Christopher Nolan’s "Interstellar" is currently in theaters. As a non-3D film for nearly three hours, it can earn more than 30 million in the mainland for several days, and it accounts for more than half of the box office contribution of the day. It is not a weekend time. The rhythm of breaking 100 million a day is really a remarkable achievement.
In addition to "Interstellar", this year's other two A-level production sci-fi blockbusters, the Japanese light novel "Edge of Tomorrow", and the Garris Edwards version of the remake "Godzilla", all have a strong classical long prelude . This can be regarded as a very strong feature of the visual sense of the golden age of recent science fiction movies.
The plot design of "Interstellar Crossing" does not actually have too many unique features. Simple horizontal analogies such as Asimov's "Base and Earth" are all space road movie modes with a complex of adventures on different spectacle planets. In fact, the long prelude of this film (the choice made before entering space) is like "Base and Earth" to "Base Edge" (Crivitz's choice), in addition, it includes Asimov's suspense Features such as fictional design (choice or being chosen), the final comeback, or a series of twisted knots paved with many details, all have a high degree of similarity.
Jonathan Nolan, who recently announced the creation of the "Base" series for HBO, claims to be a die-hard fan of "Base". That is true, and it was originally prepared by Steven Spielberg six years ago. The comparison of the scripts (there is no ghost bookshelf plot, only the Frozen Planet one planet, etc.) can be seen, but in fact, the original script is also quite basic: like the discovery of the Chinese on the Frozen Planet (probably to Gaia, haha ), there is no Matt Damon on the frozen planet, but there are aliens and hostile robots...All these make people think that "Interstellar" is a by-product of Jonathan Nolan's repeated reading of the base series.
"The Base and the Earth" and "The Edge of the Base" are the two back-to-back parts of the Asimov Base Trilogy with a continuous plot, which are different from the thin anthology of the base trilogy. Both are translated into The tome of more than 400,000 characters after Chinese. As Asimov’s printer-style post-production creations, they are quite mature creation templates, such as the two prequels of the base launched later, the alien historical road film of "Prelude to the Base", and the compilation of "Towards the Base". The anthology of the historical sense is actually a retrospective creation of his own past works, and at the same time, it also crossovers his other sci-fi creations in content.
Heinrein is a typical writer discovered by Campbell, and Asimov is considered a typical writer trained by Campbell. There is a saying that a considerable part of the works of the main science fiction writers of the golden age are actually Campbell’s "propositional composition", or even more completed under his in-depth transformation... Prescribing a certain pattern of template formats, in fact, is still conducive to the author's creation of works, and at the same time, it is like the inherent popcorn attribute of Hollywood movies. , Just like the Marvel superhero "sequence" (and the DC Universe that followed) that has made a lot of money today, under the guidance of a certain framework and atmosphere, it is also a kind of subtle influence for the audience itself. The brainwashing process (the development of acceptance): There are still some particulars about whether to sell or not, especially for audiences of different generations (this era), so even if I think David Fincher and Quentin Tarantino is more like a master, but their box office is definitely not as good as Nolan and Cameron, and directors like Jos Weeden and J.J. Abrams who know the way, they The commerciality of his works will be stronger (while not losing interest), and the box office will be higher.
I personally feel that although popcorn-style superhero blockbusters are popular, its existence has an objective and positive effect on the choice of other sci-fi film types (for no reason, if the box office of a certain film makes a lot of money, the film company can take out the money. Come to create and explore new ways to make money). In recent years, the more distinctive sci-fi movie modes, let me give one or two:
I won’t mention the superhero series mode, nor will I mention the trend of remakes and the continued post-apocalyptic craze.
With a strong sense of industrial design headed by Neil Blomkamp ("The Ninth District", "Elysium") and Joseph Kosinski ("Trend War", "Landscape") Science fiction film, "clean science fiction film".
Youth science fiction with an antitopian background, and because of the good money, they are generally shot into trilogy or even series, such as The Hunger Games series (The Hunger Games), which is a powerful contender for the annual box office championship, and recent mobile The Maze Runner, Divergent, etc., "TEEN SF".
