We usually say "watch" movies, not "listen" to movies.
The film emphasizes watching, and the picture is the most intuitive impression that the film can give us.
The person who decides the success or failure of a movie is the director. A good director must be someone who can tell a story in the language of the lens.
<h1 class="pgc-h-arrow-right" >What is lens language? </h1>
The director expresses his meaning through the lens, and you understand the character's heart and feel the world in which the film is located.
Below, I will use the movie "Infernal Affairs" as an example.
This is a Hong Kong police film directed by Liu Weiqiang and Mak Siu-fai, and starring Andy Lau and Leung Chao-wai.
The film tells the story of two men with confused identities, the police and the undercover of the underworld, who are determined to find themselves after a fierce battle.
Infernal Affairs won 7 awards at the Hong Kong Film Awards, including Best Director. Douban 9.2.
There is a "rooftop drama" in the movie, which says that undercover Chen Yongren knows Liu Jianming's identity as a black police officer and asks Liu Jianming to negotiate on the rooftop.
The whole scene is only 2 minutes and 6 seconds. But it left an extremely deep impression on the hearts of countless viewers.
Why has this rooftop drama become a classic?
Next, I will split each scene of this scene one picture at a time, and analyze the director's lens language with you.
Start with the first shot:
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Panoramic lens: Liu Jianming's whole body is given by the mirror, and the mirror surface is distorted, reflecting that Liu Jianming's heart is also distorted due to the long-term black and white distinction.
Half-body lens: Liu Jianming's out-of-focus bust walks forward until it gradually becomes clear. It means that his purpose in this trip ranges from hesitation to certainty.
Large panoramic shot: gives the sea in the distance, proving that the scene is on a rooftop.
It's a set shot that not only explains where the scene takes place, but also establishes the mood of the whole scene and shows all the details that are important for the next paragraph.
The lens is surrounded, without turning, the lens is like Liu Jianming's eyes, and the audience stands in the same perspective as Liu Jianming, feeling that the crisis is coming.
Large close-up: A close-up of a pistol, so that the audience immediately understands that Liu Jianming is controlled.
Chen Yongren's appearance is wonderful.
Coming out from behind Liu Jianming like a ghost, it is in line with his undercover personality.
Every shot gives the viewer a hint. Good shots allow the viewer to immerse themselves in the inner world of the characters.
Chen Yongren squatted down, Liu Jianming looked at it, and the audience was confused, what is this?
Handcuffs and pistols were pulled out.
Two close-ups, no language is allowed to tell the audience the reason, and let the audience firmly believe that Chen Yongren absolutely took the initiative to control Liu Jianming.
Liu Jianming: Very sharp. Chen Yongren: I also went to the Police Academy.
Once again, the audience recalled the scene of the two-person police academy at the beginning of the movie, and the film "Infernal Affairs" attaches great importance to the fate of cause and effect and reincarnation.
Liu Jianming's side shot, "You undercover like to be on the roof." (Andy Lau is handsome :)
The lines of this sentence, undercover, the rooftop, became the bridge section that many movies followed in later.
Chen Yongren tightened his handcuffs, which was a powerful preparation for Liu Jianming's turn in the next scene.
Chen Yongren said: I am not like you, I see the light. Notice that he was indeed in the sun.
The next shot is given to Liu Jianming, Liu Jianming is not in the light, he bows his head, because he feels that he is a bad person's secret identity makes him instinctively inferior to Chen Yongren.
Liu Jianming turned around, and visually the audience would not feel the hostile relationship and threatening relationship between the two. So the handcuffs in the previous scene are once again deepening the audience's sense of convincing.
Two-person lens: In fact, the composition of the background is very complicated, close to Liu Jianming and Chen Yongren, there are two or three very shabby, very rusty fan-like things, but in the distance is the beautiful Victoria Sea.
Doesn't the director know the beauty of the composition? Why do these two or three broken barrels appear in the shot?
It is a metaphor for the two people's broken hearts at this moment, and at the same time they are both looking forward to the bright sea of the future.
Next is the duo's show, which is crucial, and the camera switches back and forth.
Liu Jianming: "I want to be a good person. ”
Chen Yongren's ears appeared, indicating that the audience was standing in Chen Yongren's point of view at this time, listening to Liu Jianming.
But when switching to Chen Yongren, Liu Jianming's side face did not appear. At the same time, the observation angle is not Liu Jianming's perspective.
This is a close-up shot: close enough to see the pores on Chen Yongren's face, indicating that the audience is not standing in Liu Jianming's position at this time, but using a voyeuristic perspective, almost to Chen Yongren's face, very close to "strong attention" Chen Yongren's reaction.
The two began to play.
Long-range shot: huge world, small two people. Strong contrast.
The camera switches, and the two go to the left side of the screen, noting that this is a hint shot.
The black radar and camera in the lower right symbolize the background of the story, and there are quite a few surveillance stealing shots in the movie, and the radar and camera fit the tone of the movie.
A white boat enters, a strong hint of this! The ship "invasion" shot suggests that a new person, a new danger, is about to invade.
Chen Yongren raised his gun and the camera looked straight ahead.
Not a threatening perspective, again, Liu Jianming was not intimidated by the gun.
Panoramic lens: Chen Yongren's gun is pointed upwards, and there is no special sense of threat, compared to Liu Jianming's unfazed, and the huge world behind him, but it gives people a sense of loneliness - Chen Yongren's loneliness in silently fighting against the world alone.
The lens continues to extend, from the panorama to the large panorama to the long-range, so that the audience can see the "bigger world".
The "invasion" of the white ship just now, coupled with the emergence of this larger world, heralded the appearance of a new character.
How do I set the stage for the final climax? How to increase tension?
Next, here's where the film excels.
Whether it is the shaping of Liu Jianming and Chen Yongren, the two good and evil characters, they all belong to the roles that the audience likes.
At this time, having a character that the audience hates enter can change the situation.
And let the audience know that the scene has changed and the event has changed.
The audience from Lin Jiadong's entrance, pistols, vaguely guessed, bad things - coming.
<h1 class="pgc-h-arrow-right" > concluding remarks:</h1>
Whether it's an important passage or a relatively ordinary plot, storytellers have a way to maximize the effect of the shot.
"Infernal Affairs" is good because it is clean and neat, without any superfluous shots.
This depends on the director's grasp of each moment: instantly establishing the characters and the tone of the story, maintaining the tension and tension of the story.
You know, the director definitely doesn't just shoot the shots, he has to be patient and willing to spend time reshooting again and again to make sure that the angle of each shot, the eyes, the movements, and every movement of the camera can meet the needs.
The 2 minutes and 06 seconds rooftop scene of "Infernal Affairs" proves that a scene that does not require a fight at all, only two people talking, also makes the audience nervous and unforgettable.
Special note: "Infernal Affairs" rooftop drama has been uploaded to my homepage - video.
Welcome to the tune in, thanks for your attention!