Editor's note:
Zhejiang International Youth Film Week ended on November 17. In the meantime, the master class brought by three industry big names, Ning Hao, Liu Heng, and Ryusuke Hamaguchi, not only sincerely shared their own life history and creative experience, but also provided beneficial for the growth and development of young filmmakers. guide. Why can some movies be directed at people's hearts? How are they filmed in innovative ways? As a young filmmaker, how should you stick to your original aspirations and what challenges will you face? Zhejiang News client reporters walked into the master class and recorded the sharing, questions and thoughts.
Ning Hao
photographed the most real things
Ning Hao
Ning Hao, who liked to paint since childhood, dreamed of going to Beijing to study fine art when he was young. When he applied for the college entrance examination, Destiny made a big joke with him: After so many years of studying painting, it turned out to be weak. By mistake, he was admitted to the Adult College of Beijing Normal University, majoring in film and television program production.
now looks back and can only lament that there is providence in the dark.
In the Zhejiang Youth Film Week master class, facing young people similar to his back then, Ning Hao’s "Golden Sentence" opened his mouth like a bean: "I have nothing to warn young creators, how do you want to shoot? Just shoot what you want to shoot.” “In this industry, talents will not be buried”; “I have never said firmly that I want to be a director, and I don’t want to be a director”; I feel very happy for the director who owns money to make movies." "Filming is made by'walking', not by'thinking' it out of the brain"... The audience at
laughed and applauded frequently, and Ning Hao's state became more relaxed. 13 years ago, he emerged from Andy Lau's "Asia Rising Star Guidance Project". Now, with his "Bad Monkey 72 Film Project", he supports younger and outstanding creators.
The first four films,
Ning Hao recalled, when he was most struggling, he had only 2,000 yuan left. In order to stay in Beijing after graduation, he began to learn to take pictures, learn to shoot MV, and actually made a sophisticated music album with a temporarily rented machine.
's 2001 short film "Thursday, Wednesday" won the Best Director Award at the Beijing University Student Film Festival and the Silver Award in the Chinese University Student Film Digital Media Competition. Ning Hao, who has always been worried about not being able to study in the Fine Arts Department, felt "praised" at this time. "I found that I was able to do this, so I slowly diverted my attention. In fact, I have never firmly said that I am I want to be a director. I want to watch and try.”
Having said that, in fact, from the first "Thursday, Wednesday" to the "Crazy Stone" that made him famous, Ning Hao posted it himself. Money shot. "Incense" originally planned to invest 1.5 million yuan, everything was ready, but was tragically divested, so he invested all his hard-earned money of 30,000 yuan, throwing money, while depressed, secretly scolded himself, "Deserve it, who made you? I like this." "Incense" made Ning Hao win the Best Feature Film Award at the Tokyo Ginza Film Festival and the Gold Award in the DV Digital Unit at the 25th Hong Kong International Film Festival. I thought it would be easier to find investment, and ended up shooting "Green Grass". He suffered a second divestment by investors. He and another friend pooled together 200,000 yuan before "Green Grass" barely started shooting. Because of the serious shortage of funds, the crew can only afford a thin canvas yurt. The yurt is not protected from the wind, and has to rely on burning cattle and sheep dung to keep warm at night; one after another, many people in the crew suffered rollover accidents, and many people in the crew were injured and fractured. A driver was invited to be the production director; the deputy director left, he asked the local teacher to be the deputy director, and barely finished filming "Green Grass." Even in "Crazy Stone", there was already Andy Lau's investment, but the money was still not enough to spend in the end, and he posted his own money again.
Ning Hao was criticized by his own screenwriter for being self-sufficient and unsustainable. But he thought it was nothing. "You don't even want to spend money, what can you do for the movie? I ran into Xu Lei, the director of "Sherlock on the Plain" in Hangzhou a few days ago. He also made a movie at his own expense. Now there are still willing to spend. I'm very happy for the director with my own money." Ning Hao said.