How many "new fairy tales" (overhead worlds) can be explained by the core of science fiction or packed in the outerwear of science fiction. At present, Disney will launch similar A-level productions this year, the visual presentation of which is in line with the production of A-level science fiction blockbusters; there are also such as "Hansel and Gretel: Witch Hunters" (Hansel and Gretel: Witch Hunters) Steampunk complex and so on... In this category, there should be more corresponding American dramas; in addition, this part actually includes some romantic movies with keyiqi or actual love stories, such as "Warm Bodies" (Warm Bodies). ), "About Time", etc., to distinguish from the audience group, that is, most of this audience target is family or couples.
In fact, "TEEN SF" and "New Fairy Tale" are the derivative and differentiation of the money-trapping model in the post-HP (Harry Potter) period.
Then, in the end, I will talk about the trend of this "golden age" feeling in general.
The historian Adam Roberts believes: "The type of novel described by the term'Golden Age' mainly refers to: hardcore science fiction, straight narrative, heroes solving problems in space or in technological scenes or It’s against threats.”
I have already revealed some signs of revival, such as many long retro preludes in recent years, science fiction blockbusters, and HBO’s "Base" adaptation news, and so on. A glimpse of the giant's recent adaptations:
In 2004, Alex Proyas (Alex Proyas) directed "I, Robot" (I, Robot) in the soundtrack and visual concepts uphold some of Proyas's distinctive creative characteristics, but this is not a faithful original. In the adaptation, Asimov is just a card, except for the unrecognizable character Susan Kevin and one of the plot designs that hide leaves in the forest. That is totally unexpected for Asimov. On the other hand, The CG special effects of the year are far from mature now, and the relatively bright tone of the film is far from the director's previous Noir sentiment (it is a kind of damage to the director's impression, although it has been made up for as much as possible with the soundtrack). Ronald D. Moore (Ronald D. Moore, the creator of the remake of the space opera mile card "Battlestar Galactica" and the scriptwriter of the "Star Wars" episode version of the future agenda) is the sequel "I, Robot". "2" is always on the agenda. I really hope to take advantage of the hot base in the coming year and turn my head on. However, for Asimov’s robot series, my biggest hope is that maybe Netflix or AMC will come and develop the Bauer and Donovan series, which only appeared in four stories, including guest appearances, into one. Science fiction comedy.
In the coming year, Syfy's miniseries "Childhood's End" (Childhood's End) will be aired soon. The original work is adapted from the novel of the same name by Arthur Clarke. Recently, "3001 A Space Odyssey" was also announced by Syfy to be made into a miniseries, with Ridley Scott as the producer. Two or three years ago, there was also news that David Fincher was going to make "Rendezvous with Rama" (Rendezvous with Rama). As the last of the Big Three in the golden age, although he created science fiction movies and film history classics in "2001: A Space Odyssey" (2001: A Space Odyssey) in collaboration with Stanley Kubrick 40 or 50 years ago, Over the years, except for a space odyssey series "2010", few works of Arthur Clarke were adapted into movies...The reason is probably that the technological wonders he described were difficult to visually present at the time. But with the improvement of CG technology, the time is definitely ripe now.
Using Adam Roberts' definition to measure the golden age of Robert A. Heinlein is probably incomprehensible. Heinlein's works lean towards mainstream serious literature, but at the same time they are full of bleak plots. "Predestination" by Michael Spierig & Peter Spierig has already been screened at the Shanghai Film Festival in July, and it is likely to enter Chinese theaters in January of the following year. There will surely be another wave of brain-burning worship at that time. Because this film is adapted from Heinlein's famous traversal "All You Zombies" (All You Zombies).
This is the best era, because CG can present almost any visual perception imaginable. But this is also the worst time. In order to please the audience and maximize the benefits, a large number of personality traits are discarded. However, at least this "golden age revival", which may be imaginary, seems to have brought us to a starting point.
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