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Dim bathroom.

Pan Hengsheng bent his waist and sticked out his butt, holding a huge camera in his arms, and retreated gently. The lighting masters and radio masters next to him also moved with him.

Above the bathtub, Qiu Litao was hanging his wits, holding his body in a weird and uncomfortable position, holding the camera vertically, facing the turbid bathtub water in front of him.

Inside the bathtub.

Liang Jiahui closed his eyes tightly, his whole body trembled slightly, the blue veins on his neck collapsed, fear appeared on his face, his body trembled bigger and bigger, and his hands began to struggle unconsciously. Next to him, the camera external lens sealed in a sealed bag was inserted into the water, and the camera assistant Li Yaohui's arms were stiff there, but he did not dare to move at all.

In this set of shots, Wu Xiaozu chose to open three shots at the same time, and ensured the continuity of the character's actions and objective shots.

At the same time, on the camera, it includes the spatial pulling feeling of pushing and pulling the camera, which brings sudden preconceived psychological hints to the audience, and also presents the rotating camera, expressing the character's panic and struggle.

This may be done well with the cooperation of cameras and drones in the future, but-

This is definitely a brand new attempt at Hong Kong Island at this time. These shots all add up and require at least 70 sets.

When Wu Xiaozu proposed this idea, Qiu Litao and Pan Hengsheng thought Wu Xiaozu was crazy.

The three cameramen were sweating on their foreheads, which was so nervous and particularly stimulating. They all clamped the eggs tightly, shattering the nerves all over their bodies.

The young and handsome man Ye Weixin, who was standing next to him, held his fist, his palms were covered with sweat stains, and the handles he was holding the fishing line had red marks.

The light group controls the light temperature and color.

In this scene, Wu Xiaozu asked the lights to be neither as cold as those ghost films, nor to exist coldly. The entire color temperature seemed cold and dim. For this reason, Zou Lin chose many blue light sticks as the light source points captured by the lens.

With Wu Xiaozu waved his hand, Ye Weixin cut off the fishing line...

"Ahem cough cough..."

Liang Jiahui, who had been held in the water for a long time, suddenly opened his eyes, and the camera wrapped in a sealed bag underwater moved with his eyes.

Sudden!

A thin and pale man grabbed the edge of the bathtub with his hands.

"Ahem...ah!"

Liang Jiahui vomited bitterness and fell out of the bathtub without any warning.

With a bang, the fall was definitely true. In order to show the character's panic, this set of shots had to be completed in one go, so there was no cushion next to the bathtub as a buffer.

Liang Jiahui did not ask for a substitute, but actually threw himself on the cold and dirty floor tiles.

"Are there... cough cough... people?"

"Hey!!"

At this moment, Liang Jiahui bent over slightly, his shoulders shrank in, and looked back and forth in panic, his eyes full of fear of the unknown. If you observe carefully, it would be very difficult for his Adam's apple to swallow, which made people unable to help but fall into this panic with him.

"Pu, Em! This is the eighteenth level of hell?!" Liang Jiahui was so scared that he had to make a sound to boost his courage.

"No, you are not dead." Suddenly, a low voice came.

"Who!! Who is there?" Liang Jiahui's face suddenly changed, and his hands were randomly touching the wall.

suddenly,

The incandescent lamp above his head flashed, and he subconsciously closed his eyes. When the light was on, Qiu Litao, who was hanging above his head, moved with it.

The incandescent tubes flash continuously, and the bathroom was dark and bright. The "sizzling" current sound was in the quiet enclosed space, like the laughter of a child.

The camera is advancing at a rapid speed, and a close-up of Liang Jiahui's facial features is reflected in the lens.

...

The theme of the drama "Fear Room" is about human nature and life. Wu Xiaozu thought more.

The entire drama, the metaphor of light, the hint of space, and the interpretation of the lens are undoubtedly interpreting Wu Xiaozu's understanding of this movie.

In this movie, Wan Ziren actually presents a completely Western-style horror expression. In comparison, he later filmed "Luxing" and "Summoning" instead added a lot of his own personal ideas.

Wu Xiaozu was quite fond of the theme of "choice", or it was a label of his personal film style.

Secret room, torture, joke, play, dark, cold, bloody, all of which are like building block puzzles, and the ultimate goal is to build a display of Wu Xiaozu's self-style in his heart.

So far, several movies by Wu Xiaozu can clearly show his film style.

Just like the revolution in the film structure brought about by "The Birth of a Character", Wu Xiaozu, who is in Hong Kong, is not aware of the impact of this movie abroad. In this play, Wu Xiaozu uses Western oil painting-like picture sense to interpret the East's interpretation of causal fate.

In the eyes of Westerners, this is full of ridiculous and extremely wonderful way to analyze human nature.

Choosing, this theme actually runs through "The Birth of a Character". Wu Xiaozu didn't understand that his step of going out not only did not involve any bad things, but also attracted the attention of many Western filmmakers, especially in the independent film industry.

As Cannes' godson, Nantes Three Continents Film Festival also specially recommended this movie for my father.

In the film circle, especially major film festivals, they are constantly competing for their voice. The representative of oriental films is Japanese films, and a group of filmmakers led by Akira Kurosawa have established great fame in the Western film circle.

As time goes by, Japanese films begin to decline. On the contrary, mainland films with profound backgrounds begin to attract Western attention.

However, here, there are more imagination and curiosity about China. For example, Chen Kaige's "Loess Land".

Wu Xiaozu's movies are different. This is not only the film scenes are full of violent aesthetic styles like oil paintings, but the film structure truly breaks the shackles of the past.

Especially Wu Xiaozu's way of telling the camera, color, space and time really shocked many filmmakers.

On the eve of the fifth generation of the mainland film industry starting to compete for awards, Wu Xiaozu began to explore movies using the common film language between China and the West. This is a later comment from "Visual and Audio".

For Wu Xiaozu at this moment, he mainly shoots this "big cost" movie quickly. For a horror movie that is mostly indoor dramas, Wu Xiaozu fully demonstrates his "eating and taking a taxi" style in terms of funds.

In a supernatural atmosphere, the filming speed of this movie is also extremely fast.

When the filming of "Fear Room" started, the filming of "Young and Dangerous 2" also ended and entered the post-production stage.

Wu Xiaozu has always paid attention to this movie, so he will naturally not leave it behind when making money.
Chapter completed!