"If it's just a concept, Mr. Wu, how do you make sure that the photographer can shoot what you want," asked Billy Christo.

According to the required requirements of the determined conversation script, he just reflected how Wu Yusen was awesome.

Wu Yusen shook his head and said, "Of course I can't be sure, this requires a tacit understanding.

I said to find a French-style house. This French-style house has a floor-to-ceiling window. I have a special picture. I want this lens to move one square and one square outside the window. In the first square, I saw the killer coming there, and the second square moved over again. It was a figure, the detective was there, the same posture, the same expression, and the camera continued to the third square window, and then changed back to the killer, the same movement and the same expression.........

The person who chose the scenery didn't understand what my purpose meant, and then he said, "Where can I find a French-style house in Hong Kong?" I said that I only need one window for this house, and it needs very long windows for each grid.

But no one understood. Later, he went to look for the scene specifically, and later found an ancient building with such a window. The photographer didn't understand why he had to shoot like this. It was a bit more painful at that time. I signed a contract with the photographer. After signing for 45 days, he ran away in 45 days. Then I begged him. My scene was only halfway through, so I had to unify the style, because he couldn't understand what I meant.

So after he left, we changed to another photographer, so there were two photographers' names. I used the photographer back to "The True Color of Heroes" to continue shooting. As for the actors, they probably knew that they were stories of a killer, a policeman and a singer. Because we talked about the dialogue on the spot, they acted very carefully."

Billy Christo asked curiously again: "Director Wu, how do you cooperate with actors? In Hong Kong, directors have such great power. Is it because the actors are not good at acting, and the directors will get angry and scold people."

Wu Yusen shook his head and smiled repeatedly: "How could it be? I'm not such a director. This is how I interact with actors. I don't teach operas, and I don't talk about operas much. When I film every actor, I first have a certain understanding of her. I understand her strengths, her shortcomings, her beauty, her bad beauty, her tone, and the way she speaks.

On the other hand, when I was thinking about the script, I had already seen a performance. When I came to the scene, I seemed to draw. I hope to have new inspiration. Because those actors, since I knew her, when they came to the live performance, they were indeed what I imagined. Should she bow her head, take two steps, look at the window, or sigh or what, it was indeed what I imagined.

I often encourage the actors, can you give me another way, or can you put her experiences and experiences in this scene, and I will ask her to change the dialogue, and I can ask her to add dialogue.

For example, there was a scene where Zhou Runfa was betrayed by his good friend. He pointed the gun at him. When filming that scene, there was no script at all. I said you were very sad in this scene because you believed in a friend who had been betrayed you for more than ten years. In your life, were you betrayed by your friends? What did you feel at that time? What did you tell him at that time? I forgot that we were shooting a killer movie.

So when I filmed "The True Color of Heroes" I didn't talk about the underworld. I didn't have that deep understanding of the underworld. I was filming a story about a person, so when I filmed him, I said that when he first entered the industry, he helped a friend pay all the money he earned. Later, this friend stabbed him and betrayed him, which made him very sad.

I said you treat Zhu Jiang as your friend back then. You will tell what you said at that time. Some of them were what he once said. Did you forgive him in the end? In the end, he completely forgave that friend. He knew that this was the case in this industry. So, he wanted to kill Zhu Jiang later, but later he put down his gun and tears flowed down. Naturally, I didn't ask to shed tears, so he shed down. This is how I cooperated with the actors."

"I'll ask you a prudent question, are you going to Hollywood Mr. Wu, who is also going to use this method?" Billy Cristo was a supporting actor and asked at the right time.

"Yes, I'm going to Hollywood to shoot in this way. I'm not very fluent in English, but I'll encourage actors to do this in this way. I believe Hollywood actors will give me the performance I want.

I know that in Hollywood, no matter how big a star is, it is restricted. First, you cannot change the script, and second, you cannot add dialogue on the spot, because any change will affect the production budget and the company's control ability.

But I will let them change it.

For example, in some Hollywood action movies, heroes cannot shed tears or face the camera.

But in my movies, heroes can cry. There is an old Chinese saying that men don’t cry easily, but they are not sad.

In the plot of the movie, it is often better to let heroes cry and tell dialogue in a specific situation than to keep them from crying.

"You can see that Mr. Wu, you are a very emotional person." Billy Christo smiled.

"Yes, I'm very emotional, so my movies are often very emotional, and I always like to follow the feeling. When I filmed "Bloody Two", this was basically the case.

When shooting action scenes, I personally control the action scenes and design the action myself. I don’t know how to do martial arts, I have never fired a gun, and I can’t drive, but all the action scenes, even how the actors hold the gun, are designed by myself.

I am not like other movies. Whenever other movies come to action scenes, I will give action guidance. Action guidance is a unique position in Hong Kong, which is a professional in designing and shooting action scenes.

I don't want to hand over action scenes to action guide because of action instructions. He goes to the storyboard, he goes to shoot, he goes to edit, he goes to shoot, he goes to shoot, and he goes to shoot how he likes, and becomes two or three movies of different styles.

This is not possible. What I want is a unified style. Because I don’t understand the movement, when I design the movement, I use the principles of singing and dancing films to shoot action scenes and the focus of the movie. In this way, the shots will be poetic, beautiful, and romantic."
Chapter completed!