Beijing Communication University, School of Drama, Film and Television.
"Qingyan, think of some questions related to "Daytime Rain" and submit them to me. They are big questions for their undergraduate exams."
"Okay." Xie Qingyan, who was sorting out his books and notes, glanced at the calendar on the desktop, "I will send it to you tomorrow and the day after tomorrow."
"Yes." The instructor nodded casually, then suddenly remembered something and stopped his student, "Oh yes, last time you asked me if the new issue of "Shuo Ying" has arrived? Is it "Shuo Ying" or "Century" Come on, everything that should be here is here now, you go and take a look at the newspaper section in the library."
"Okay, I'm about to go." Xie Qingyan smiled.
"After reading it, write down your thoughts and let me know."
"no problem."
Xie Qingyan, the unified ID of the entire network "If an actor doesn't act, he's not acting me." Master's student from Jingchuan, majoring in drama and film and television, second year graduate student.
First come first served basis. While countless colleagues were still slumped in the topic area and whining "Why has the October issue of "A Hundred Years of Light and Shadow" I ordered not arrived yet?" Xie Qingyan, his professional counterpart, was already doing it in the dedicated library of his college. After registering for borrowing, I was on my way back to the dormitory.
The keychain decorated with the Q version of Qin Jue's pendant shook with a faint clattering sound. Xie Qingyan held the book in one hand and opened the door with the other. His temperament remained calm, but there was a rare hint of excitement in his calm expression.
His roommate was still in the library working on his thesis. Xie Qingyan put down his notebook and "A Hundred Years of Light and Shadow" and went to make a cup of coffee before sitting down at the desk. He turned on the computer, clicked on a certain official website from the tab, and searched for "Daytime" skillfully. "The Rain".
[Urgent, urgent, urgent, why haven't you received points yet for Yanying? Bet conservatively on an 85+]
[[Reply] It seems that the poster is very conservative. I blindly guessed that the score would be at least 90. Who agrees and who disagrees? 】
[[Reply] I originally wanted to blindly guess that a Yanying MVA was Qin Jue, but then I thought about it, who could guess it? It’s because I’m mentally retarded, so I’ll take my leave]*
[Qin Jue’s audition video made me feel like I was watching the prequel of Mo Sen, it’s awesome]
[[Reply] Everyone lives in Blue Star. Why is he the only one who has no gravity... Can those actions really be done by humans? Are you sure it's not Wia or special effects? ? (I know it’s not me, so I’ll express my surprise. Don’t argue with me. You’re right)]
[[Reply] Although it’s a bit unethical, I cut out a lot of Zhang Tangting’s emoticons from the background board. If you need it, please let me know and I’ll send you a copy. [What the hell.jpg] [Are you kidding me? .jpg][You boy! .jpg]】
[A large summary of film reviews and analysis posts, all useful information, come here soon]
[[Reply] I recently saw a shot language analysis. I personally feel that the writing is relatively novel and can be read. [Link]】
[[Reply·Reply] I read it, it’s very pertinent, and there is another article that I think is also good [link]]
Looking past the lines of posts, Xie Qingyan clicked on the two links to the summary building to absorb the new content.
…
"Steady performance, without losing breakthroughs, new changes in the ordinary - Let's talk about He Xu's shooting style"
First off, I have been a fan of He Xu for many years. I couldn’t stop crying when the old man died. This year, I finally saw Director He’s work again, and I was very moved.
I remember someone said at the beginning that there are many directors who make documentaries, but the one who can seamlessly integrate the two perspectives of "documentary" and "movie" is He Xu.
It's wonderful. Looking at the old man's previous works, if you analyze them carefully, they are all extremely basic shots, such as angle of view and over-the-shoulder shots. It feels like any student from the directing department can do it, but it was He Xu who shot it. The story has a strong sense of realistic narrative, using the most earthly techniques to tell the most authentic stories, which is both simple and artistic, and expresses the most profound connotations.
I also watched "The Cage" before. After all, Jiang Shuming learned from He Xu. For example, in the part where Wang Ziqian was deeply harmed by drugs, darkness was used to set the atmosphere, and then a close-up was done the moment the lights were turned on. This shooting technique of using the lens to make "line drawings" obviously has the shadow of He Xu. The visual impact is smooth and wonderful, but it is still inferior compared to the master. After all, it is a bit deliberate.