Tactile things are more handy to shoot
Ning Hao said that he likes his two works most, one is "Crazy Stone" and the other is "Heart Flower Road", the former taught him "Step back a bit.” The latter is more tolerant and uses culture as a material to collide with Hollywood culture. The guest speaker at
and vice dean of the School of Film and Animation of China Academy of Art, Liu Zhihai, is from Ning Hao’s university. Classmate. Liu Zhihai recalled that before filming "The Flower of the Heart", Ning Hao ran to many cities, and when they visited themselves in Hangzhou, the two immersed their feet in the water by the West Lake. Liu Zhihai listened to Ning Hao's endless talk. Talking about his "travel experience", "The movie lasts for almost 90 minutes. Ning Hao talked to me for 80 minutes, saying that this trip was too interesting and I met this person and that person. When the movie was released, I felt like I had experienced that trip. "
" The tactile things are easier to shoot. "Ning Hao said, and the journey before the filming of "The Flower of the Heart" was what made him feel "tactile". He also warned the Zhejiang students present: "The movie came out of it, not thought 'Coming out, it is a physical behavior, not a brain behavior. "With this "tactile" creation,
has one of the most popular short films in "My Motherland and Me", "Hello Beijing". Ning Hao said that he was most impressed by 2008. There were two major events, the Wenchuan earthquake and the Olympic Games. In such a fast time, it is not easy to gather the power of the whole country to fight against the earthquake and to host the Olympic Games. "This nation has gone through a lot of suffering. With this little achievement today. Life is the same. A little bit of achievement must be because of the difficulty before. What I want to express is the feeling of ‘not easy’. "Ning Hao said. The
team had a heated discussion on the story. The earliest idea was to write a person who sold scalper tickets for the opening ceremony of the Olympics. Ning Hao remembered that the writer Wang Shuo had written a story about the Asian Games, so he contacted Wang Shuo to ask for it. The copyright finally added Wenchuan elements on the basis of that story, and it became the version that the audience sees now.
advised young filmmakers not to cater to the market
For Zhejiang, Hangzhou, Ning Hao is no stranger to Zhejiang.
Zhejiang Film Having been at the forefront of the country over the years, Ning Hao has also adopted a lot of tricks for young filmmakers in Zhejiang: "Just put the things you want to shoot to the best, and don't carry any burdens when shooting short films. The work of art is more than strengths, not more than completeness. One strength will cover all your problems. "
In the past, movies were made for fans. In 2018, the number of viewers in Zhejiang alone reached 138.86 million, an increase of 10.28% over the previous year. Movies are no longer a fan’s carnival, and audiences are gradually layered. Therefore, Ning Hao advises young filmmakers not to cater to the market. "The market cannot cater to the market. The Chinese market is so big. If you shoot the most authentic things, the market will naturally accept you and leave you room. Before, a director said that the film was too long and was afraid of affecting the schedule. I was disappointed when I heard it. If you think it should be long, you should not consider so many market things. "Crazy Stone" had only 4,000 screens at that time, and now has 66,000 screens, an increase of about 20 times. At this time, the demand for viewing movies and the market have changed and become more diverse. "
Ning Hao believes that the current creative environment is very beneficial to young people," You can rest assured that you will not miss the opportunity. There are many opportunities in a person's life, and the key is to do yourself well. I haven't seen the buried talent in this field. It is an individual who will definitely come out. A talent has a path that he should take and a path that must be experienced. If you value an opportunity too much, then you are not a talent. "
Opportunities are not passed. Ning Hao hopes that the young people present here will not place their hopes on an accidental event. He said that no one story has changed his life, and his life is ultimately in his own control. Within.
Liu Heng
Future rivals or artificial intelligence
Liu Heng
Looking at his lecture theme "Excellent Script Creation and the Development of Successful Screenwriters", 66-year-old Liu Heng quipped: "This topic, look hard. It's kind of like a kiwi sales brochure! But today, what you like to ask, I will try to answer sincerely. "It attracted laughter from the audience. Many outsiders at
may not know Liu Heng well, but as a predecessor in the screenwriting world, they have created "Judou", "Qiuju's Lawsuit", "The Happy Life of Poor Zhang Damin" and "The Young Son". Liu Heng from "Jinling Thirteen Hairpins" and "Assembly Number" is the idol of many screenwriters. "Chicken Feathers Flying to the Sky" "Zai Yuan"Fang" screenwriter Shen Jie has said that Liu Heng is his favorite screenwriter. No wonder, there are many big names who come to listen to his lectures, Liu Yi, the screenwriter of "Wolf Warriors" and "Wolf Warriors 2", Yu Baimei, screenwriters of "The Breakup Master" and "Galactic Crambling Class", and "Get Out!" Yuan Yuan, the screenwriter of "Mrs. Tumor"...all deliberately rushed to the Fuchunshan Pavilion in Fuyang District, Hangzhou to listen to Master Liu's "pointing."
has a lot of "dry goods" in his master classes, and he gives a lot of pertinent suggestions to young directors, young screenwriters and young people who want to enter the industry.
is first about creation. Liu Heng gave the secret to writing a good script: "How can I write great works? Some people can't write it for a lifetime, but some people may become famous on a piece of paper. One rule is Inevitably, that is serious and meticulous reading. This is the first step in writing a good script. Reading is the mother of writing, and no one is born with it. In the process of reading, you can’t stand still, the “radar” must be constant Only those who level up can get the most precious information."
