Beers, bars, towns, certain symbolic props and scenes have become Edgar Wright's usual tricks. The director is good at creating a tense indoor atmosphere through the bar, and is good at using beer and nonsensical dialogue to outline the relationship between characters. In Zombie Sean, Sean and his friends are sitting at the bar, and a few simple conversations can put Sean and his girlfriend, his girlfriend's male friend, and his girlfriend's boyfriend's girlfriend's girlfriend's triple unstable relationship. Pave the way. Make a reasonable explanation for the behavior of the characters behind, and guide the audience in the direction that the director wants. At the end of the world, almost half of the scenes take place in bars, and the seemingly boring chats in the first third of the bar scenes are actually intended to express the sense of alienation that the five protagonists have not seen in a few years. The cowardly who and so who saw the previous bully, everyone's feelings gradually returned, and before that, the feelings of several people were like old donkeys being pushed by the king's lack of horsepower, until the first crowd and robots. The fight is over, the feelings of the 5 people, and the main line of the story really begins. In the bar, the director likes to describe the situation of the protagonist in a different way, such as fast panning, fast cuts, and everyone other than the protagonist reacting to the scene. This vividly pushed the atmosphere of the scene to a place that reminds people of fear. Then the director expanded the scope of the alien in the same way, expanding him to the small town. Just like a hot-blooded police detective, it directly creates an environment for the audience to be in a different place with a chill on the back.
There are also many symbolic features of Edgar's films worth mentioning, for example, the transition of the black bar through the camera movement and the characters quickly walking past the camera, and the fast close-up and close-up are matched with the special effects music of siu siu. The scene where Sean gets up early and brushes his teeth and washes his face for work, the scene where King and San get into the car and flee, the neat and fast zoom close-up and quick cut not only enhance the visual impact, but also save the narrative time and speed up the narrative rhythm. In addition, in 2013, when the digital age is rampant, Edgar who still insists on film shooting is more or less a star, especially when he sees those night scenes full of textures, as soon as the end of the world is opened, a wave of "o my gosh this is what i am waiting for" taste.
Obviously, as a series, Edgar is very careful to implement the concept of "everyone is drunk and I wake up alone". Insensate, zombie-infested towns, out-of-the-ordinary towns for the sake of reputation, for the construction of civilized planets, and mechanized towns, the contradiction has always been between the appearance of aliens and the elimination of aliens. In each film, there is a small group of sober people who seek freedom and individuality, they resist the gradually indifferent town, they resist the gradually mechanized and chained world, and they resist the social culture produced by the undifferentiated assembly line. . Everyone is a unique individual, some of them are poor, some are cowardly, and some are worldly, but they cannot be rudely homogenized because of this. Differences make the world meaningful. I believe this is the director's premises.
As the finale, the end of the world puts the emotional line on brotherhood and this line is more obvious than the previous two, making the story richer and more emotional. This may be a sci-fi film, or a horror film, but I see it more as an autobiographical story of a middle-aged and elderly director looking back on his youth and looking for brotherhood. Hope the geek trio stay together forever.
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