Here are three examples from "Rain of the Day" to prove that old age is still hot.
The first is the widely praised parallel editing. Here, Mo Sen tortures Su Qi, and over there, Tian Gang and Qiu Xue are working. The similar movements, expressions, and voices under the interlaced shots not only express completely opposite contents, but also express a highly unified theme - "primitive desire." , the contrast is straightforward and naked, stimulating sensory experience while also faintly revealing sharp and pungent irony. It is indeed a very exquisite treatment.
But what I want to say here is the details. Although few people mention it, I believe that as long as I mention the paragraph "Moson beat Suki, and Suki became directly incontinent due to stress reactions such as pain, fear and despair", no matter There will be viewers who watch "Daytime Rain" but have no impression at all.
Because the camera captured it, it was a semi-close-up but not a close-up shot of urine dripping down. It was very short, and it quickly cut to a close shot and a medium shot. In the close shot, Su Qi crawled forward in embarrassment, her jeans crotch There was a trace of water all over.
This is the difference between He Xu and Jiang Shuming. The old man did not go out of his way to amplify or emphasize, telling you "Su Qi was so scared that she peed", but he would use the camera to tell you: There is such a detail here.
Then the details are integrated into the whole picture, and the composition is very harmonious, creating a natural impact.
Then when all the details are stacked up, it will make the audience feel so real, so scary, and creepy.
The second one is also about this part, but it was before Suki was knocked down and killed by Mo Sen.
At that time, Mo Sen successfully killed Cao Hao, and half of his face was spattered with blood. He turned his head to look at Su Qi, who was frozen in place and did not dare to move.
The room was very dark, so Director He did not give a close-up of Mo Sen's face. Instead, the camera blurred Su Qi's back and shot the whites of Mo Sen's eyes moving in the dark environment from her perspective.
The whites of these eyes are so scary, fuck me.
I feel that usually, when directors face this kind of plot, they will do a close-up of the face followed by a close-up of the eyes, filming the actor's pupils moving to express "my eyes are locked on you." But He Xu didn't do that. He didn't take pictures of the inner part of his eyes, but the whites of his eyes. That little bit of light color was extremely conspicuous in the dark and unclear room. And it wasn't a close-up, just an ordinary medium and close shot. In the lens, Mo Sen and Su Qi had a similar relationship. A distance that is neither far nor close, the impact is real and extraordinary.
It's not "locked on you", but "targeted on you". At first glance, this paragraph may seem weird and scary because of the relatively bright color of the whites of the eyes. If you think about it carefully, you can realize that the movement of the whites of the eyes is directly equivalent to the movement of Merson's eyes. The underlying expression is "I, am, watching." , with, you”.
This superimposed impact of first reaction + second reaction, coupled with the premise that she had just witnessed her fiancé being killed in a counterattack, no wonder Su Qi was so frightened that she couldn't move. If it were me, I would definitely be stupid.
(By the way, I’d like to praise Qin Jue’s eyes for being funny, haha, I couldn’t help but ask a question)
And if I remember correctly, there are two similar treatments in the whole film. One is here, and the other is later when Mo Sen is waiting for Qiu Xue to come back at Tian Gang's house. The whites of the eyes moved slowly in the darkness. The next second you noticed the whites of the eyes, you realized that you were eye-to-eye with the murderer.
Very good at taking pictures and very tasty.
The third one is similar to the first one, it is where Mawson killed the patrolman.
It’s also a very impressive scene. The thin Mohsen pressed his whole body on top of the patrol officer and stabbed the kitchen knife in through the thick police uniform. He was too thin and could only rely on his weight because he was exerting all his strength. , so the buttocks were stuck out and the legs were kicked upwards. Only the toes were barely on the ground, almost in an upside-down posture, which was ugly and real.
And what else intensifies this sense of reality? Yes, it’s the camera.
The close-up shot was a bit far away, and it was almost a rectangle with two lines drawn horizontally and vertically. It was divided into four parts ABC and D from left to right and from top to bottom. The part where Mawson stuck his butt and stabbed someone was only in part B.
The angle of the bird's eye view is not very big. It is basically an angle slightly higher than the eye level. The funny thing is that it is as if you are sitting in the entrance hall (please note that you are sitting), and then you see Mawson killing people in the corner of the living room a few meters away. The scene of him killing people is just Take up a corner of your field of vision.
