See how the director filmed the dialogue

Berenice 2022-01-04 08:02:15

For Woody Allen, it is not surprising to tell the story of an uncle and nephew falling in love with a woman at the same time; after all, his current wife is his adopted daughter, and he has never cared about the trivial matter of incest. You may not like this story, but for a movie lover, dialogue is the essence of Woody, okay! Do you think that a director who is focused on talking, has no brushes in dialogue and dialogue scheduling, how can he walk the rivers and lakes for decades? I know that when some students see the dialogue, they think of playing pros and cons. If your understanding of the dialogue only stops on the front and back, then you can only be regarded as a novice among the fans. Let’s see how the old driver talks to you about how old Woody takes the dialogue. First of all, it is not that you want to use it, you can use it if you want to use it. Pros and cons have the defects of pros and cons. Excessive use can make people feel stereotyped and boring. You can imagine how terrible it would be if two big faces alternate all the time in a movie full of chattering. Therefore, Old Woody only used pros and cons when the actor was full of emotions and had a lot of inner drama. At this time, the audience will focus on the facial expressions of the characters and be taken away by the actor's emotions. The advantages of conciseness and efficiency in expressing expressions will appear.

▲This is the excitement when the male protagonist confessed to the female protagonist. . . Secondly, the dual lens is also brilliant when used well. Two-person shots are generally used to explain the spatial position of a character, and rarely perform for a long time. On the one hand, the composition of the two-person camera is too correct and lacks a sense of agility. On the other hand, it is a test of the actor's performance, because in this way, you must really be talking, speaking and listening, and have a reaction and expression. Like the pros and cons, Old Woody also uses a two-player camera when he chooses a character's inner scene. But here, he wants the audience to see at the same time the inner shock caused by the emotional dislocation of the two sides of the conversation, and the performance of this shock on the face. Therefore, his two-person lens is used just right, not only will the audience not feel that the composition is dull, but they will also take the initiative to find their own points of interest.

▲This is the dialogue when Phil (the uncle of the male lead) abandoned the heroine. In a frame, we can see the pain of the male lead and the despair of the female lead. After all, the heroine rejected the previous scene. At the invitation of the hero, she put on silk underwear. . .

▲Uncle and nephew confided in their hearts, telling about the pain of reluctant to leave the original partner, the male protagonist's expression is irrelevant, and I don't know his uncle's friend is actually. . .

▲The wife announced that she was pregnant, and the wife was nervous and excited by the hero. . . Third, the actors and the camera are dispatched at the same time, and a long shot is used to shoot a multi-person conversation. This is where Woody's old man is most powerful, such as the episode where the protagonist's wife appears.

▲First, the two men in the foreground chat. A woman with short hair traverses from left to right, and there is a woman in white in the depth of field.

▲Then the hero talked with the short-haired woman behind.

▲The short-haired woman walked out of the picture, and the male lead continued to talk nonsense with the male partner.

▲The male protagonist goes to pour the wine, and the camera moves to the left following the male protagonist, bringing out the short-haired girl. The male lead continued to chat with the male partner outside the painting.

▲Two women walked to the center of the screen from different directions, and the male lead spoke to them. This kind of dialogue seems very casual, the camera follows the male lead and takes care of other actors by the way. While trying to force them, they construct a sense of space between the inside and outside of the painting, giving the audience a sense of reality. Everything seems to happen so naturally. Is it easy to make a movie? My personal favorite is the conversation between the male lead’s sister and brother-in-law because they killed their neighbors at home.

▲Sister first came down the stairs, reminding everyone that this is a real three-dimensional space.

▲Then bring out the brother-in-law and chat with the neighbors.

▲Look, everybody, during the chat, we followed my brother-in-law's sight and built my sister's home together.

▲When the brother-in-law learned that his eldest brother-in-law (the underworld) was involved in the conflict between the two of them, the tension between the two came out, so a double shot appeared. As mentioned earlier, the double shot will only appear when the drama is enough, otherwise it will be very dumb.

▲Then zoom in so that we can see their facial expressions and feel their contradictions at the same time.

▲After all, it is illegal to kill. After knowing that it was wrong, the woman escaped into the kitchen after she explained something that seemed to make sense. The camera runs along the wall and chases to the kitchen.

▲Then after we heard the voice of brother-in-law, brother-in-law also chased to the kitchen and appeared in the picture, once again forming a double shot. The two accused each other and were in conflict. The front and back fight is to extract the characters from the background environment. This long-shot dialogue schedule is reversed, and the two sides of the dialogue are restored to the environment. Therefore, in this dialogue scheduling, we first see a real space. As the contradiction between the two parties in the dialogue escalates, the lens and the character get closer and closer, and the lens follows the stillness and movement of the character while still and moving. As a result, the distance, near, movement, and static changes of the lens form a comfortable rhythm that pushes the dialogue to a climax. In short, Woody Allen’s lens sense is unparalleled. The dialogue in his lens is not just dialogue. In addition to telling stories and establishing interpersonal relationships, it can always bring special feelings to the audience, such as the presentation of emotions and the space. Performance, etc., are really worth studying for our movie-loving classmates. Therefore, whenever I see two big heads appearing on the screen at every turn in a domestic movie, I am anxious for the director. It is obviously a good material for making a TV series. Why do I need to make a movie? Goodbye. If you can read the full text, you can add the WeChat public account: movie drawing room.

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Extended Reading
  • Lois 2022-03-22 09:02:15

    Life, be loyal to yourself, betray others; be loyal to others, betray yourself. It is probably the lightest work of the old man in the past few years. Basically, there is no preset turning point. It seems random and makes people feel lost. The tone is retro, but the core is about the future.

  • Camryn 2022-01-04 08:02:15

    With a drug-addicted face and a bow-tie hairband, strong T Xiaok steals the spotlight so that she can hardly see the moving beauty and can't hear the lines, shit

Café Society quotes

  • Rose Dorfman: First a murderer, then he becomes a Christian. What did I do to deserve this? Which is worse?

    Marty Dorfman: He explained it to you. The Jews don't have an afterlife.

    Rose Dorfman: We are all afraid of dying, Marty! But we don't give up the religion we are born into.

    Marty Dorfman: I'm not afraid to die.

    Rose Dorfman: You're too stupid to appreciate the implications.

    Marty Dorfman: I didn't say I like the idea. And I will resist death with everything I have. But when the Angel of Death comes to cut me down, I'll go. I'll protest. I'll curse. You hear me? I will go under protest.

    Rose Dorfman: Protest to who? What the hell are you gonna do? Write a letter to the Times?

    Marty Dorfman: I will protest in silence.

  • [first lines]

    Narrator: When the sun starts to dip on the Hollywood hills, the light often takes on the saturated loveliness of color by Technicolor. The homes of the movie stars, in the late 1930's, said to be fabulous, were. An the cocktail and dinner gatherings saw the film colony's creme de la creme draining high balls, exchanging rumors, making deals and trading gossip. No 'A' list affair was complete without the presence of Phil Stern, one of the town's most high powered agents, and his lovely wife, Karen. Brilliant and dynamic, Stern could invariably be found holding court.