That's how movies can be made.
This movie gave me the impression at the beginning that it was like "I heard that Kirishima is going to retire". After all, they all have a cult film complex, they all talk about making movies, and to a certain extent, the "play within a play" setting, and they all express their love for movies.
But in fact the difference between the two is quite big. In "Kirishima", filming is only one line of the story, while "The Camera Don't Stop" implements the theme of "filming a film" throughout the film. It does not discuss young people's nowhere to place like the former. The knot, but a pure expression of love for movies.
The most laudable part of the film is the 37-minute long shot that was a disaster on the set at the beginning, but before discussing this long shot, I would like to discuss the rest of the film.
In addition to the long shots, the film's shaping of the characters is also quite profound. The most representative of them is the story line of father and daughter. This story setting actually covers the theme of the whole film, that is, the love for movies.
My father is not a successful filmmaker. He has made movies, interviews, and MVs. It can be seen that in the tedious work, he is accustomed to compromise. He does not force actors to cry, and does not mind using eye drops. At times, he is as pleasant as possible - just like ordinary middle-aged office workers, the edges and corners are worn away by life and work. He didn't get the approval of his daughter, and his wife didn't think he would take on the job of "live broadcast of long-shot dramas".
Judging from the father's reaction when he received the job, he was really reluctant to accept the job (presumably because he knew how difficult it was to film well), but in order to make his daughter happy who had just been kicked out of the crew, He eventually took the job.
In the process of preparation, my father has been dealing with unreliable actors, many required recording engineers, sharp-edged male lead characters, and idol actresses who cannot be "beeped" by Yan. At this time, he is still It is walking on thin ice, struggling to meet the needs of all parties. Although the daughter at this time doesn't think how great he is, even when she arrives on the set, she still thinks that he blocks her view of the male lead.
The daughter's perception of her father gradually changed during the live broadcast. She found that her father was not always that useless. In fact, he did not approve of those tricks that were just getting by, and he was also annoyed by artists who had high self-esteem, just for the sake of life. And work, he had to cover up his anger with a pleasant look, and only when he was in front of the camera was he able to vent the repression he had endured without any scruples. (Although I am not yet middle-aged, I seem to be able to understand this mentality of having to give up my persistence).
Therefore, it can be said that the father-daughter line exists as a dark line corresponding to the bright line of the studio line, and solutions are supplemented when the bright line encounters a conflict (from the mother replacing the actor at the beginning, to the middle daughter who directly fills in the interrupted line) The plot plays a role in resolving conflicts), the bright line provides laughter, and the dark line promotes the development of the plot.
Ultimately, the two lines converge at the film's biggest point of conflict, when the live broadcast is about to end. The father who was already on top broke out in the face of the producer who asked to solve the camera position at will. The daughter understood that the father also really wanted to make a good movie. She also found a solution based on her childhood experience with her father. At the same time, the reconciliation with his father was also completed. This is the highlight of the film's script.
On the other hand, there is another detail worthy of attention: during the filming of the film, all parties in the crew were constantly entangled, whether it was the male lead with many opinions or the producer who put pressure on his father. But at the last shot, everyone put up a human flesh rack together and persisted until the end of the live broadcast——
Then they were all weary and laughing.
During this process, I encountered too many emergencies and troubles, and there were too many quarrels and contradictions, but when the film was finished, everyone was laughing.
I remembered that during a Dragon Boat Festival holiday, I had been to my sister's crew (rooftop opera) to help with the recording. The sun in Shenzhen in May was so savage that I was tanned red in two days. But I'm still in a better mood...
Because making a movie is something that makes people love and indulge in it.
After discussing the plot, let's go back to the original long shot.
I love long lenses.
The reason is probably because shooting an excellent long shot means a high degree of cooperation from all the crew members, excellent camera movement skills, and careful camera position and composition design. In many cases, some elements of luck need to be added. (Do you want to cue Bi Gan here?)
But in "The Camera Don't Stop", it doesn't show us a good long shot: the hand-held that can make people vomit, the inexplicable embarrassment, and the camera is aimed at the butt of the heroine going up the stairs (this is really It doesn't matter, director!)... The 37-minute long shot presented at the beginning of the movie is really not good in terms of look and feel, and it can even be said to be "long-shot persuading textbooks".
But when the director told us that it was a play within a play, everything changed: all the flaws of this long shot were made up, and all its shortcomings could be blamed on the filming scene, which was full of conditions. It can also be understood as a deliberate design - in other words, it is a perfect long shot.
It's a trick, yes, but aside from the trick, what I see is the love of movies.
There is no cost (less than 180,000 RMB), no cast (almost all actors are 18th line), and even no technology - we are just ordinary people, and there is no such amazing talent as Yang Suo or Lubezki, but We can still use our own way to take long shots that are famous in film history and tell the audience that even ordinary people can make great movies.
View more about One Cut of the Dead reviews
