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"Don't be excited, man, this is Lumiere Hall!" The tall and thin bald man Gene Siskel next to him patted his friend's shoulder.

"This is really a peerless movie. I feel my heart trembling now. I look forward to how the director can solve the puzzle... Man, I vaguely feel that this drama will be very tense..." Roger shrugged and moved his mouth, but his eyes never left the screen.

In fact, Wu Xiaozu thought about a lot of things in this drama.

After falling into the Kowloon City, this drama will naturally have more local elements. At the same time, Wu Xiaozu also specially added some of his previous ideas in "The Fear Room".

So, you can see the vague struggle between Liang Chaowei and Ken Takakura, an attempt to break through yourself.

"Have you released it? Although there seems to be daytime in the movie, it is either rainy or dark night... there is no natural light at all?" In the audience, Andre Zulaski, an old Polish brother-in-law wearing a dark green hat similar to a Bavarian felt hat, held his chin and asked and answered.

Beside her, Sophie Marceau, with a moist face, raised her legs and watched Ajani's cameo in the movie with great interest.

That's right.

In "The Seven Sins", Wu Xiaozu did not have any use of natural light. The daytime is also cloudy and rainy weather, and this depressing environment allows the audience to experience the suppression conveyed in the film.

In the picture, the rain pours.

The down shot is a scene of irregularly cut space, and dim wall lights are hung on the cold marble walls. The blocking of Roman columns allows the light to scatter around, condensing without being messy.

Kan Takakura, wearing a top hat and holding a briefcase, pushed open the door and walked in. A close-up shot of a large black umbrella tickling rainwater in his hand appeared on the screen.

Especially like black blood.

The city is crying in depression.

In the library, the green desk lamp shook a faint fluorescence, and the lens kept moving.

For the use of sports camera, we have to admit the strong strength of Bao Xi and Du Kefeng.

Especially in the next few scenes about chasing and fighting, the performance was very exciting. The use of sports footage in this movie is indeed international.

On the streets, Liang Chaowei kept chasing him, and the whole scene was shot very fiercely.

…

When the audience watched Liang Chaowei lying in the water pool, closing his eyes and waiting for fate to come, the outline of the "master behind the scenes" was reflected in the puddle. Yes, Wu Xiaozu's mirror image application appears again in this drama.

A director or creator will always carry some of his own creative habits to a greater or lesser extent.

This is the so-called personal style or personal label.

In fact, in this drama, Wu Xiaozu also intentionally borrowed some of the settings of Lao Du in "PTU", including the stance under the light, and the little boy who often rides a bicycle throughout the film.

Facts have proved that this kind of mastery of space is indeed very recognized by film professionals.

At the same time, after Old Mike's words, many viewers also understood that this was the little boy who painted the colored strokes at the beginning.

This design appears.

Wu Xiaozu also hopes to give people hope in despair. So what is the meaning of more hope for minors?

This gloomy and humid city, the policeman gazing at the abyss, the colleagues who are engaging in the river, the dirty villages, the homeless wild dogs, and the noisy noises that remind the audience all the time, all feel deeply depressed.

Then, when old Mike looks at the little boy with a colored brush stroke, it may make people feel relieved.

Suspense, the most important thing is suspense.
Chapter completed!