Chapter 544 Art Discussion
Movie title?
Gus is slightly surprised, because contemporary movie titles tend to become more and more straightforward to adapt to the faster and faster pace of life, trying to avoid making the audience think as much as possible. Only a very, very small number of movies still use fancy titles. The direct result of thoughts is:
No one cares.
This is the first time someone has asked Gus what the title of the movie means since the project was first announced.
As outrageous as this is, it is what it is.
Gus couldn't help but take another look at Anson, and his thoughts came back, "Alan-Clarke, do you know this director?"
Anson shook his head, " Sorry, it seems I still have a lot to make up for.”
Gus waved his hands repeatedly, “No, no, no, it’s completely normal that you don’t know. This British director is not widely known, and his works are not well-known. It’s also very low.”
“Last time you mentioned Wong Kar-Wai, there was a scene in ‘Fallen Angel’ where a killer went on a killing spree in a mahjong parlor. The scenes were impressive and full of moments. Possibly explosive and bloody.”
"That set of shots was inspired by Alan Clark."
Anson raised his chin slightly, slightly surprised, because he had never heard of the director Alan Clark at all. I had never heard that his directing style had an influence on many subsequent directors.
Gus could detect the concentration in Anson's eyes, and he couldn't help but become excited.
“In 1989, Alan Clark shot a thirty-seven-minute short film, ‘Elephant’, which was considered groundbreaking in its exploration and use of Steadicam lenses.”
“In his movies, the camera often closely follows the protagonist, who could be anyone. In the short film ‘Elephant’, the protagonist is a murderer.”
"At the beginning, the camera follows a man breaking into a building. When the audience follows his impatient and hurried footsteps and searches for a while, they slowly realize that he should be looking for someone, but they almost search the entire building and see no one. Until he After finding the person he was looking for in the utility room, he took out his pistol and shot him decisively, then turned around and ran away."
"The camera cuts back to the scene of the murder, and the silent scene maintains a calm onlooker's perspective. We know that. This is a murder, but we don’t know the relationship between the murderer and the deceased, nor the ins and outs of the incident.”
“Violence is often impactful; and violence without reason is even more so.”< br>
Words are just words, but imagination can create pictures.
Anson raised his head and looked at Gus, whose eyes were shining with excitement, "Director, this shot... is the same style of "The Bourne Supremacy"?"
Gus:? "I haven't seen the movie you're talking about."
Anson, "Ah..."
"The Bourne Supremacy" debuted this summer, and the whole process of following the protagonist was It is generally described as "hand-held follow-up shooting", but now it seems that it is a typical Steadicam lens. It is held tightly against the protagonist's back and head in a hand-held and follow-up shooting manner, creating a misplaced sense of immediate sight. , creating an immersive and exciting viewing effect.
After the movie was released, it received acclaim and became a unique series in the spy movie trend that has swept the world since the turn of the millennium.
Image style and lens language undoubtedly play an important role.
There were emotional films like "Fallen Angels" before, and tension-filled films like "The Bourne Supremacy" later. It seems that this director has indeed brought many influences.
Anson did not continue to disturb Gus and motioned for Gus to continue.
Gus didn’t ask any more questions. He was in the mood and couldn’t stop talking.
“In the next thirty minutes of the short film, all the same clips are spliced together. The camera keeps following the murderer, walking between different buildings and streets, and finally completes the next crime.”
“We can smell the violence that is about to explode but we don’t know when or how to target what.”
"This short film initially caused a lot of controversy. Is such a pure display of violence really necessary? Isn't it another impact on the moral level?" "In fact, this is the purpose of the director."
Gus glanced at Anson, and he could notice the focus and enthusiasm in Anson's eyes. Without the need for words, Gus became excited and became more and more enthusiastic as he spoke——
< br>This is the first time I’ve seen Gus like this.
“The essence of showing violence is to oppose violence.”
"We need to understand the background of this film and the director's subject -
The Northern Ireland problem."
"Violence under national integration, all of this violence is without reason and without any There are no causes and consequences in interpersonal relationships. It is a simple opposition that vents those magnificent hatreds on helpless individuals, a kind of pure hatred."
"The eighteen cases in the short film all come from. The director adapted the real events in Belfast based on police reports and created artistic creations. In a tragic way, people look at the elephant in the room -
It has always been there, but everyone They all pretend not to see or hear. Crimes keep happening, hatred keeps spreading, destroying the social structure in a devastating way, but no one cares."
"So."
"Rather than recreating the crime in a calm and objective way, it is better to use a new way to question the destruction that violence brings to us and society, and to use a barbaric and unwarranted approach. Destroy everything in an unreasonable way."
"It can create powerful destructive power in terms of visual, auditory and moral aspects. In essence, this is a work that opposes and condemns violence. The director abhors violence."
"We need to pay attention, we need to listen."
"Otherwise, the violence will not stop."
"Huh. Those people say that a movie that promotes violence may stimulate more crimes; but the reality is that without movies, violence is already happening. If more people are not allowed to see and hear it, if the system is not allowed to face up to the problem and provide Solved, violence will continue to destroy the very foundations of society.”
Speaking of the latter, Gus couldn't stop the car at all. It can be seen at this time that Gus obviously thought carefully about death, violence and life when shooting this movie.
Anson's eyes showed a hint of understanding.
“So, the director’s work is also called ‘Elephant’, and it was inspired by director Alan Clark?”
Gus nodded, "Alan Clark sadly passed away not long after he shot that short film, so he has no way to defend his work, but we should look at Northern Ireland over the past few years, everything proves his vision. ”
In fact, not only Anson, but Gus was also very surprised by his performance.
Gus likes to discuss movies, and he often discusses them with Matt Damon and Jesse Affleck, but he rarely loses his temper. Once the verbal floodgates are opened, he can no longer stop the car.
So, what is the reason?
Involuntarily, Gus looked at Anson again——
Anson is sincere.
When the other person is talking, he always looks intently into the other person's eyes. He not only listens attentively, but also often reveals deep thoughts. The depths of his blue eyes seem to be exploring and extending. Unconsciously, the words continued incessantly.
As a result, conversation becomes a kind of enjoyment.
(End of this chapter)