New Age Artists

Chapter 407 Aesthetic Black Line, Maintaining Niu Geng’s Personality (23)

Shen Santong finished filming the hotel scenes over several days.

When Niu Geng woke up, there was no one around him.

Li Chenggong was beaten and had to spend the whole night in the corridor.

Li Chenggong was so angry that he complained, "I knocked on the door for forty minutes and they didn't open it."

Niu Geng said confusedly: "I thought it was a dream decoration!"

The bus attendant came and returned the wallet, and suggested they take the ferry.

The crew transitions.

Ferry interior scene.

The movie's timeline is the morning of New Year's Eve, in Wuchang.

Shen Santong specifically chose a sunny day to take the photos.

In the original version, when taking the ferry, there was fog on the river and I couldn’t see the prosperity of Wuhan at all.

That's fine, it can be blamed on the weather.

The key is to portray Wuchang as a small town in the 80s.

Shen Santong asked the crew to look for it when selecting the location, but the same problem still existed: if they didn't look carefully, they wouldn't be able to find that kind of shabby house in Wuchang at all.

Even if there were any, they would have been demolished long ago.

Shen Santong also asked the location selectors to ask the locals.

When they heard that Shen Santong's crew was coming to shoot, the relevant local authorities were very cooperative, mainly because Shen Santong's reputation had spread.

Locals said that in Wuchang, new houses that have been occupied for less than 10 years will be demolished, and very dilapidated houses will not be allowed to remain.

When I heard that the crew was very nervous about asking about the old location, I thought Shen Santong was like other directors who deliberately chose the worst places to shoot.

Even if there are places like the original version, the locals don't want to specifically choose bad places to shoot them.

It’s your own hometown, even if you complain about it yourself, you can’t let outsiders complain about it!
The original version portrayed this huge city in central China like that, it could even be said to be ugly.

To be honest, this choice of angle is very strange.

There is indeed a line, a black line.

The director of the Korean movie "The Yellow Sea" said that Yanji is too small and there are no shabby communities to be found.

The exterior scenes were shot in Shenyang and Harbin.

Anyway, these two cities are big enough and you can always find some shabby places.

Whenever Hong Kong Island appears in foreign movies, there will definitely be dilapidated old apartments and a bunch of uncultured food stall owners making fried rice with their bare chests.

The food served in the food stalls looked like vomit, and the whole scene was dark and gloomy.

For example, Pacific Rim, Transformers 4, Godzilla vs. Kong, Train to Busan 2, etc.

It's not just movies, American TV series are the same.

Shen Santong remembered a clip from an American TV series set in Shanghai. When the bus appeared, he thought it was a horror movie.

Not to mention Shanghai, I have never seen such a dark and scary bus in China.

Some people deliberately film it to look like hell, which makes people who watch it furious.

In his previous life, Shen Santong didn’t understand, but he just felt vaguely uncomfortable.

As a professional in this life, I am not just uncomfortable, but angry.

Not to mention Korean dramas, even domestic dramas are like this.

"Detective Chinatown 3" directed by a local director.

The Japan in it is either blue sky and white clouds or bright lights.

The gangster boss is handsome and cool, and the court is clean and bright.

In the later shots of the Northeast, not only is the ground dirty and the clothes uncomfortable, but the color of the sky is wrong.

The filter has changed!

That section is an investigative clue, not a memory from decades ago.

The gloomy background and the sloppy characters that appear are very inconsistent with the tone of the entire plot and are very discordant.

The book's stars were well-dressed, which only served to highlight Tang Ren's slovenliness and Qin Feng's lack of preparation.

In European and American movies, the male protagonists are all handsome and strong.

Domestic films are very lacking in this aspect.

The person who represents the image of Chinese men with such masculine charm is indeed Wu Jing.

There are also modern Chinese dramas with female protagonists. If there is a returnee in the drama, he must be handsome, talented, knowledgeable, and loyal.

But in China, they are generally described as Phoenix men, subordinate men and bootlickers.

The TV series "The Golden Years" starring Liu Shishi and Nini is a representative example.

Shen Santong is deeply involved in this industry and can feel that there is guidance behind this kind of thing. The real power lies in making people who shoot in this direction and style seem to be doing it voluntarily.

