The journalist, in the eyes of Bai Xuejia, is a novel creature, whenever there is big news, he will flock to it, but he will always only hear his voice and not see his people. Therefore, Bai Xuejia has only one impression of reporters, that is, the black, thick and long microphones with LOGOs.

Bai Xuejia has seen a lot of interviewees, but today is the first time he has been interviewed, facing that group of magical creatures...... It feels very new.

As the leading actor, he stands with Tsukasa Nishino. Bai Xuejia is a little-known pink and tender newcomer, he thought that he should have nothing to do, just show his face, after all, most of the reporters are coming for Tsukasa Nishino and Kaede Chino.

But soon he realized that he was wrong, and the reporters put most of their firepower on him, and his eyes were as bright as if he had seen a naked woman. However, what Bai Xue Jia said was right, although he was asking him, but the questions basically revolved around Tsukasa Nishino.

Bai Xue Jia is a newcomer with little experience, and they seem to feel that Bai Xue Jia is a breakthrough, hoping to dig out valuable news from Bai Xue Jia's mouth. However, to their disappointment, all the questions were answered without leakage, and they avoided the important and trivial, changed the topic, darkened the warehouse, stole the beams and changed the pillars, and the golden cicada was used to shed its shell.

When I first heard it, I thought it was a lot of talking, but after thinking about it carefully, I found that it was all nonsense...... What they want is gossip and fierce material, who wants to listen to movies!

The scheming and calculation of both sides lasted for more than twenty minutes, and after it was over, Bai Xuejia had only one word in his heart: tired.

Take a 10-minute break and enter the screening room to prepare for the film.

Bai Xuejia sat in the first row with the main creative team, and Aya Higashijo, Yui Tojo and Miho Yadou sat in the back seats.

Floating cherry blossoms, the childish voices of boys and girls, and the two sides of the railroad tracks, looking at each other.

"It would be nice to be able to see the cherry blossoms together next year. ”

The film begins with Akari's flag and the train that passes between the two as predicted, separating them.

The picture of the movie is very beautiful, not the kind of gorgeous and dazzling beauty, but a quiet beauty, the overall tone is bland and soft, accompanied

Bai Xuejia wants to play Guishu and understand Guishu's heart, so he not only read his own script, but also read all the scripts played by Kirito, only by understanding the complete life, he can more appropriately integrate into the inner world of this character.

Kiki and Akari are attracted to each other because of the same loneliness and come together, but Akari has to be separated from Kiki because of the move. Akari has tried her best, but she is just a child, and her parents can't rest assured at all. Akari then called and cried helplessly and at a loss to tell Guishu about the matter, but Guishu was not comforted, he was sad and helpless, and at the same time said with a hint of suppressed anger, "I know, enough." ”。

At that time, Guishu was quite self-centered, after all, he was just a child, how many questions could he consider?

His sorrow is not because his only friend is leaving him, his helplessness is because he feels lost in the face of a fate that he cannot control, and his anger is not because he feels Akari's betrayal of him. As mentioned earlier, he has moved many times, because he always goes to an unfamiliar environment, and he doesn't stay long, and subconsciously thinks that everyone is just passers-by, so he can't integrate into the environment, and he is lonely. Akari was the first time he had opened his heart, so his anger was vented to this wandering fate that seemed to be playing with himself.

After he finished speaking, he realized how much damage such words would cause to Akari. The reflection at this moment also contributed to the growth of Guishu's "gentleness" for all people without discrimination.

When Bai Xuejia reads the script by himself, it is a feeling to make up for his brain, and watching Kirito and Chino Kaede's performance is another feeling.

Both performed very well.

In the public phone booth (the story time was popular in public phone booths more than ten years ago), there was never a shot of Chino Kaede's face.

A panorama, night, lonely public phone booth, swaying street lights, only occasionally a car speeding by, the contrast between movement and stillness, immediately makes people feel a lonely feeling abandoned by the world.

Immediately after the camera zoomed in, she couldn't see the side face, only saw her holding the phone in her left hand and the phone line in her right hand, because of the force, her knuckles were a little white.

