As for Xiao Han and Jin Chengwu, they were already stunned, they couldn't imagine that the title that was pieced together under editing and editing after many times was so wonderful that people took a breath of breath and didn't vent it until they finished watching it.

The story is quite full, with the innocent and hazy first love of Jin Chengwu and Xiao Han, looking at each other with red faces under the red maple leaves. Xiao Ran felt extremely funny when he saw this, this scene that day made the two blush, but it was filmed many times.

Later, as a last resort, Xiao Ran poured the two of them with wine, and then filmed this blushing scene. Interestingly, just after filming these scenes, Xiao Han, who has never been allowed to drink, got drunk, and after getting drunk, he was still muttering about his brother or something.

Fortunately, there are only one or two blushing shots, otherwise there would be no stuffing. This pure emotional scene is very moving, Xiao Han's purity and cuteness simply conquered every audience, especially the blushing scene is even more remarkable.

This emotional drama is actually not Xiao Ran's handwriting, Xiao Ran can't write such an emotional drama. In fact, it was written by You Hai, and You Hai is definitely a grandmaster-level character in writing emotional dramas. However, Xiao Ran feels that You Hai may not be able to write love themes very well. You Haisheng is better than a small number of dialogues and scenes, and can easily intersperse a subtle and moving relationship in any theme.

The most typical is the hazy and obscure relationship between Liu Qingyun and Meng Jiahui in "Very Suddenly", which is definitely an extremely moving place in the film. and then there are the respective emotions of the two sisters-in-law in "True Heroes", so although some people often say that the encounter scene in the minibus in "Dark War" was written by a French screenwriter, Xiao Ran still thinks that it is completely the style of swimming in the sea.

The story is not based on first love, but on struggle. The male protagonist played by Kim Sung-moo likes to drive cars, but he doesn't think about racing. Therefore, in the film, even if Kim Sung-mu jumps out on the street, he occasionally has a few professional terms.

Wu Zhenyu's performance is absolutely dazzling, and people don't even think that there is such a way of performing. His appearance was quite majestic, and after a race with others, he got out of the car with what seemed to be a bit of a female surname on the surface, and the movements were slow but very evil.

Xiao Ran was not surprised by this, but he still felt wonderful, because Wu Zhenyu's performance was almost no different from "Crazy Boy", and his voice was also very hoarse. Even if there is still a trace of immaturity in his acting skills, he is covered up by this bizarre performance.

Of course, Wu Zhenyu is not playing a villain, and there is no villain in this film. Wu Zhenyu looks extremely bad on the surface, but at the end he became friends with Jin Chengwu, Xiao Ran hopes that Lao Wu can continue to perform in the sequel.

The theme of the film is love and struggle, but the struggle is nowhere to be seen, and Xiao Ran knows that he has failed in conveying the theme after all. On the contrary, it is the challenge and love that are very good, especially the former, which is quite prominent when Kim Sung-woo stubbornly asks Wu Zhenyu for a match.

As for love, Xiao Ran chose another obscure way of expression, first expressing it through Jin Chengwu's always polishing the car after repairing it. Later, it was expressed through other means, which can be described as quite wonderful.

To Xiao Ran's surprise, after Jin Chengwu and Wu Zhenyu competed once, the scene where they became friends at the end unexpectedly brought a very sympathetic feeling, which was somewhat similar to the heroic sympathy between the opposing sides in "Bloody Heroes".

This is a very wonderful thing, Xiao Ran thought about it for a long time after going back before he reluctantly gave an answer, perhaps because he was too affected by Wu Yusen and Du Qifeng. Of course, don't see that the text description is very bland, but the film is extremely exciting.

The film is 110 minutes long and features six racing scenes, three of which are the highlights. The first scene is naturally the opening paragraph, and the second scene appears in the seventy or eighty minutes according to the law of the script. The last scene is the highlight of the main play, and in the end, the ** of the whole film is set off and ended, which feels really more enjoyable than love.