They did it voluntarily.

This is a kind of vague token of allegiance - if you shoot like this, it is a kind of secret code and hint, maybe you will be given better resources, or maybe nothing. But if you don't shoot like this, you will definitely miss out.

Just like in Wu Yusen's version of "Red Cliff", Xiaoyanzi carried the sedan chair for Lin Chilin.

The Golden Horse Awards and Golden Image Awards will give some rewards later.

When this kind of atmosphere and business model is formed, it will naturally affect the practitioners without spending any real money.

Let everyone subconsciously do the same thing.

The funny thing is that the enemy of TV series and movies is not each other’s projects, but consumers’ time.

When the entire circle makes the audience feel uncomfortable, most people are too lazy to even curse.

Just don’t look at it.

Short videos, long videos, games, novels, short plays.
There are too many cultural products to kill time, I won’t play with them anymore.

Shen Santong has normal aesthetic taste.

For the exterior scenes related to the ferry, we asked another camera crew to find the time and angles in advance to capture beautiful shots of the river and the buildings on the shore.

Similarly, Wuchang, Hankou and Shijiazhuang were also photographed beautifully.

Most of the shots taken in Wuhan were close-ups of the characters, and the exterior shots were of course of local landmark buildings.

It's pleasing to the eye and beautiful, and can be made into a city promotional video to boost local box office.

In the ferry scene, there is a prelude to the story of a female con man committing fraud.

The female scammer took advantage of others' sympathy and lied that her daughter was seriously ill and needed 2,000 yuan to save her life.

Niu Geng gave all the money, but the female scammer never came back.

Shen Santong filming the ferry scene.

In the original version, the photo in Li Chenggong’s wallet was of his mistress.

When they arrived at the ferry, Niu Geng snatched the photo and guessed the identity of the mistress.

Then the wind blew and the photo fell into the Yangtze River.

The language of the camera here is a metaphor for the ending of Li Chenggong and his mistress, who will fly away.

Li Chenggong saw the IOU. Being an experienced person, he realized that the borrower and the signatory were not the same, so it was impossible to collect the debt.

In Shen Santong's version, the photo in Li Chenggong's wallet was not of his mistress, but of his ex-wife.

Along the way, he often took out photos of his ex-wife.

Niu Geng said: "Boss, look how yellow the Yellow River is."

Li Chenggong was speechless: "Brother, this is the Yangtze River."

Then I looked at the IOU and found that Shen Santong's version was a normal IOU.

The image of the dairy owner he designed is more positive.

Seeing Li Chenggong staring at the photo of his ex-wife, Niu Geng snatched the wallet and took it out to look at it: "Hey, who is this?"

The photo showed Li Chenggong's ex-wife and daughter. Niu Geng guessed, "Boss, are these your wife and children?"

Li Chenggong's eyes dimmed, and he was unwilling to answer: "Is it your business?"

Niu Geng felt embarrassed when he saw his gloomy expression, thinking that the person was dead: "I'm sorry, boss, I shouldn't have mentioned that. Don't worry, they are living well in heaven."

Li Chenggong was angry: "Those belong to my ex-wife and daughter, they are alive and well, what nonsense are you talking about?"

The wind blew the photo away.

Li Chenggong was stunned and very angry with Niu Geng.

Niu Geng quickly apologized, and then said in surprise: "It flew back."

The photo flew back.

Li Chenggong jumped up and grabbed the photo, then he glanced at the distant shore and saw a familiar figure.

He stuffed the photo into his wallet and said, "Niu Dan, look, what is that? You liar!"

In this scene, Wang Baoqiang and Xu Guangtou performed well.

Shen Santong nodded repeatedly: "Save one more."

In the original version of this plot, Niu Geng's character setting actually collapsed.

Especially in the segment where she grabs the wallet and guesses the mistress, she is no longer silly and cute, but becomes aggressive, eager to try, and even a little greasy, giving people a feeling of nausea and disgust.

In this version played by Shen Santong, Niu Geng still maintains an honest and kind image.

At the same time, the photos of the ex-wife and daughter were lost and recovered, which corresponds to the loss and recovery of the grand prize car later, and also corresponds to the happy ending at the end.

(End of this chapter)