Tony Leung’s role setting: send white roses + cards as information codes; every time a person is killed, a paper crane is folded, and paper cranes hanging in the house are often used to set off the inner emotions of the characters; character image creation It’s very rich, talk about ideals, I want to go to Iceland, there is sunshine for 24 hours;
rhythm: in
order to slow down the rhythm in the second half of the large number of fast-paced gunfire scenes, I used some sections that are not very plot-like. For example, talking about ideals in the arsenal; such as saving bb; the
more interesting bridge section: At the
beginning, the teahouse is full of diners hanging bird cages to walk the birds. The environment is very good, and when the war starts, a lens of the panicked birds in the cage will be created. Atmosphere; the conversation between the bar and Wu Yusen; put the lighter in the pocket of Xiao Gao’s shirt and shoot; the hostess slapped the bad guy in the baby room to make him quieter, and finally when the bad guy came across again, she slapped her back, she shot; Xiao bb peeed Wet Chow Yun-fat’s trouser legs, extinguishing the fire on his trousers, and saved his life; Chow Yun-fat used wires to escape the explosive hospital like Tarzan. The
lens design:
its focus on scene scheduling, a large number of swing arms or Steadicam lenses. The environment is shaken by the protagonist of the story; compared with the current gunfight movie, the shot is longer, more scheduling, multiple group performances, and multiple atmospheres to create a
violent aesthetic: it
doesn't feel too much, and it feels much richer than many purely violent directors of Hong Kong movies, such as The tenderness in character creation, such as the cleanest and brutal contrast between Chow Yun-fat’s gun battle with the baby, and the blood splattered on the baby’s face
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