When the crew of "The Grandmaster" left the Northeast, there was only one scene left in their role in the Northeast, that shot was Gong Baosen persuading Ma San to turn back at home, and as a result, Ma San deceived the teacher and destroyed the ancestors, the reason for the remaining scene was that Mr. Wang Qingxiang took leave and had to join the group a few days late, as for the other shots, Wang Jiawei won them all in a week with an uncharacteristic attitude, which is indeed an unprecedented speed for the king of sunglasses.

During this week-long trip, Shao Yingying felt a lot about Wang Jiawei, and he felt that this was a director who could make people learn a lot.

For example, Wang Jiawei's use of the camera is very abnormal, Zhang Ziyi's role in the scene of Gong Er practicing in the woods Wang Jiawei boldly uses a bird's-eye view lens to first present a black spot and the whole picture of the woods covered by heavy snow from a top-down perspective, and then switches to a large long shot, and his boldness in the use of the lens is breathtaking.

You must know that the big vista is mostly shot from a distance of a quarter of a mile, with the Hongda in the background to prove the insignificance of the protagonist, the use of this technique has recently brought great shock to Shao Yingying should be the movie "Constantine", when Konstantin fell into hell, the whole decadent world and his small body contrast, Shao Yingying felt the deepest. When directors choose to shoot from a long distance, most of them are most commonly used in epic films, such as Westerns, war films, and historical films.

But Wang Jiawei did the opposite, when Gong Er practiced, he used a large long shot to connect the bird's-eye view, and then quickly advanced with the focal length, and finally fixed under the medium shot, and Gong Er at that moment was peaceful. Even if she is fists and kicks. With the continuous change of so many shots, it tosses out a picture that makes people feel more and more peaceful the more they look at it, and when Gong Er is practicing martial arts, people can't feel the slightest anger, which is why Liang Chaowei looked at Gong Er with a smile in the previous shot.

As for Wang Jiawei's design of the frame, it is more unique. The world of the frame is the world of the film, and in this world, the director must care about the shape, color, line and texture of objects as much as a painter, and any thing or person that destroys the world of the frame will cause the viewer to feel uncomfortable visually. Wang Jiawei did a very good job of this, so good that it was applauded.

A photographer will put the character in the center of the lens to reflect the subjectivity of the character, which can be found in "The Grandmaster". This qiē is rare, and there are a lot of close-ups of the characters in this film, starting at the top of the head and ending at the shoulders, and sometimes the characters will appear as soon as they look up and have their haircuts. Even with the exception of some important scenes where the characters appear in the middle of the screen, most of the time, the characters are leaning against the sides of the camera. He used this technique to show an incomplete world, and Shao Yingying secretly asked Wang Jiawei why he did this. Wang Jiawei said: "We can't think that we know a lot of things because we have interviewed a lot of people and know a lot of things. In fact, for those of us who really lived through that era, we all belong to the half-understood. So, I'm going to let my camera show my awe. Shao Yingying agrees with this sentence.

In addition to paying attention to the filming techniques, Shao Yingying also noticed a characteristic of Wang Jiawei, that is, he does not wear sunglasses on weekdays. Whenever he starts work or needs to deal with media interviews, he puts on his sunglasses.

It's like a welder who wears gloves when he works.

Shao Yingying asked him a lot of questions about the movie when he was working with Wang Jiawei. also relied on his college background to dump basic books, such as "Understanding Movies".

But Wang Jiawei scoffed at this, he said: "Why do you have to limit the director to some reading materials? Why are lenses divided into large long shots, long shots, panoramas, medium shots, close-ups, and large close-ups? Shoot according to these lenses, to connect them, and eventually our own characteristics will disappear faster and faster. ”

In short, in Shao Yingying's eyes, Wang Jiawei is a very anti-academic person, he rarely reads technical books such as 'film', 'photography' and 'editing', and prefers to read books such as 'New Fourth Army', 'Eighth Route Army' and 'Photographic Equipment'.

For the actors in the crew, Wang Jiawei will not particularly show his intention to be close to or want to integrate into the group, he seems to like to maintain a working relationship with the actors, which is very similar to Liang Chaowei, they are the kind of people who will not make a phone call to get together even if their old partners do not see each other for a long time, work and life, Wang Jiawei is particularly clear.

The entire crew moved from the Northeast to Kaiping Chikan Ancient Town, which is the main filming location of "The Grandmaster", including the very aesthetic rainy night action scene at the beginning of the film, and the old-style residential buildings with various martial arts hall signs hanging on the floors are filmed here.

The crew arrived quietly but did not get their own quiet, and the crew of "The Grandmaster", which was originally planned to be filmed in silence, was completely exposed to the eyes of the media because of the arrival of two people, these two people are Zhao Benshan and Liang Chaowei.

When the paparazzi chased the figures of Zhao Benshan and Liang Chaowei, they dug out the overly low-key crew of "The Grandmaster", and almost from this day on, all the filming processes of the crew were exposed to the eyes of reporters.