The second major racing scene takes place in an inadvertent accident, and neither side knows who the other is. In that scene, Xiao Ran's technique changed a little, deliberately not making this very smooth.

In the last scene, Xiao Ran worked hard and brainily to come up with an optimal interpretation plan. This scene has to go beyond the opening credits, otherwise it will become top-heavy. Xiao Ran's technique can be said to be simple, but it can also be said to be complex.

The simplicity is due to the fact that he employs a variety of techniques, starting with falling leaves, which is quite important. Before filming this scene, the producer even paid a lot of money to transplant countless maple trees on both sides of the track to create a special and extremely dazzling effect.

And when the actual shooting was taken, the road was covered with maple leaves, and it looked like a decisive battle in a paradise, which was very romantic. This style is closely matched with the style of the whole film, with a bit of innocence and a bit of romance, and there is still a long way to go in line with the protagonist's road to the car god.

has done so much work on the atmosphere alone, you can imagine how attentive Xiao Ran was in the final scene. In this scene, the crew used a total of 18 cameras, not including the aerial photography of the two helicopters. In terms of scenes and bearing, they are definitely extremely rare in Hong Kong films. The only regret is that the bearing is enough, but the scene is a little insufficient because of the limitations of the location, which is obviously not a human factor.

Fantasy special effects also took over the special effects production of this film, and the decisive battle scene was extremely beautiful. And in this last scene, the fantasy special effects even used the work of computer editing to make a multi-angle picture for the film, which is the moves used by Li An in "Green Giant". This absolutely novel camera parallelism is gradually withdrawn, allowing everyone to experience this new production method, which is extremely cool in the soundtrack.

What's cool is not only the technique, but also the dress of the two sides of the decisive battle, which is quite the flavor of ancient warrior duels. Ye Jintian is really extremely sharp in costume styling, and the art of the film is even more superb. However, Ye Jintian knows very well that a lot of this is derived from Xiao Ran's guidance, not so much pointing as enlightenment.

Why did Xiao Ran use so many cameras? The reason is very simple, he needs a full-angle lens to choose the most suitable one. Moreover, in addition, he specially used the trick he learned from Wu Yusen - slow motion!

Xiao Ran doesn't dare to say that he has the deepest understanding of the use of slow motion, but he is definitely the best director in the Hong Kong film industry except for Wu Yusen. In slow motion, he actually admired not only Wu Yusen, but also Huang Jingpu.

Huang Jingpu is a cutting-edge director in the 21st century, and this person is definitely a masterpiece with "Fu Bo", and was promoted by Zeng Zhiwei to be the director of "Jianghu". In the film, Huang Jingpu's imitation of the sense of camera in Wang Jiawei's works can be seen everywhere, and he is quite skilled in slow motion.

It's even more remarkable when it comes to "Sister-in-law", this time he abandoned the imitation of Wang Jiawei, and instead controlled it more and more properly in slow motion. This "Sister-in-law" is a gangster film, but it is innocent and joyful in its bones, although there is sadness, it is still pure happiness in the end.

The brutality and intrigue of the gang and the purity of the girl should not be compatible, but Huang Jingpu was able to blend all this together, allowing people to experience the touching at the ending, which is really sharp. Among them, Xiao Huang's indulgence in slow motion is absolutely great, if there is no slow motion to buffer the gangster elements, I am afraid that it will be difficult to achieve this balance in the whole film.

In "Sister-in-law", Huang Jingpu's use of slow motion is almost obsessed, and with these slow motions, he has successfully created a romantic style with a Jianghu flavor. It's really remarkable, Xiao Ran admires this young director who only appeared more than ten years later.

Xiao Ran's use of this aspect is somewhat similar, but he doesn't need to rely on the sense of the camera to create romance, and the art and picture have already reflected this. He used slow motion to highlight the extreme speed of this kind of racing, the illusion of overtaking the wind and outpacing electricity.

