novelraw Chapter 125 125]
Chapter 125 125]
The first shot was a European long shot that surprised Isabel Adjani.
But everything, and not just that, Adjani would not have been surprised if she had only skilfully completed a classic European long shot. What surprised her was the director's skill hidden in this shot.
Joy uses extremely gripping flashbacks.
At the very beginning, Adjani saw a European-style close-up: the fragile and crazy face of Lola played by Eva Green, but also a face full of sweat, messy hair, and **. The close-up slowly moved the camera to follow this Face to the door, she was naked and topless, looking at the flower basket hanging at the door.
Adjani has been making movies for more than 40 years, and she knows what kind of lens is a good lens.
This shot is impossible in traditional Hollywood movies.
This shot is inexplicable, there is a kind of summer-like heat rushing towards the face, which makes the audience feel a kind of restlessness, and the audience needs to release it.
This is typical of European cinema.
Baroque sense of catharsis, restless and deep psychological emotional provocation, and the connotation of the picture full of philosophy.
At this moment, Adjani has already dispelled the doubts in her heart. Although this "Lola" is the first European literary work of this great Hollywood director, with such exquisite European shooting techniques, it may be a new pan-European film. A masterpiece of cultural cinema...
After the opening shot, there is a scene change shot, a very long shot, in which the white curtains blown by the wind and the fruits on the table are in the shot, and this shot lasts 5/6 seconds.
This is the long shot used by all major directors of literary and artistic films, and Joey is obviously very good at portraying long shots.
Afterwards, Joey announced a 10-minute break.She walked over to the table in the MARS bar, which is a must for every movie shoot, and started flipping through a stack of photos.
That's right, she is an extremely demanding and refined person, and she carries hundreds of Cannes photos from the 40s for his reference. No matter where the film is shot, she strives to present the most authentic atmosphere with [-]% accuracy.
"You are really a very dedicated director." Adjani walked over and sat down across the table.
Joey raised his eyebrows and lowered his head and said, "In that case, as a national treasure of France, Ms. Isabelle, do you have any recommendations? We must know that summer is about to pass, and we have to find a place where we can stay longer in summer." , after all, the background of the movie is in summer."
Adjani thought for a while, "St. Marguerite Island, the place with the longest summer in Cannes, the flowers that never fade, white buildings, blue sea, rows of tall green palm trees, It definitely meets your demanding requirements for scenery.”
Joey clapped his hands, "OK, let's take St. Margaret's Island as the last option."
Then, Joey started the next filming.
In this scene, Barnabe stood by the seaside of the town in the afternoon. At this time, the sun should be very dazzling, but Joey didn't shoot it like this.The sun at noon is so soft, shining on people like the gentle hands of a lover.
This is her pursuit of color. Whether it is lighting or changing scenes, Joy always uses very soft lighting. This is also her style, and it is also her style that fans can easily identify.
Different from the darkness of Tim Burton, the madness of David Fincher, and the narcissism of Jiang Wen, Joey likes to use contrasting and soft light to create a gray atmosphere.
Under the sun, the camera hit Barnabe's face, an unusually handsome face, a gleaming body, standing in the soft sunshine with white lips and red lips.
Joy suddenly stopped the scene, "CUT!" Then she walked onto the stage, "Barnabe, your performance is a bit off."
Then she pointed to the sun and said: "I don't want to explain to you how you should show your psychological changes at the moment, I just tell you the simplest thing, when the sun hits your face, you need to smile brighter. Otherwise this sunny shot would be meaningless."
Barnabe nodded, "I see, Director."
The scene continued.
The sunlight in this area is very soft, but what puzzled the photographer was that Joey seemed to like the gentle sunlight too much.
In this summer town, whether the hero is smiling or the heroine is gloomy, the light that Joey shines is always soft sunshine.
He frowned slightly while shooting, and seemed to be puzzled by this point. Generally speaking, tragedies are in cool tones, and warm moments are always in warm tones, but no matter where Joey is, he is in warm and warm tones.
He couldn't bear it, and asked Joey this question, or to some extent, he thought that this director who had just arrived from Hollywood, she didn't understand the rules of European literary films?
He wanted to remind the unaccustomed director, he pulled Joey aside and said, "Director, in our European literary films, delicate shooting techniques are very important, this is to bring out the changes in the atmosphere..."