There is no close-up where there should be a close-up. This "counter-intuitive" lens design is really wonderful.
Speaking of which, I would like to talk about a new discovery of my own.
At first, I thought this was a classic "voyeur's perspective" when Mawson killed the patrolman, that is, the audience was the person peeking in through the crack in the door, and was a witness to the murder, so he felt that what he saw was real and real. Stimulate.
However, after thinking about it again, I felt something was wrong. This was not voyeurism, but a perspective similar to "surveillance."
Comrades who have cats and dogs at home can think of the pet monitors you usually put in the living room. The viewing angle is very short, and it can't take pictures of people's faces, but can only take pictures of their legs.
That's the feeling that Mawson's shot gave me.
The "surveillance perspective" is really too cold. We sat outside the screen and watched coldly as Mawson stabbed the patrolman to death with all his strength not far away.
No wonder other movie reviews say "it's like watching True Crime". As far as my personal opinion is concerned, this is indeed the case.
This scene, whether it’s Mo Sen’s action of sticking his butt down to hit the kitchen knife, or the cold surveillance camera lens, all create this feeling. It’s very much like browsing the V blog to read the social news of a certain place. There is a fixed figure in the surveillance video. The camera captures the process of someone being beaten/abused/robbed of something, etc. It is such a sense of déjà vu.
There is also the next scene of Mawson standing up and gasping for breath after killing the patrolman. I remember that it was from a downward angle. It was hell. The top of this upward angle was only slightly higher than the height of the patrolman's body, just hovering at the "in" "Looking at Mawson from the perspective of a dead patrolman" and "shooting Mawson with an ordinary upward-looking lens", just this small difference can be seen that the old man mastered the camera position very well.
Then there is what surprised me about "Daytime Rain". Perhaps influenced by the original work, Director He has a much more absurd flavor this time than before. For example, at the beginning, Wang Dali is used as a doormat by a pair of feet wearing leather shoes, and there is a classic funny scene in a small park. Wang Dali and Qiu Xue each scream/scream, Tian Gang is in a dilemma, etc. This kind of "floating above reality" But it doesn’t go too far” style, I don’t know if it’s a new attempt by the old man, but I think it’s pretty good after looking at it.
But what's more subtle is Su Qi's short memory flashback. I think it's too abrupt, and the high-speed flash + woman's scream is too conventional for a horror film, unlike He Xu's work. Later I read this friend's film review [Link: "Random Notes, Talking About the Original Work (Mainly Su Qi)"], I feel that the suspicion of deletion in the later period cannot be ruled out. I can only say that there are still some inappropriate places. Let's talk about the matter as it is, and it will not be a failure, but it is indeed a bit Strange.
As for the campus bullying part, I didn’t shoot the specific content. I used continuous long shots to give the audience room for spontaneous imagination. The memories of Nakata Tsuyoshi were basically in a semi-dark background, and the last montage of memories of the killing. Wow, there are so many people who are boasting about this. I don’t think there is any need to waste space to praise it. It is really brilliant for all to see.
To be honest, what surprised me at the end was not just the shot itself, but mainly because the old man rarely used this shooting technique before (after reading the relevant interview, it turned out that the ending was different after temporarily changing it). It seems to have no connection. The splicing of pictures like a slideshow eloquently tells the story of the beauty that has not been destroyed by school violence. It is truly a killer of tears.
There is a film review next door that specifically analyzes what each image corresponds to. Although the author said it is all subjective conjecture, I feel that the speculation is very reasonable. If you are interested, you can check it out. There are directions in the comment area.
Finally, everyone is welcome to talk about the lens language of "Day Rain". Not only the camera position, but also the lighting, sound recording, and BGM are all worthy of careful consideration. I look forward to more sharing and exchanges.
*MVA, Most Valuable Actor, Most Valuable Actor
This chapter has 3600+, which together with the 2600+ in 5.27 totals 6200+. In addition to the updates in 5.27 and 5.28, an additional 5.3 update has been added.
(Finally no longer in debt, shedding tears of emotion)
Also, this film review was originally planned to be written before, but everyone knows what happened before, so it was moved to now. (The limelight has passed, some butter cheese tentatively sticks out its head.jpg)
Anyway, I hope you won't be blocked. Say a prayer first.
