During his stay in Beijing, Mark Muller watched Zhang Yimou's new film, which is the Beijing-style comedy starring Jiang Wen. Pen, fun, pavilion www. biquge。 info

This is Zhang Yimou's transformational work, which abandons the previous formalism in photography, and adopts the technique of shaking the lens, which is very fast-paced, wanting to express the inner uneasiness and restlessness of people in the current city.

After filming, Zhang Yimou invited people in the circle to watch it, and received mixed reviews.

Some people think that Zhang Yimou's attempts in the film are refreshing, and as an international director, he dares to innovate, which in itself is something worth encouraging.

Some directors only make one style of film in their life, and they can't get rid of their own shackles.

Some people feel that this is a failed transformation work, Zhang Yimou abandoned his strengths and deliberately imitated other directors, but the result was not satisfactory, the film was absurd and funny, and the connotation was insufficient.

This is actually a very normal thing, and it is impossible for a film to satisfy everyone.

Now that it has been filmed, Zhang Yimou still wants to be recognized, and he is ready to participate in the Venice International Film Festival in September this year.

Mark Muller promised Zhang Yimou that he would recommend his film to be shortlisted, but the Italians were not optimistic about Zhang Yimou's film.

The Venice International Film Festival has always admired literary films, and this comedy is afraid that it is not to the taste of the judges, so he suggested that Zhang Yimou participate in other international film festivals.

In the past half month in the capital, Mark Muller has watched about 30 movies.

There are films by both established directors and young directors, with a variety of themes, and this is my job as a member of the selection committee of the international film festival.

The selection committee of the Venice Film Festival usually consists of six people, including film critics and university film professors.

The selection of films changes almost every year, so the criteria for film selection are not fixed.

Some people may value the director's fame more, or the image of the film, or the way the story is told.

Mark Mueller likes to sit in the last row when watching the film, so that he can see both the film and the audience in front of him, if during the movie, the audience in front of him keeps twisting or whispering.

It shows that this film does not attract the audience, if the audience is really attracted to the film, they will watch it attentively.

He will select a few films to recommend to the organizing committee of the film festival and write his own comments, as for whether they can enter the main competition unit depends on the opinions of the film festival judges.

In addition to watching movies, he also had an exchange with students at the Beijing Film Academy to introduce the state of European films.

Under the impact of Hollywood films, the European film market is also not optimistic, some European filmmakers turned to Hollywood and went to Hollywood to make films, and the other part stayed in Europe to continue to make literary films.

Especially in the mid-to-late 90s, famous European directors and actors went to Hollywood to develop.

Although the slogan of the Venice International Film Festival is "Cinema at the service of serious art", Marc Müller is not a big fan of literary films, and he himself is not averse to commercial films.

If he were the president of the Venice Film Festival, he would have introduced a commercial element into the festival.

He believes that an international film festival should not only promote a certain kind of film, but should achieve a balance between business and art.

Commercial films can attract the public's attention and enhance the influence of the film festival, and art films can enhance the level of the film festival.

Half a month later, Mark Muller went to Sioux City in the south, accompanied by Lin Zixuan, Jiang Wen and Zhang Yimou.

Zhang Yimou is very interested in "Spring in a Small Town", and he wants to see how Tian Xiangzhuang will shoot this story.

"Spring in a Small Town" started filming at the end of February, and it has been filmed for more than a month, and the filming plan is about half completed.

There are two locations where the crew filmed, one is the Dai family's mansion and the other is the old city wall.

In the script, these two places are not far away, and the heroine walks around the city wall every day when she comes back from grocery shopping, and then walks home.

When I actually filmed, the house was very far away from the old city wall, one outside the city and the other inside the city.

The weather has been good these days, and the crew is filming scenes on the city wall.

That is, the heroine wanders alone, and the plot of dating her lover, Yu Feihong is wearing a cheongsam and standing on the mottled city wall with a lonely face, giving people a sense of loneliness and independence of the beauty.

Tian Xiangzhuang adopts a relatively bold shooting method, one scene and one shot.

Also known as long shots, the actors do not switch the camera when they are performing, and they do not move on to the next shot until the actor has finished the scene.

This method of filming relies heavily on the performance of the actors, or in other words, the performance of the actors is coherent and done in one go.

Fortunately, the actors in this crew are very good and can adapt to this way of filming.

However, this kind of shooting greatly reduces the director's sense of existence, and it seems that it is the same with or without a director, as long as the camera is placed and the actors perform, it is over.

"You're a bit too extreme, you're a director, you're not afraid of insiders." Jiang Wen said strangely.

Neither Jiang Wen nor Zhang Yimou were present as directors, and only Tian Zhuangzhuang graduated from the directing department of the Film Academy.

"I think relying on the actor or not is actually looking at the director's trust in the actor, and the actor's position in your film, are you sure you don't." Tian Zhuangzhuang responded, "After you are sure of these, there will be no more psychological scruples, in this play, the positions of these three people have been determined, and the rest depends on how they act, the less the director intervenes, the better." ”

"There's a natural feeling that the director is standing on the sidelines and watching the story unfold, like an audience, objective and calm, which is kind of interesting." Zhang Yimou pondered.

"It seems that this film is still directed by Director Tian, I can't be so calm." Jiang Wen shook his head and said.

"This is a good book, such a thing should be filmed like this, there are still some things with family and country feelings, if you want to show it quietly, you will lose your artistic conception if you show it too much." Zhang Yimou analyzed.

Zhang Yimou looked at Lin Zixuan, who was talking to his sister not far away, and felt quite emotional in his heart.

If "Spring in a Small Town" is filmed for him, it should be able to become a masterpiece of his directorial career, and the field-like treatment is in place, and the shooting effect should be good.

and "Xu Sanguan Selling Blood", which is also a good script, fell into the hands of Jiang Wen.

Zhang Yimou is still looking for scripts by adapting novels, but there are not many in China. Lin Zixuan now directly took out the script and no longer published the novel in the magazine, which caused Zhang Yimou to be unable to get in touch with it at the first time, and he and Lin Zixuan did not have such a deep friendship.

At this time, Lin Zixuan was talking to Lin Xiaoling, and Xu Jinglei was standing aside.

In the spring in the south of the Yangtze River, the grass grows and the warbler flies, and the east wind blows. (To be continued.) )