New Age Artists

Chapter 401 The tone of the Spring Festival: lively but not noisy (23)

"Lost on Journey" turns into an indoor scene.

Most of Shen Santong's scenes were shot in Wuhan.

For the train station scene, instead of choosing to set up indoors, the set was moved directly onto the tracks of Wuhan Railway Station.

The crew set up several carriages in a corner, and the shelves inside the carriages were filled with luggage and parcels.

The original version was also filmed in Wuhan, but the result didn’t look like Wuhan.

At least it’s not like Wuhan in the past 10 years, it’s ten years ago or even longer.

Wuhan banned tricycles from running on the main roads in the 90s, and the locals called it "numbness".

The original version of "Lost on Journey" actually saw the character "numbness". What's even more outrageous is that the Hankou Bus Station was in such a dilapidated state.

Apart from other good things about Wuhan, its transportation is second to none in the country.

As the thoroughfare connecting nine provinces, its transportation is extremely developed and convenient.

Approved by the United States itself.

It is not just about attaching importance to transportation infrastructure.

There are a total of 3 large railway stations, which are rare in the country.

Shen Santong has visited the oldest Wuchang Railway Station and found that all of its elevators are fully automatic for transporting goods and passengers.

Even taxis and buses can drive to the train station, so you can go home without moving out of the train station.

There are really few train stations in the country as convenient as Wuhan.

Just talking about the scale of three floors above and three floors below, there are not many train stations of this scale.

In a city like this, the bus station and the railway station are the face of Wuhan.

Shen Santong even asked the preparation staff to search for the dilapidated scenes of the original version.

Hard to find.

You need to look for it carefully, and if you want to replicate it, you need to partially build it.

It’s not that it doesn’t exist. It can still be found now, you just have to look for it with your heart.

The original filming was two years later and is even harder to find.

In the movie plot.

It is Shijiazhuang Railway Station, not Wuhan Railway Station.

There was a small bug in the original time. The flight was in the afternoon of the 28th day of the lunar year, and the train was at noon. Shen Santong corrected this error.

The plane had to make an emergency landing due to Niu Geng's bad luck and there was a malfunction in the plane, so they had to take the train to Changsha.

In Shen Santong's version, the reason for the forced landing was still heavy snow, but there was no malfunction of the plane.

However, there was heavy snow in Changsha and the airport was closed. In addition, the Spring Festival travel routes were tightly scheduled and the flight could only be taken tomorrow afternoon or the day after tomorrow, so Li Chenggong chose the train as his means of transportation.

Shen Santong first filmed the scene where Li Chenggong and Niu Geng squeezed into the train: "We rehearsed it first and told everyone to just ride the train normally and not to look at the camera."

In the first outdoor scene, Shen Santong determined the structure of the film. In the first indoor scene, he used the scene of crowding on a train to determine the theme of the film.

The Spring Festival travel rush should not be a sad thing, but a happy thing.

The whole family reunites to celebrate the New Year.

The tone of the Spring Festival travel rush is lively but not noisy
For those who work outside, some of them go home once a year with full of expectations, bringing home the year's harvest and gifts prepared for their children.

The original Spring Festival travel rush, whether taking a plane or a train, was very noisy.

For the main creators, if they want to go home, they can just buy a plane ticket and go home, so they cannot understand how happy the migrant workers are during the Chinese New Year.

It’s not to say that all of them are happy, but at least most of them are happy and joyful.

The original version still has a perspective problem.

The perspective of scrutiny.

The story is told from the perspective of Li Chenggong, an elite who, due to a series of coincidences, breaks into the lower class to examine and judge other people.

Shen Santong's version toned down the character setting of Li Chenggong.

His career is more successful than Niu Geng, but his marriage is a failure.

We got divorced during the Chinese New Year last year because he cheated on me.

Li Chenggong is a man who is rich in material things but poor in spirit.

Niu Geng is a man who is poor in material matters but rich in spirit.

This way, the two characters will have more dramatic tension, will be evenly matched, and the resulting effect will be more beautiful.

The original version should have had this idea as well, but because the perspective was very detached, the staring and looking down perspective was imposed on Li Chenggong, causing the character of Li Chenggong to be too superior and without the sense of equality.

In the eyes of the creators, Li Chenggong and Niu Geng are not equal.