Joey looked at him blankly, "I don't quite understand what you mean."
The photographer continued: "But your light never changes, it's always faint. This doesn't seem right. Tragedies are always in cool tones, and warm moments are always in warm tones, which can make the shot fuller."
Joey understood what the photographer said, she smiled and said, "I know your doubts, but don't worry."
At this moment, Adjani on the side interrupted and said, "I don't mind if I bother you, but Norton (the photographer's name) your worries are completely unnecessary. Not every director needs to use the change of environment color to highlight the plot. Connotation. Joey’s skill is already perfect, no matter it is tragic or warm, it is warm, just need to use the actor’s performance and lines to make the plot transition to highlight the plot’s connotation, there is no need to do the kind of thing you said gone."
Adjani didn't say any more, Joey's control of color and the technique of long shots are already the skills of a master.
Speaking of long shots, Joey is almost obsessed with European-style literary long shots.
Every shot of Eva Green walking, Joey took it as a long shot. This technique was learned from "The Beautiful Legend of Sicily", the shot of Monica Bellucci walking in "The Beautiful Legend of Sicily" , are basically long shots, in order to highlight her otherworldly beauty.
Here, Joy is meant to highlight Lola's fragility and madness.
Many films inevitably disrupt the rhythm of the film when using long shots, and the film begins to become messy.But Joey is not. Her long shots do not disrupt the rhythm, but serve the rhythm and plot.The emotions she wants to express are contained in her long shots.
She is very good at photographing people. In "Twilight", she photographed Henry Cavill extremely beautifully, with glistening skin, low and silent voice, red lips and white face appearing in every gloomy weather.
Here, she uses a wonderful lens full of soul to describe Eva, her beautiful appearance, and the deep inferiority and cowardice caused by her disability.
Under the lens, she is as beautiful as she is beautiful, but she can also see the hypocrisy, fragility and madness.
The difference between the so-called master's mirror and ordinary people's mirror is that the master can endow the lens with power and appeal.
Just like at this moment, the hearts of the audience will follow the development of the plot, and with the shots drawn by Joey, they will become more and more depressed, angry, and desperate, wanting to shoot the case, shouting, crazy, and finally can't bear it.
Then soon the next scene, the wonderful rivalry began.
Eva and Barnabe stand together, but the camera doesn't hit their faces directly, and Joy employs a little compositional trick of suspense.
She first showed Barnabe's feet, which created a sense of mystery for the audience.If the faces of the characters are not shown, you can only know what they are doing through the body movements of the characters. Finally, when the height of the camera rises to the position of the eyes of the characters, the suspense will disappear and the characters will be revealed.
At this moment, Barnabe appeared on the stage, and the camera showed him from the bottom up. In the scene, his cold steps, lit cigarette, and dissatisfied expression, this is a further portrayal of the character's image, and it is also a reflection of the subsequent development of the plot. Also made a foreshadowing.
Then there was a big quarrel between the two.
Eva accused Barnabe almost violently, "What did you do with that woman?"
Barnabe was smoking a cigarette. He seemed to have changed a long time ago. He was no longer the gentle and young man when we first met. "I don't need to explain to you."
Eva threw the porcelain cup on the ground violently, "I am your wife, you have to explain to me."
Barnabe sat down and looked at her coldly, "But we are getting a divorce, Laura."
Eva smiled arrogantly and nervously, "It's not far from success."
Barnabe lowered his head and smoked hard, "It's meaningless, Laura."
At this time, according to Joy's instructions, the photographer used a "German tilt" photography technique in this shot, tilting the camera slightly to one side to increase the tension of the shot.
This technique works best when there are striking horizontal and vertical lines, accentuated by the angle of the camera tilt.
Because the viewer's eyes are used to seeing any object straight up and down, the slanted line due to the sloping horizon will attract the viewer's attention.
Finally, there is a close-up transition.
The camera zooms in on Barnabe's face, giving him a close-up that fills the frame.
Fill the frame with a single facial feature, then transition with a close-up of those calm eyes.
Adjani has left the studio silently at this moment, without anyone else, but she found that this female director really has two brushes.
Although Joey is a newcomer, he knows European local films like the back of his hand.
Maybe she shouldn't worry, because her son, under the polish of this director, will only be better.