In this afternoon's class, the teacher talked about "The Wind Blows the Rice Waves."
To be honest, I've seen it before and I didn't see it well.
I thought it was just a political stance that fits the atmosphere of European film festivals in recent years, so I won the award.
The teacher said: "In the current atmosphere of our film school, students like some movies with non-standard film language.
This kind of magical movies, such as "Angel Emily", such as "Lola Run", such as "Tongtian Tower".
Or Some extravagant and extravagant movies, such as "Once Upon a Time in America."
And this language standard movie, you think it is too mediocre? Lack of talent. It
is because it is not good to read this kind of movie. "
I am very ashamed!
Because I really like the babbling movies he said.
This is a question of personal temperament.
For example, I even like "The Life of the Disgusted Pine Nuts" and so on. I
like "Golden Ping Mei" more than "Dream of Red Mansions". That explains the problem.
Today, the teacher analyzed a scene of "The Wind Blows the Rice Waves" to analyze where the "standard" is, where is the
accuracy, and where is the efficiency.
And let us feel the sense of balance of top movies,
the superb of the redundant parts, and the redundant parts that do not destroy the balance of the narrative,
and how to continue to advance the plot when the audience is lyrical.
What is proper measure, what is "rapid", and what is "if nothing happens".
This kind of pure feeling is implemented in the camera and editing, and there is a gap of half a second.
Only such a good teacher can talk about this state.
It's really awesome.
Moreover, it is very simple.
The real top movies are like this, like all art, but just happen to be, just as it is, just return to the basics.
Afterwards, I watched an interview with Ken Roach.
I like watching the tidbits with the teacher very much.
Because watching the extravaganza is different from watching a movie, it's more like a family chat with everyone, and the atmosphere is relaxed and friendly.
A gray-bearded Frenchman faced Ken Roach and confessed that he was his film student,
saying that he liked his movies, his life, his wisdom, and his pain.
This frank way of expressing what I like is also the way I do interviews.
I thought to myself: "French beard, so you just came up with a stinky foot!"
Ken Roach is a shy person with gray hair and a pure face. He wears glasses,
especially like a person who has been in college for a lifetime and teaches well. University professors
like to take a walk in the autumn night to see the kind of flowers blooming in the school.
One by one on the screen is his movie clips of several years, the earliest one started in 1971.
Our teacher casually said: "That year, I was just born."
At this time, the old and shy Ken Roach faced his old work many years ago and
said a great thing. He said: "My life It's like a beam of light passing in front of your eyes."
Also, in the third work "Mother Wings",
he suddenly couldn't speak, he choked.
It was not at all pretentious, I could feel that he was a little ashamed because of the exposure of his emotions,
he himself didn't know that this clip could cause such violent emotional fluctuations,
but he tried his best to control himself but it couldn't immediately work.
He wiped his eyes and talked about the original cause of the film:
a raped mother, because of the shadow of violence, has a tendency to violence, so the social worker ruled that she was not qualified to be a mother.
The more painful she was, the more she could not resist violence, forming a vicious circle.
The social workers came to help her give birth, but the purpose was to take her child away immediately.
The mother on the screen screamed "NO! I don't want to give birth! I want it to stay in my belly!"
She still didn't know the fate of herself and her child.
Ken Roach said a lot. I only listened to the first half.
There are a few sentences that I like very much. For example, about tragedy and comedy, he said:
"The happy ending is comedy, and the sad ending is tragedy.
In my opinion Before it is over, tragedy can make people laugh, and comedy can make people cry."
He said that every time he makes a movie, he asks himself two questions:
"The first question is to ask myself: Why do I shoot this A movie? The
second question is, how to construct a story?
The answer to the second question is to answer the first question. "
Our teachers have been using their limited time in class and spared no effort to watch this kind of movie with us and
tell us What are the best filmmakers in the world right now, and what kind of thinking they are.
He tried his best to tell us, don't just look at your own belly button, and write a purely personal history of the movie script.
Although we are screenwriters, when the screenwriter writes the script, we are completely the director.
He tried his best to let us know that the biggest problem with Chinese movies at the moment is that they quickly lose their ability
to penetrate into society and remain silent on the issues that audiences are concerned about.
The indifference of movie audiences to Chinese films is actually due to the indifference of filmmakers to audiences.
Moreover, he has repeatedly told us not to use the "system" as our right to pardon.
And emphasize, always emphasize, don't think that genre movies are works that obliterate individuality,
because no one can confuse Hitchcock and Billy Wilder's works.
They all have strong personalities, are very precise and full of mystery.
Every Tuesday afternoon, there will be a sense of happiness,
which is often followed by a certain kind of pain:
That is after the knowledge you crave is fully satisfied, there is a kind of overflowing pain, in
short, it is to eat, but still can't help eating.
I am convinced that these things will have some important influence on my life:
although, of course, these influences are not yet visible.
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