Then the camera pans to the ground, and suddenly, a tear drops on the shoes, and at the same time, a slight ripple gradually occurs in the hearts of the audience.

The three shots do not have much strong and explosive emotion, but in this quiet atmosphere, Akari's loneliness, helplessness, pain, and confusion are deeply pierced into the hearts of the audience.

And Kirito, holding the phone, sat in the corner, hung his head, and after listening to Akari's story, he didn't let Akari continue, his tone was very heavy, hugged his knees, and buried his head deep in the crook of his arm, as if he was a compromise of fate. Only his left hand clasped his right elbow hard, unwilling and angry.

Makoto Shinkai is very fond of using long lenses, which do not refer to the length or focal length of the appearance of the physical lens, nor the distance of the photographic lens from the subject. As the name suggests, it is a lens that is continuously captured over a period of time and occupies a long film. It takes a relatively long time to shoot a scene and a scene continuously to form a relatively complete shot paragraph.

There is no clear and uniform rule on its length. It is relative to the 'short lens'.

The time and space recorded by the long lens are continuous, and the progress of the state of affairs expressed is continuous.

These are all when Bai Xue Jia and Tatsumi were chatting, Tatsumi told Bai Xue Jia. Bai Xuejia didn't understand these professional statements, but after seeing the complete film, Bai Xuejia seemed to vaguely understand something in his heart.

Makoto Shinkai's film is like an essay.

Scattered and Concentrated - A large number of long shots make the rhythm very soothing, seemingly loose, but every second, every frame can touch people's hearts.

His movie pictures are extremely beautiful, when he was on the scene, Bai Xuejia didn't feel anything, but the ordinary pictures reflected in his lens seemed to have a different taste.

At the same time, the artistic conception is far-reaching

For example, Akari held the telephone and wept silently, such as Guishu burying his head in the crook of his arm and clasping his elbows, such as Guishu walking on a snowy night after finally meeting Akari again......

The two walk side by side on the snow-covered road, and in the shot, the goose-feathered university slowly falls, and the telephone poles on both sides of the road stretch into the distance.

The two walked slowly, pitch black in front of them, leaving two clear rows of footprints behind them, and soon they would be covered with a layer of heavy snow.

The darkness is the unknown future, the footprints left behind are the traces of the past, the snow is time, and time will one day be dusted over the past until it is never seen again.

And at this moment, they are walking side by side, half an arm's length apart, not close, not far away, just like the parallel fate of the two at the moment, although they are towards the same release, but no one knows whether they will be entangled in the end, or will continue to be parallel.

Another example is the bare branches under the cherry blossom trees, and the goose feathers and snow are like falling cherry blossoms, which makes them feel like they have returned to the time when they used to see cherry blossoms together.

The color of the picture suddenly changes from cold to warm, and the bare cherry blossom trees are full of cherry blossoms, and pink petals are falling one after another.

The camera zooms out, and under the cherry blossom tree, two young black shadows slowly approach, and finally seem to merge into one.

Immediately afterwards, the tone of the picture changed from warm to cold, the trees were still bare, and the sky was still falling with cold snowflakes.

The cherry blossoms are the past, the dream, and the warmth, and the bare cherry blossom trees are the present, the reality, and the cold.

If "5 Centimeters per Second" is an essay, then the actor is the text in it, and the theme of the prose is Makoto Shinkai's thoughts, but whether the thoughts can be expressed depends on whether the actor's words are beautiful.

Chino Kaede and Kirito's appearance is undoubtedly "beautiful", and they give a real tension to this gentle story, driving the soul of the audience to follow the ups and downs of Takaki and Akari in the story.

Aya Tojo, Yui Tojo, and Miho Adou indulge in this poetic story, and under the bare cherry blossom trees, there is a detail that is very intriguing.

When it turns from warm to cold, from dream to reality, from cherry blossoms to snowflakes.

Guishu's hand clenched tighter.

Akari's hand, as if lowered, gently stretched.