The main reason is that Zhou Runfa is indeed very concerned about this drama.

Before this, although he gained both fame and fortune, the movies he came into contact with were typical Hong Kong film styles.

At most it is a beautiful display of the world, and at the very end it is just a portrayal of the ugliness of society and an intuitive display of human desires, or fear and concern for the future.

There are few explorations of human nature and in-depth thinking on social civilization.

This is something that mainstream Hong Kong filmmakers have always lacked.

Compared with Wu Xiaozu's films, while maintaining commercial elements, they also conduct deeper discussions on experiments.

This is also why Wu Xiaozu is regarded as a future master internationally.

"When everyone is here, then start reading the script circle. Ah Hai, please interpret the script to his family first."

Seeing that the conference room was full of people, Wu Xiaozu took the initiative to start the script reading meeting before filming.

This kind of regular script reading is very new to everyone.

Hong Kong films have only begun to develop systematically under the leadership of Wu Xiaozu in recent years, under the leadership of Wu Xiaozu, but the film industry is still accustomed to "bad money drives out good money", and Feidianzi is still popular.

However, a standard process was formed within Yilinger II.

"According to the director's script requirements, this time "No Man's Land" adopts the most typical "three-in-one" drama structure rules.

The consistency between time, place and plot is maintained, so this requires you to maintain the stability of the characters." You Shihai took the initiative.

The spatial environment of the No Man’s Land is an important factor in the narrative of the entire film and a necessary factor in the theme conveying.

"Because I am in a wasteland in the western region where the law is weak and the public is sparsely populated, social civilization has not left too many traces here, and the ugliness of human nature will be magnified under the lack of law. This is the precondition and reason for the film."

Wu Xiaozu added, then looked at the black and white evil spirits, "Jackson, Ross, you two may have to follow Tony to live in the slaughterhouse for another week. The smell of the city on you is too strong... This doesn't look like the temperament of a poacher."

“YES Sir!”

Jackson gestured between his eyebrows with two fingers, and Tim Ross nodded and said that there was no problem.

This script was read all morning and there will be corresponding communication between departments.

Wu Xiaozu initially made the actors understand the animals they want to perform in the movie and their respective relationships.

Yes.

After leaving society, humans in this primitive, disordered and desolate area have quickly become primitive animals in the unmanned land through repeated encounters.

This drama also brings together Wu Xiaozu's thoughts in the process of writing the script, whether human nature and beast performance are balanced.

Therefore, the theme of this movie is actually a method that Wu Xiaozu didn't know how to adopt before-

Expression of absurd realist aesthetics.

Wu Xiaozu's movies include causalism and fatalism, and they also have black humor, but none of them are as "absurd".

This is also a challenge for him.

The end of the circle reading.

The division of labor of the cast and crew was clear and they all went for the final "sprint".

Wu Xiaozu needed to take the core creative team to take a bus to Karamay. Although the distance of 300 kilometers is not too far, it will take at least 4-5 hours to drive here.

Four convoys composed of BAIC 212 Jeep and Rada Niwa Off-road Vehicle set off from Ukraine and headed towards Karamay City.

When you walk out of the city, you can see kowtow machines everywhere outside.
Chapter completed!