I miss the cinema frequently and go to hot search to dedicate my deepest confession to the movie.
1905 movie network news During these days, those thoughts about the cinema have frequently boarded hot searches. "The last movie I saw in the cinema" and "The movie I want to see most when the cinema is open" … … Such topics are repeatedly mentioned and fermented on various social platforms.
Behind these topics, more is the audience’s love for the cinema, which is hot and simple. Through the "520 advertising season", let us express our sincere love to the film with the most sincere words.
The 24-cell password also has 120 frames of "resistance"
"After the invention of the film, human life has been at least three times longer than before." This sentence comes fromEdward YangDirected filmThe lines in the movie have become the thoughts of many fans. With this 173-minute video, the director condensed the bitterness of life with long and delicate emotions.
We are often immersed in the limited duration of the film, experiencing the sadness expressed to us by the creator, and having the most restrained empathy with the characters. This is a gift from the filmmaker to the audience, and it is also the audio-visual enjoyment that the spectators expect. The film has its own unique password. This series of numbers started in Factory Gate and has been challenged by technology since then. Director Abbas’s posthumous work recorded the truth of 24 frames per second in the mode of still photography and dynamic images. When the film returns to the natural sense of tranquility, it is like a native system, the so-called motion record, which gets feedback in every frame of the image.
The high level of this form of art is that the creator leads the audience to explore the secrets of 24 frames.
No one can shake the truth about frame 24. Director Peter Jackson tried to test the water, but his performance didn’t seem to be as expected. Ang Lee doesn’t seem to give up. Instead, he turns the movie into something that flashes 120 pictures in a second. This is more than a challenge. He is shouldering the possibility of change by himself. From the beginning to the end, Ang Lee repeatedly tried to break the "rigid" film grammar. If he can, he still hopes that the next work can be completed with 120 frames of technology.
In this world different from other movie dimensions, he believes that the god of movies is still protecting him and there is a beautiful new world waiting for him.
In this constantly explored world, the film is a kaleidoscope in the hands of directors, and all this is felt from different angles.
Directed by Jiang Wen, the toy was "played" with a guide tube, and all the most pure shadows were poured into it. After careful study, maybe he just used the horse’s mouth to confess to the movie.
The movie is like a dream, and the actors show it at will.
The charm of the director lies in the creation of images, while the actors add agility to the film. "Actors should be crazy, and I am one." Ruan Lingyu said that she dedicated her best youth to movies, and even gave her understanding of fate to movies, but she never knew that movies were just movies and just a dream.
The film tells all about her journey from film. At first, she will only play the image of a rich wife, and then she will play an epoch-making role, which is her transformation from a "vase" to an actress. This change is just projected on the actor Maggie Cheung. At that time, Maggie Cheung, who was still considered by the public to be not very good at acting, seemed to be completely enlightened from this work. In a trance, in this film, the audience seems to have lost track of who is who.
Interviews interspersed in the film, when the director Guan Jinpeng asked her the same question as Carina Lau: "Do you hope that in half a century, will anyone still remember you?" Maggie Cheung thought for a moment, "I think it doesn’t matter if others remember me after half a century. Even if someone does remember me, it’s different from Ruan Lingyu." Sinking into the play and fading out of fame and fortune have all become footnotes for her subsequent career as an actress.
In the movie, Yin Tianchou, who is holding "Self-cultivation of Actors", is serious about the play, and has already reached the state of madness. That sentence, "I am an actor", is a walk-on, and his persistence in his work makes the greatest argument for his humble life.
After a lapse of 20 years, Stephen Chow once again brought Yin Tianchou, whose dream didn’t come true, away, in exchange for her dream of sticking to her ideals. Stephen Chow, who is nearly sixty years old, no longer puts the reality cruelly in front of the audience. Instead, he turns the spirit of fighting for the film like a dream into a happy ending that seems like a dream.
How realistic is it when you wake up? We see actors who are in high spirits on the big screen, and often ignore the larger number of extras in a work. Whether it’s chicken soup or hard work, Tung shing Yee tried his best to make this group of neglected people speak out and show all their sentient beings.
They record the memories of movies.
The mystery of the film lies not only in the complementarity between the director and the actor, but also in the integration of different departments. In the movie "Nothing is difficult in Jianghu", Hao Yan, a producer with a movie dream, and Wen Xi, an old friend, have been working together for more than 10 years, but they have never produced any works. In the process of shooting, accidents occur frequently, which leads to the unpredictable trend of the plot. On the one hand, under the pressure of external employers, on the other hand, it stimulated new ideas, which added color to the final work.
This mode is actually applied to the "Don’t stop the camera! "mode, with all the masters’ love for movies, prompted them to complete an impossible task, and with this love, they made a lovely film. Especially in the last scene of the movie, during the filming, the rocker camera broke. At this time, other crew members were waiting for the camera to come while building a wall. What the ordinary audience saw may be an ordinary second, but at the scene, the staff had to pay a great price.
Or "Mountains and Rivers Meet" directed by Ma Weihao, which recounts the past events on the set in the 1960s. From Guotai Dianmao’s Mandarin studio to Shaw’s Huangmei Opera studio, the tone is bright and romantic, the story is lively and gentle, and the poor screenwriter becomes a director, and the stubborn actor becomes a film queen. With the company of old times, the story of the set was connected in series.
In the film The Story of Lisbon, director Wenders recorded the story of the film recorder with poetic beauty. Sound is created, just like memory, it is the only material that bears witness to reality. Wenders tried to question "What is memory", but the real answer was always getting farther and farther.
Zhang Dalei seems to have given the answer in the book. When the little boy picked up the lost film in the editing room of the film studio, all the past light and shadow moments came back through it.
With the revolution of film technology, my father, as an editor, had to leave home to take notes on the spot. In the compound, the uncle who painted posters also had to change careers to make a living. But how the result changed, those romantic ideals never changed. Just like in the movie, when his father finished pulling the tab and walked into the living room, Xiao Lei woke up from his dream, lying under the door and watching his father punch in the air. He looked surprised, but he couldn’t understand. Why did my father punch? Perhaps only my father knows the answer. All questions remain in the child’s understanding. In this mood, the seeds of loving movies are slowly left for children.
In film creation, each department is just like a gear, polishing and influencing each other. Only when they are compatible enough can we create excellent works. But now, perhaps we would like to say that I want to see you again on the big screen and end this "long distance" miss.