Subtitle of this chapter: For the sake of art, hold on!

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"Although the box office of films in various countries around the world has been rising since the beginning of the new century, the film industry has entered a period of rapid development. But we American filmmakers should be aware of a very bad atmosphere in Hollywood lately.

The young actors, known as "Fresh Meat," can become pop stars and movie stars just by virtue of their beautiful faces, E-cups, and eight-pack abs. They completely ignore the pursuit of film art, and they don't even have basic line skills.

Cutouts, stand-ins, and dubbing have become essential means for them to shoot movies, and these "actors" are simply an insult to the title of actors.

It's no wonder that in recent years, we in Hollywood have been beaten by our Chinese counterparts on the other side of the ocean.

Let's remember the greatest actress in Hollywood history, Lillian Gish.

Spanning the three eras of silent film, sound and color cinema, the film artist has always had the greatest passion for the art of cinema throughout her career.

She went on an extremely harsh diet for the filming of "The Orphan Girl of the Famine", lost her weight from more than 100 pounds to more than 60 pounds, and fainted on the set several times.

Ms. Gish's "good friend" Mr. Neo Yuan, who is also the screenwriter of this movie, couldn't help but shed tears when he saw such a scene. He lodged a strong protest with the film's director, Mr. David Griffith, to stop this cruel practice that harms the health of the actors.

However, Ms. Ji Xu said to Mr. Yuan, "My dear, I can stand it. I value my art more than my body! ”

——Excerpt from an article in "Variety" magazine (Author's note: "Variety" is the oldest and most important film magazine in the United States. It is said that more than 100,000 major actors around the world regard this weekly magazine as the most authoritative trade magazine. ）

"I'm tired of it, I'm a long long long...... Time is not full, and they are about to starve to death. Do you have anything to eat with you? ”

Our Master Yuan took out his handkerchief and pitifully wiped the dust on his face for the "greatest actress in Hollywood history" and said, "Lilian, how can I have anything to eat." But ......"

He turned to say in a firm tone: "For the sake of this film and for the sake of film art, you must hold on!" ”

"Neo, why are you here?"

"David, didn't I come to visit Lillian......"

Seeing the big director coming over to greet him, Yuan Yanqian casually threw the "lover lady" he came to visit to the ground, stood up and shook hands with Mr. the big director and said, "By the way, take a look at the filming progress of "Famine Orphan Girl", so as to arrange the next release." ”

At this time, the "father of movies" has two big dark circles under his eyes, a circle of burning bubbles at the corners of his mouth, and his weed-like hair is even thinner, and he looks not only a little haggard, but also a teenager

He sighed deeply, turned around and pointed to the village, and said with a wry smile: "Neo, I think you have seen it too, and we haven't even finished the first shot until now!" ”

As we all know, long shots and montage are the two major forms of cinematic expression.

The school of montage appeared in the mid-twenties of the twentieth century, again in the Soviet Union. The representative work is the "Battleship Potemkin" of the "Odessa Steps".

What Inbrais was listening to was that the long-lens school was a full thirty years later, and it was not until the fifties that André Bazin (1918-1996), a famous French university scholar, proposed the "ontology of photography". He believed that only a long lens could preserve the objective continuity of time and space, and at the same time have the full ability to coordinate the internal organization of the lens.

This gentleman is the founder of the famous "Film Handbook" school, known as the "father of the new wave of film", "the spiritual father", and "the Aristotle of film...... However, the master of film theory never made a single film in his life.

A large part of the reason for this is that long shots are much more demanding of directors, actors, cinematographers, and behind-the-scenes technicians than montage.

Montage can really be done as long as you can cut the film.

Long lenses not only have very high requirements for camera movement, but also require strong on-site scheduling capabilities, so they have become the most common means of showing off their skills for film directors in later generations.

And the difficulty of long shots for large scenes is even higher, if you can shoot this kind of long shot of dozens or even hundreds of people, then the director will definitely be able to leave his name in the palace of film art.

Griffiths doesn't talk about small scenes of dozens of people, he has even filmed large scenes of tens of thousands of people.

Remember? In 1916, when he was filming "The Party Fights Differently", in order to realistically reproduce the Persian army that destroyed Babylon, he used a full 15,000 extras.

But short and long shots are completely incomparable. In a long shot, as long as a subtle expression of an insignificant supporting role is not in place, the shot is expensive.

At this time, other actors and crew members also gathered around.

Regardless of whether they knew Master Yuan or not, they all greeted him very warmly......

Some people who don't know the market are still asking, "I said man, who is this Chink?" ”

Hearing this, the "fellow" looked at him with disdain and said, "What Chink?" He is one of the screenwriters and investors of this film, Neo Yuan! ”

Neo Yuan...... I said, man, is that the home that even Einstein adores in the newspapers? ”

"Of course it's him...... Hey, where are you going? ”

"I said man, please sign it!"

When a person meets a celebrity alone, he is still a little reserved, but when a group of people are up, the atmosphere is lively.

So our Master Yuan fell into the sea of the people, and finally Director David Griffith was very powerful, picked up and shouted two sentences, and finally dispersed the crowd.

Of course, this scene can't be filmed for the time being, and the time is almost noon, so Griffith simply asks everyone to have lunch early......

"Miss Eva-Chandler, well, you've changed your name to Miss Hunter now, and you've lost weight......"

"You're ...... you"

"Oh, you're Lillian's sister Dorothy......"

"You're ...... you"

"Hello, Miss Masun-Derry......"

"You're ...... you"

"Hello, Miss Pearl White......"

"You're ...... you"

"Hello, Miss Louise Brusco......"

"You're ...... you"

Yuan Yanqian finally met the main actresses of "Famine Orphan Girl". Except for the younger sister of "Your Excellency of Justice" and Miss Chandler, the sister of "Your Excellency of Strength", who was originally unknown, the others are all well-known big stars in later generations, and they are also big beauties with their own touching features, of course, they are still little beauties now......

However, Master Yuan, who was immersed in the pile of beauties, had no thoughts at this time. It's not that his level has suddenly improved, and he has really become a "master", nor is it that he has a little problem with his hormone secretion and has really become a "eunuch".

It's that these little beauties can't see how beautiful they are at all, but they can see how thin they are.

What's more, they didn't bother to talk to the handsome Chinese gentleman, but they all held a beautiful American apple and nibbled on it......