Next is about mentality. Based on his own experience, Liu Heng said that the work of screenwriter is "ascetic". "Some people succeed by chance, and some people are good at using resources, but I think that really works, it is your fighting spirit, able to endure loneliness and loneliness. When I write, I like to lock myself in the house. Self-reflection, real-time judgment of your own deficiencies, and make up for your own deficiencies. Only those who spur yourself in real time can stick to the end of literature." He recalled that when he created "The Happy Life of Poor Zhang Damin", I was locked in a small house on the sixth floor with no air-conditioning and no elevator. "Laugh when I write about happiness, and cry when I write about sadness." Liu Heng sincerely shared: "Those who have pursuits in the film and television industry, hope Everyone has a humble heart. This society cannot be completely fair. Some people get more and some people have less. It’s very normal. Don’t hate the people under the spotlight, those are what others deserve, and when you stand Under the spotlight, we must think of the people standing in the shadows. Every director’s success is behind the efforts of others.”
Finally, it is about the future of screenwriters. Liu Heng mentioned that the US video site "Netflix" relies on data collection to create scripts based on audience preferences. "I don't know what the future will be, but the screenwriter should not look too high on himself. The future opponent may be artificial intelligence." At
, many young screenwriters talked to Liu Heng about the confusion and weakness in creation, even feelings of inferiority and frustration. While encouraging and admiring, Liu Heng also poured cold water on young filmmakers from time to time. He even said cruelly that the road is always rough. Don't expect someone to push you on the path to success. When you encounter setbacks and fight alone, you still have to give yourself affirmation, clenched your teeth, and fight hard, "My belief is, what about failure? You can still start over."
Ryusuke Hamaguchi
Please believe in the power of listening
Ryusuke Hamaguchi
"Classmates who have watched "Night and Day", do anyone want to ask me a question?" Japanese director Ryusuke Hamaguchi, born in 1978, has a baby face and looks a few years younger than his actual age. He speaks fast, with unique Japanese pronunciation, and he "cracks" like a typewriter when he speaks.
was on the Tongxiang campus of Zhejiang Media College. As soon as he took his seat, he first raised the above questions to his classmates, and then explained the reason for doing so: "I am not a person who is good at talking and talking. I need others to tell me." Asking questions', I will say."
This and the theme of his master class lecture at Zhejiang Youth Film Week-"The Power of Listening" formed a subtle exchange. Even if he is the protagonist of the day, he still wants to "listen" to what others say. He even played clips from the documentary "Sound of the Waves" he made in his early years at the beginning of the class. Without any translation, he asked the students of Zhe Chuan to guess the content of the protagonist's conversation only by "listening".
Most movie fans know that Ryusuke Hamaguchi started with "Happy Hour" at the 2015 Locarno Film Festival in Switzerland. Four amateur female actors won the Best Actress Award of the festival. . The film is unique in that it uses the form of a workshop to create the entire work with a group of amateur actors. The "tuition fee" of the workshop is also the starting capital of the film, which is economical and creative. Japan’s authoritative "Film Weekly" listed it as the third place in the top ten of the year.
Ryusuke Hamaguchi said that the success of "Happy Hour" comes from "listening." zThe story of 3z
will start in March 2011. That year, Japan experienced a major earthquake, tsunamis, and nuclear power plant explosion accidents. Ryusuke Hamaguchi and director Korori Sakai were commissioned to shoot a documentary. However, after the film crew arrived in the disaster area in May, they found that there was nothing left to film.
"We interviewed many people. Some people said that they were not seriously affected by the disaster, but that the house was washed away by water. They felt that they were lucky. After all, their lives were still there; and those victims who really lost their loved ones often did not Ways to use words to express their pain." The film crew fell into despair of "I don't know what to ask or what to shoot."
Later, the two directors stopped asking the specific extent of the disaster, but instead asked: "What have you experienced?"
"The clip we just played is a memory of a pair of sisters, reminiscing about the time they lived in the house that was washed away by the water. The beautiful sunset they saw, the wind-blown wheat waves, the nearby stations... It is beautiful, their tone is very brisk, but none of this exists anymore. It is through this kind of "listening" that the audience knows what the victims really lose. This is also the first time that Ryusuke Hamaguchi has realized the importance of "listening."
He soon came up with a new idea: "Can these documentary techniques also be used in movies?" In 2013, Ryusuke Hamaguchi and several other professionals organized an impromptu acting workshop. The 17 students in the workshop are all from different ages and classes, including college students, office workers, housewives, and retired seniors. They used eight months of weekends to jointly produce a five-hour movie, which later became known as "Happy Hour". The
workshop neither discusses acting skills nor trains lines. It only requires participants to interview and listen to each other, not only asking questions of real actors, but also the characters in the play. "Happy Hour" originally had a script. As the actors' understanding of each other increased and their understanding of the role deepened, Ryusuke Hamaguchi continued to change the script, changing a total of 6 versions. He said that "listening" not only allows actors to understand the role better, but also builds trust with each other and makes it easier to express themselves in front of others.
Last year, Ryusuke Hamaguchi’s first commercial film "Night and Day" met with the audience. Although it was a commercial film, he still emphasized the power of "listening": "The director must listen to the actors and give them the right to choose. Not because of me. It’s a director. When an actor has the right to say'no', he is forced to choose to say'yes'."
