark alleys around the corners.

Bai Xuejia bought a small bottle of liquor in three or two bottles, and drank most of the bottle in one go. The spicy wine went down and burped, and the rich smell of wine immediately rose from the lower abdomen, and the feeling of clouds and fog in my mind was in my mind. Bai Xuejia's amount of alcohol was okay, and when he drank it in one go, the strong alcohol rebounded in one go, and he just entered a state of being drunk but not drunk, and his body felt drunk, but his mind was also exceptionally sober.

If you're drunk, it's easy to shake and talk with a big tongue. However, Bai Xuejia's pursuit is more than that, since he wants to act, he must take every scene seriously. He felt that it was difficult to act in a drunk state, because there was no logic or regularity in the movements of drunk people. Some masters are easy to get drunk, all kinds of drunkenness are vivid, you don't need lines, you can feel the smell of alcohol when you go to that station. Bai Xuejia doesn't have this skill yet, he can only achieve it with the help of props, and he uses the strength of wine to find the feeling of drunkenness.

"How's it going?" Misaki asked.

"Alright. Bai Xue Jia made an OK gesture to Misaki.

"Photography OK!" said Amachi Yahara.

The humble crew has only one camera, and as for the lighting, props, etc., there is none. Hitoshi Mitaka and An Yilun also played colleagues A and B respectively, and Misa Fujido and Hideyoshi made cameo appearances by the way, without lines.

The actors were in place one after another, and Aoi Miyamori held a clapper and played a dozen boards in front of the camera.

"Let's go!"

……

Yasuhara's camera focuses on the night sky and the flickering lights of the surrounding shop signs.

Voiceover: "Thank you for saying goodbye to me. ”

Immediately afterwards, Ema Yasuhara's camera shifted to the door of a hotel.

Bai Xuejia walked unsteadily, An Yilun raised his hand and shouted, "Old Gu, can you do it?" I'll call a taxi for you. ”

Bai Xuejia waved his hand casually, looking like a dead man: "No need, my house is quite close, I walked back, just sobering up." ”

Hideyoshi and Misa Fujido walked in other directions and exited. An Yilun and Mitaka Ren looked at Bai Xuejia's back. Bai Xue Jia walked in the direction of the camera.

The camera's lens always follows Bai Xue Jia, and when Bai Xue Jia passes by the camera, the camera gives Bai Xue Jia's side face a facial close-up.

Sullen people, sometimes drunk and talk a lot, which is diametrically opposed to the usual personality.

Dad is very boring, but he is definitely not sassy, from the outside to the inside he is a serious, old-fashioned, and not good at performing. So after getting drunk, Bai Xuejia's expression was still as serious as ever, and his face was paralyzed, only his wandering eyes and slightly swaying body made people see a drunk person.

Passing past the camera, Bai Xuejia continued to move forward, and the camera froze on Bai Xuejia's back, giving a close-up of the back.

Bai Xuejia was wearing a suit, his hands in his trouser pockets, and in his right hand was a briefcase that hung loosely to the ground as if it might fall at any moment. Slightly hunched back, shoulders drooping, but unnaturally tightened, very stiff.

The pressure of family and work crushed his shoulders, but he was a father, for the sake of the family, for his wife, and for his son, even if he didn't like it, he had to hold on.

Bai Xuejia walked very slowly, and his body staggered, but he walked straight in the middle of the road.

Although Dad is very depressed, since he has chosen, he will definitely take all this seriously.

There were a lot of pedestrians on this road, as if they were afraid of being spit out by Bai Xuejia, and they all bypassed Bai Xuejia. Because it was night, the crew was extremely simple, and passers-by didn't know that they were making a movie, but this unintentional move made the loneliness, loneliness and depression in Bai Xuejia's back more and more prominent.

It was as if he was out of step with the world and abandoned by the world.

The flow of people parted in front of Bai Xue Jia and closed behind Bai Xue Jia, like a lonely stone jutting out of the river.

(Voiceover)

An Yilun also: "Lao Gu is so old, and his family is here, but he has to go to such a remote place alone." ”

Hitoshi Mitaka: "Hey......"

"Good!"

One shot to the end, there was no mistake, Misaki was very satisfied.

Midori Imai pondered the lines, but said to Misaki: "Sister Misaki, the last two dry lines seem to be a little too damaging to the atmosphere. ”

An Yilun and Mitaka Ren are both cameos, and when they read their lines, it is like reading a text, which makes people play as soon as they hear it.

"I think so too. Mitaka Ren agreed, "Bai Xuejia's performance has already expressed the feelings of loneliness and loneliness that he wants to express, and these two sentences seem to have a feeling of adding to the snake." ”

The shot itself is a language, and the script was discussed by Midori Imai and Ren Mitaka together, and the two didn't expect that a back could show so much meaning, so they had these two lines like a background introduction. But now that I look at it, I find that it is like a sudden advertisement at a high tide to destroy the atmosphere.

"Hmm...... Then delete it. Misaki replayed the final shot twice and agreed to the suggestion.