It is not difficult to do it, but it is difficult to choose the timing. Xiao Ran chose to use this technique when crossing two of the corners. If it's a good technique, why don't you use it more? Xiao Ran knows very well that no matter how ingenious the technique is, once it is repeated too many times, or the timing is not appropriate enough, it can often cause the opposite effect.

The two cars were close to each other, and when they came to a corner, the former suddenly made a 90-degree turn. At this moment, slow motion appeared, and the picture was abruptly divided into two frames, one was Jin Chengwu and the other was Wu Zhenyu.

Both of them stared at the front with full attention, and at this moment, the speed of everything seemed to slow down, but it didn't give people a feeling of slowness or weakness, but made people feel more intense. The respective movements of the two drivers are very clear in the split frame, and the trajectory of the car is presented in slow motion, making this large, high-speed cornering thrilling.

In this way, in the strong contrast between movement and stillness, the feeling of passing through the wind is getting stronger and stronger, and the visual stimulation is becoming more and more enjoyable. Xiao Ran was certainly very happy, but he still felt very regretful. In this film, he specially appointed Zheng Zhaoqiang to do photography, and coupled with Jiang Lan, who is best at capturing the state of motion, he originally thought that he could bring the feeling between movement and stillness to the limit.

However, in a sense, he failed, Zheng Zhaoqiang is not the top photographer in the future, and Jiang Lan is not an experienced photographer. The only fortunate thing is that the two complement each other in some ways. But Xiao Ran has always believed that the current lens is not the top lens that captures the difference between movement and stillness, and if it can achieve the best, then this one lens alone can become a classic.

In the last set of corners shots, Xiao Ran still used screen segmentation and slow motion, but last time it was split up and down, and this time it was split left and right, trying to create tricks. However, he did not let the split picture dominate, but let the main picture record the trajectory of Kim Sung-moo surpassing Wu Zhenyu in a thrilling manner.

And the real ** was also born at this moment, because it was mentioned before that if anyone can take the lead after this corner, it is equivalent to winning. When people think that after the big **, the real ** has arrived.

The car driven by Wu Zhenyu was overtaken by Jin Chengwu, and he couldn't help but lose control and crashed into a big tree on the side of the road, and he was hit by a volley that flew upside down at least four or five meters high. Only then did it crash to the ground, and this change frightened all the audience, and made the heart that had been very stable rise to the throat again.

Jin Chengwu drove the car back, and fortunately, Wu Zhenyu was not killed. As soon as he was rescued by Jin Chengwu, he scolded weakly, and then admitted Jin Chengwu's victory. Then, the two of them showed a knowing smile, a smile that the drivers cherished each other.

This time, the audience finally took a breath and all stood up to pay tribute to the main creators in the back row, and the applause was so enthusiastic that they could lift the lid of the theater turned into a warm current and pride and pride in everyone's hearts.

Xiao Ran swept Xiang Bao's expressions and couldn't help but smile slightly, he had the same feeling at the beginning. However, what he enjoyed more now was that indulgence, and he knew that he had indulged the emotions of every audience member in one hundred and ten minutes.

Do you know what an infatuation is? This is infatuation, Xiao Ran is obsessed with this taste, he knows that this is what he wants. When he imagined that he would forever keep this story in people's memories with his creativity, he was satisfied, how many people in the world were living in obscurity. But he can rely on movies and leave an eternal place in people's hearts.

In this moment, the director is God, he has created a virtual and perfect world, created joys and sorrows, and created living characters with blood and tears. What is God? What God can do, He can do. And, he's doing it now, not just once, and he wants to be greater than God in this moment.

There is nothing more passionate and emotional than creation, and Xiao Ran has a deep experience of this. This is exactly like he does not plan to use future films to direct himself and increase his fame. Not just because he doesn't need to be famous, but because he wants to have something that belongs to him as well, and no one likes to use someone else's stuff all the time.

*****

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