She is like a marionette. Every action and every sentence are from my imagination, lacking a sense of life. ——"Three-Body 2: Dark Forest" ---------------------------------------- -------------------------------------------------- -------------------------------------- Before talking about "Travel to Busan", it is a bit important to say Digression. Russian writer Lev Tolstoy originally created "Anna Karenina" in order to portray the heroine Anna as a coquettish and improper "married woman". Tolstoy had written A trajectory has been preset for this degenerate woman who has cheated on the emptiness of upper-class society. In his pen creation, Tolstoy used words to give the character bones and flesh and blood, to depict Anna's body, appearance and dress, so that the character's image became three-dimensional and plump. Then he gave Anna emotion and soul. Slowly, he felt the emotions and thoughts of this woman in his writing, her loneliness and despair. After in-depth creation, he began to experience and understand the Anna in his pen. Anna began to have her own thoughts, no longer like a puppet written by a writer, but more like a living person, and began to deviate from the author’s preset track. . What she does and does comes from what she thinks, what she thinks, comes from what she sees and feels, from her origin, from the environment she is in, the people she meets, not From the author Tolstoy. The Anna we see now is a woman who dares to pursue love and happiness. She has also become one of the most rebellious women in the history of world literature. Like "Anna Karenina", "A Song of Ice and Fire" is the most fundamental character. From the king to the unknown, it is through the behavior of the character to trigger the event, and then through the event. , To promote the development of the plot. In "Travel to Busan" (most of the movie scripts are also created in this way), the opposite is true. The screenwriter first gives an outline of the storyline, and then designs specific events in sections, and then uses the behavior of the characters. When the event is triggered, the role becomes only a pawn serving the plot. The plot that is too designed is like the exposed Wia, which often makes people appear in dramas, and can't help but complain. Many plots are obviously set for the needs of the plot. Other zombies are fierce and evil, and the old lady's zombie looks confused and sad (excuse me, what privilege do you have to be sad?) Isn't it for the old lady sister to open the car door? If she looked at each other with her sister's ugly face, wouldn't that old lady open the door to convince the crowd? There are also a lot of complaints, such as couples who get on the train without closing the door, such as a daughter who sings in a dark tunnel. This kind of routine is most obvious in those botched horror films. When you encounter danger, you will neither run nor resist. Standing in place will only scream, why not run? After running away, how can the plot continue? How do you make a movie! Therefore, in order for the plot to continue, these characters must do stupid behavior or violate the normal human desire and skills to escape. Then screenwriters and fans can justify themselves by saying that "it is difficult for people to make correct judgments when they are greatly frightened." The feeling is that all characters are like puppets, controlled by the screenwriter and director. All their unreasonable behaviors are not driven by their characters, but to achieve the director's goal. What is the purpose? The purpose is to promote the development of the plot, to preach through the plot, and to bluntly accuse the ugliness of human nature. The shortcomings of photography, makeup, editing, and special effects can be compensated by outsourcing technology to the Hollywood team for many Asian films, but many loopholes in logic and plot are fatal, and this is also the most basic but also the most important as a story. s things. Many people say that science fiction films, zombie films, and logic are not important. I think that in any type of film, those who say logic is not important are playing hooliganism. Why is "Three-Body" excellent and why it won the Hugo Award? Even though "Three-Body" is a science fiction, he also has strong physics theory and solid mathematical operations as the foundation. In "Spider-Man", Spider-Man uses spider silk to hold his girlfriend who has fallen from a high altitude. Under the strong acceleration of gravity, his abdomen is suddenly pulled by the spider silk, causing his spine to be alive and dead. Maybe the setting of Spider-Man is very sci-fi, but his girlfriend is an ordinary person living on the earth, so it must conform to the basic mechanics of the earth. Small details can reflect the attitude of the producer, and only then can sci-fi movies with excellent rigorous and non-exaggerated stories like "Gravity" and "Martian Rescue" be produced. Many people also say that in recent years, Korean films have begun to rise. I think that the gap between many Korean films and Europe and the United States seems very small, but this is very small, and there is a huge gap. The "so-called excellence" of Korean movies in recent years is mostly just the subject matter. It's nothing more than rape, sexual assault, incest, and murder. The disaster itself is shocking enough, and then South Korea will add these disasters to children, and some politics will be involved. These extreme contents don't even need images. An article report is enough to shock people. But putting aside the essence of going to the movies, they are still thinking of Korean dramas, Korean dramas. Lu, just criticizes a layer of humanity and democracy. Korean films still have a long way to go to catch up with Europe and the United States. (PS: Don’t compare with domestically produced products. You would definitely not think that Sister Furong is not as ugly as Sister Feng. You think Sister Furong is beautiful, a good daughter-in-law of the nation, and a goddess of the public, right? Ugly, after all, it’s ugly, not a good movie, in the end. It's not good either.)
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