Not only is there an economic imbalance, there is also an political imbalance.

Li Chenggong is a successful businessman. He has a virtuous wife and cute children at home, which does not stop him from having a mistress.

He just encountered a small crisis temporarily. Eventually, the mistress saw how virtuous his wife was, felt ashamed of herself, and chose to withdraw.

He also showed the conscience of a rich man. In terms of family, he chose to return to his family, and his wife responded by saying "Just go home." In terms of career, he called his younger brother to help Niu Geng solve the problem of asking for salary.

The solution is not to help Niu Geng ask for money from the dairy factory owner, nor to ask the debtor for the IOU.

Instead, Li Chenggong waved his hand and took out the money himself.

Of course, the original IOU had foreshadowing.

The borrower and the signatory are not the same person, so you cannot get the money for this IOU.

But it does not affect the overall presentation.

Just like Saito in "Inception", the kindness of a boss like Li Chenggong solved a big problem for Niu Geng, a low-level man.

Where is Niu Geng?

He is very simple and can say one or two touching truths, but that's where he ends.

The problem was finally solved when the boss showed up and showed kindness.

The two characters are not equal, the gap is too big, and there is no dramatic tension.

This design is not as good as "Lost in Thailand".

In Lost in Thailand, Wang Baoqiang is a scallion pancake maker. He doesn’t open chain stores, nor does he go public.

It is tiring, but his income is not low, at 20,000 yuan a month.

Xu Guangtou’s role is that of a social elite, a scientific researcher, a company partner, and a businessman.

But he has his own difficulties. His achievements need to be sold with the approval of the major shareholder who has the decision-making power.

The social status of Xu Guangtou's character is higher and more respectable than that of Wang Baoqiang's character, but they are fundamentally equal.

There's no sense of charity in the conversation, there's just not enough of a gap between them.

As the main creator of Hong Kong Island, I can understand why he made this design.

Stephen Chow's movies are great.

But after crawling out from the bottom, I lost contact with the people in the past.

Wu Mengda once said that they are not on the same level, and Zhou Xingchi is at a higher level.

Feng Xiaogang made a cameo appearance for him in "Kung Fu", and Zhou Xingchi promised Feng Xiaogang that he would also make a cameo appearance in his movies in the future.

But later when Feng Xiaogang made a movie, Zhou Xingchi changed his mind.

In Zhou Xingchi's heart, Feng Xiaogang and he are not on the same level.

To Han Sanping, he was always available at his beck and call, and was extremely humble, polite, grateful and courteous.

Zhou Xingchi’s movies are classics and more positive than many TV dramas. The little people have their own ups and downs, and the underworld is not whitewashed. Black is black, which is a very good point.

That is to say, outside the play, the level division is very profound.

Zhou Xingchi has experienced a lot of contempt, from Xingzai, to Ah Xing and then to Xingye.

To Danny Lee, his name changed from Uncle Xiu, to Brother Xiu, and then to Ah Xiu.

The statement and vision of Lost on Journey being created mainly from Hong Kong is correct, but it is not the case in mainland China.

Can you imagine Feng Xiaogang calling Wang Shuo "A Shuo"?

Even if Feng Xiaogang is stronger than Wang Shuo in every aspect, he would not do this.

Shen Santong has his own opinion of the academic Lao Deng, and would call him teacher when he meets him in person.

The class distinctions in Hong Kong are so snobbish and exaggerated.

After rehearsal.

Shen Santong made a gesture, and the stage manager announced, "Begin."

The extras were in place, and the noisy and bustling Spring Festival travel carriage immediately appeared before our eyes.

Shen Santong looked at the scene on the monitor. It was a bit noisy, but it appeared lively rather than noisy.

The setting and composition are designed to make the audience feel neither repulsive nor anxious when watching.

Occasionally, I would glance over and see passengers who were talking on the phone to their families, looking very happy.

Holding a child, the child is babbling and laughing in a baby voice.

They are all manifestations of lens language.

The setting is also different from the original.

I don't know where the original carriage was found. If you want to save money, you can ask the train station for help. You can spray paint it, it doesn't cost much.

It's rusty inside and yellowed outside, so it's hard to find if you don't look carefully.

After watching the filming results, Shen Santong said with satisfaction: "Come on, save another one."

(End of this chapter)