every minute . Why did the aspect ratio of the princess playing the piano suddenly change? Hou: Why is that shot so long? Because the piano is too long. . . It was filmed at 1:1.85, and when the CROP was changed to 1:1.41, I found that the piano was missing, so I changed it back to 1:1.85. Hou said, since it is already in the digital age, filming should not be limited by the frame like comics. Close-ups are required . Suddenly there is an oversized one-to-one picture. One eye , Qin 's shot didn't take a long shot. It's not bad. Like this concept, Shu Qi's nine lines? Waiting to discuss with the host, it is actually 12 sentences, it depends on how you break the sentence. When I realized that Shu Qi didn't have any lines, I remembered that the last time she spoke was the opening conversation with her teacher, and she didn't say any lines until the conversation with her father . When Yue Nong just watched it, I thought Shu Qi's acting was average. Then I went home and thought about it. I thought it was really good, especially when I watched Tian Ji'an 's scene through the yarn. Emphasis on righteousness, injustice on the road, and respect for credit . So where is the dark side of her character? Piracy gives the mainland an audience base? Hou: I don't care, as long as the film is well shot, I'm happy to let them watch it for free. It is enough to return to the original book elsewhere. Europe, the United States, and Japan have already returned to the original book, especially Japan is about to release it. I am very happy, because the Japanese will not make false accounts. That's why Tang Dynasty architecture can be preserved in Japan, they are too rigid.
Hou: I have spoken numerous times at the Golden Horse Film Academy. You rent a house for the hero, and think about how he gets from home to Taipei Railway Station every day. The first way is to take the MRT, the second way is to take the bus, and then you follow along on the road, take pictures on the car, take pictures on the car, and take pictures off the car. Why are you looking for extras, what a good non-actor the real masses are. The most important thing in a movie is realism. How good is this way of filming, why no one listens, and I don't know what they are doing.
More than 400,000 feet of film, cut into 10,000 feet.
All performances that did not meet the requirements were cut out.
Flashback shot, all cut out. All the plays from my childhood were also cut out because they were played by children. Unprofessional actor, not good at acting.
We don't have the Hollywood conditions, their extras are too professional, and the extras on the way to work are different people at 7 o'clock and 8 o'clock. So we use another way they can't, craft it carefully and take it slow.
There is no rehearsal, the lights are on and the actors go in.
I used real shooting to rehearse the scene, and when I felt it felt right, it was OK.
The outdoor scene is set up indoors, so the light is natural and there is no need for any lights. The wind is natural, and there is no need for an electric fan to blow, so the wind is sometimes big and sometimes small, and everything is natural.
The whole movie is doing subtraction, so there is a lot of white space.
As a result, you have to connect the gap between the plot and the plot yourself in the process of watching.
Tired but good. Because you can think what you want.
For example, if you don't see that Princess Jiaxin and Taoist nun are twin sisters, and understand that Princess Jiaxin later became a monk, why can't you
not like to delete the plot of childhood, and replace it with Zhang Zhen to describe the past of the two, not talking about How good, it's still such a long line. The
mainland actor's line is better than the Taiwanese actor (Director Hou feels the same)
Taiwanese Mandarin is too soft and peaceful, there is no sense of rhythm in ancient writing, lack of cadence, the
camera is too beautiful, the rhythm is too fine, and sometimes even surpasses the performance. I can't tell if it's a good thing, but I still admired the scene of the morning fog rising on the water.
Hou: There are only two reasons for me to delete the play. One is that she did not act well (here is the answer to the question about the deletion of Shu Qi's play), and the other is redundant. When the screenwriter comes to watch the play, she will only think, how can I be different from the script? What is this man doing! And don't think so eh? How is it completely different from the script? So much fun!
It's my personal problem to cut it like this, and it's because of me that the audience can't understand it, so this is a very personal film.
But, do you understand what it means?
In the whole play, Zhou Yun is the character that moved me the most.
Compared with Nie Yinniang's forbearance and Tian Ji'an's rage,
I prefer Zhou Yun's strong calm and turbulent emotions. She has always been very depressed, she felt panicked when she watched it, and she felt very sad after reading it.
It was very quiet when watching, and the first three rows were almost all old men and old ladies.
So the sound of the wind, the sound of the door, the sound of footsteps, the sound of breathing, can be heard very clearly. Love the delicate touch.
Don't be afraid of the audience's loneliness, because no matter what, they should be lonely and lonely.
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