1) Regardless of whether my first two films are good or bad, they all talk about one thing in the final analysis: extreme loyalty to moral obligations and upholding beliefs, which are specifically manifested as a conflict between a conviction individual and his own destiny. The end is that the human soul is indestructible after all.
The actions of Ivan and Andrei Rublev violated their own security. Ivan is in the physical sense, and Rublev is in the spiritual sense. Safety only exists in the pursuit of ethical and ideal behavior.
As for the fact that I made Liem's "Solaris" into a movie, it was not out of my preference for the genre of science fiction. The main reason is that Liem put forward a problem that I am also concerned about in "Solaris", which is the problem of overcoming danger, persisting in faith and moral self-improvement in the process of fighting with my own destiny. The deep thoughts in Liem's novels have nothing to do with the genre of science fiction, it is not enough to just like his genre
2) I don't know why in all the movies of science fiction genre I have seen, the author always wants the audience to watch the details of the material structure of the future world. Moreover, they (such as Kubrick) even describe their films as predicting the future... But I want to make "Solaris" like this, just to prevent the audience from feeling strange, of course it refers to the technology The weird sight of the aspect.
For example, to photograph a scene of passengers riding on a futuristic tram that we have never seen before, it is often the scene of a spacecraft landing on the moon in Kubrick's film. However, if the scene of the moon landing was filmed like a scene of a tram arriving in a modern movie, everything would look more appropriate.
3) My experience tells me that if the image and emotion of the characters in the film are based on the author's own memory, so that the content of the film is similar to his own life experience, such a film can emotionally infect the audience. On the contrary, if the director is only following the external literary foundation (that is, the movie script or the adapted literary works) at the same time, then even if he devotes himself to it, does it very seriously and very convincingly, he still cannot move the audience.
In other words, since you cannot—objectively cannot impress the audience with your own experience like in literature, since you can’t do this at all, then you should (in the movie) speak about yourself sincerely. s things.
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