"Shao Hero! He wore a robe......"

"Zhang Ziyi, why is she dressed so plainly?"

This is the sound of Shao Yingying coming from the periphery of the scene when they walk out of the dressing room every day, and some bold reporters will even rush in when the management of the workers on the scene is not strict, and use lunch time to do an exclusive interview with this group of actors.

"Shao Yingying, what impressed you most about Director Wang Jiawei?"

When the reporter asked Shao Yingying, he put down the disposable chopsticks in his hand and responded: "Twelve." ”

The reporter still knows a little about Wang Jiawei, Wang Jiawei's previous films are very good at using lines that combine time and space, such as the sentence 'You and I are together one minute before 3 p.m. on April 16, 1960, because you and I will remember this minute.' From now on we are friends for a minute, that's a fact, you can't change it, because it's gone'.

"Is this a line?" In another inquiry by the reporter, Shao Yingying said that he would not say anything.

The helpless reporter could only turn to Zhang Zhen, but the answer given by Zhang Zhen was also a number, but this number was 'forty-one', and then Zhang Ziyi responded with 'twenty-seven', Liang Chaowei and Zhao Benshan had just arrived, and neither of them spoke much.

When the workers found out that the reporters had mixed in and drove them away, Zhao Benshan turned his head to look at Shao Yingying and said, "Xiao Shao, what are you talking about?" ”

"I said that Wang Jiawei made me come twelve times for an action scene."

Zhao Benshan looked at Zhang Zhen again: "Didn't you come forty-one times?" ”

Zhang Zhen's face quickly became bitter, and it seemed that the tomatoes in his mouth had turned into bitter gourd.

Hearing this, Zhao Benshan said helplessly: "I won't come here if I don't make a mistake, according to his shooting method, I still have to explain this?" ”

Shao Yingying also had no quarrel with Zhao Benshan: "Uncle Zhao, then you can sprinkle, as long as he dares to let you shoot endlessly, he will lie on the ground and say nothing." ”

"That's not good, that's too unprofessional, we're actors, we're directors, we have to do whatever people say, we can't roll around in this matter......" Zhao Benshan glanced at Shao Yingying and said: "Xiao Shao, you voted for this play, right?" ”

Shao Yingying nodded and said, "Ah." ”

"I heard that this play has invested 100 million?"

Zhao Benshan just refused to be a righteous person when he refused to roll around, but even he was snickering.

"Uncle Zhao, what are you holding back?"

Zhao Benshan smiled and said with a wrinkled face: "You said that for such a big scene, wouldn't it be good if the director didn't leave a figure in the play?" The director doesn't learn acting, if he acts in a scene, we don't have to say anything, it is estimated that he can spend half the night......"

"Uncle Zhao......" Zhang Zhen came over and widened his eyes and said, "It's still you who ...... loss"

Zhao Benshan pretended to be anxious and said angrily: "This kid, how can you talk? ”

Shao Yingying hurriedly answered: "That's it, what nonsense is telling the truth." ”

"Tsk!"

Zhao Benshan turned his head with a sigh, Zhang Ziyi next to Shao Yingying trembled with a smile, and the lunch box in his hand shook the lunch box to the ground.

Jokes are jokes, jokes are coming, Zhao Benshan's integration into this group of actors is much faster than Liang Chaowei and Wang Jiawei, he almost came and began to mix with the actors, once when he was waiting for filming, Shao Yingying also chartered the teahouse next to him, several people drank tea and ate melon seeds while waiting for work, and when Wang Jiawei was ready, Shao Yingying went to check out, Zhao Benshan had already bought the order.

That night, Zhao Benshan was filming the scene of Zhao Benshan drinking soup, and Zhao Benshan made Wang Jiawei go crazy, from nine o'clock in the evening to half past twelve, three and a half hours in order to shoot a scene of drinking soup, more than 80 times.

Zhao Benshan was so angry, he was so angry that he didn't say anything after filming this scene and went back to the hotel directly.

It was the first time he cooperated with Wang Jiawei, and he didn't know that if he hadn't filmed "The Grandmaster" in advance, Wang Jiawei would have been filming "Blueberry Night" at this time, in that movie, the hero and heroine filmed a kiss scene more than 100 times, and at the end of the filming, both of them had a taste in their mouths, and they had to brush their teeth again before they could continue.

After finally taking down the role, Zhao Benshan surrounded Wang Jiawei like a mill the day before leaving, and strongly persuaded: "Since you call me Brother Sheng, I have to give you an opinion, you said that you make movies so hard, and there is no figure of yourself in the movie, so is it okay?" According to me, you have to string one, even if it's just one, to at least prove that you have left your mark on the movie. Xu Ke and Feng Xiaogang are both big directors, don't they leave their own traces in the movie? ”

Zhao Benshan was so bad that he could retire after performing Liang Chaowei's role the next day, so he had to toss Wang Jiawei at this time...... (To be continued......)