"The grandson is endlessly good, but it's almost dusk." Qin Fen, the "grandson" in the game world, and Liang Xiaoxiao, the emotionally delicate "Jianguo", parted ways after their trial marriage failed. Xiaoxiao traveled around the world in an environmentally friendly way to rekindle. To shape himself, Qin Fen chose to live alone in his longing, accompanying the postcards that traveled across the ocean to his seventies. (Note: "Cangsun" and "Jianguo" are both Beijing dialects. The former refers to older men, and the latter refers to beautiful women)
The poster of "If You Are the One 3"
In the view of director Feng Xiaogang, if we talk about the first two " "If You Are the One" is a middle-aged man's yearning for love and his feelings about life, separation and death; then "If You Are the One 3", which takes place in 2031, is even more pure. It is a love story wrapped in fantasy sugar-coating.
He set the story background of this series of movies in the near future of 2031. Therefore, Qin Fen’s colorful home environment in the film has holographic projection, voice control, and smart butlers. The greater sci-fi highlight is the artificial intelligence Now that the topic of intelligent AI is hot, there are fake and real intelligent robots appearing in the movie.
As a screenwriter and director, Feng Xiaogang has long been interested in the topic of robots - in 1996, he wrote the script for the Spring Festival Gala sketch "Funny Talk about Robots" starring Guo Da and Cai Ming. Going back further, there was an episode in the 1992 TV series "The Story of the Editorial Office" in which "Queen of Sweet Songs" Li Lingyu played the role of robot Lace and applied for the editorial office of "Guide to the World", which triggered a series of ironic and interesting things. One of the screenwriters of the TV series is also Feng Xiaogang.
Someone has calculated that the combined ages of Feng Xiaogang, Ge You, and Shu Qi in "If You Are the One 3" are nearly 180 years old, but the film's creative team is very young this time, with producer Zuo Yi, director of photography Zhong Rui, art and styling directors Gao Ang was born in the 1980s when he was young.
"If You Are the One 3" final shot of Gao Ang (second from right in the back row)
"The Wandering Earth 2", which was released during the Spring Festival last year, also had Gao Ang as the art director. His experience in the design and production of science fiction films allowed him to participate in this "Feng's Science Fiction Film".
"The story takes place in the future of 2031. Science fiction is not an element that is deliberately emphasized in this film. The director uses a natural approach to integrate elements such as smart people and smart homes into Qin Fen's surroundings, such as Qin Fen's preference for colorful hats. The science fiction elements are like spring rain in the film." In an exclusive interview with The Paper, Gao Ang said that he only saw the entire film for the first time when "If You Are the One 3" premiered nationwide on December 28, 2023. . "The AI robots awakened at the end of the film. They are not going to rule all mankind, but to relive the encounter between Qin Fen and Xiaoxiao in 2008. This moved me particularly."
[Dialogue]
Robots are calculations, and we are calculations
The Paper: As the art and styling director of "If You Are the One 3", can you first talk about your views on the film's temperament and tone?
Gao Ang: "If You Are the One 3" is a continuation of the love story between Qin Fen and Liang Xiaoxiao in the first two films. It is the safest way to continue the interpretation of this story and the tone of the film from the first two films, but we boldly used high The saturated contrasting color design creates a world that is completely different from the previous two games.
Anyone who has watched the movie knows that a large number of scenes in "If You Are the One 3" take place in Qin Fen's home, a romantic tree house. In terms of art design, we retained the original spatial layout of the tree house and made significant adjustments to the colors, defining the story as a colorful dream of Qin Fen.
Ge You plays Qin Fen
This exaggerated use of color actually creates visual stimulation and makes the audience feel detached. While not being so "involved" in the play, it leaves enough room for understanding of the characters in the play. imagination space, making it easier to bring in your own feelings and memories. We used vivid and bright colors to tell a story about a future that does not exist. It can be said that this is Qin Fen’s dream and the audience’s dream.
The Paper: "If You Are the One" is director Feng Xiaogang's only series work. In the third film, there are many flashbacks of plot clips from the first two episodes. Will these also affect your art design?
Gao Ang: flashback allows the audience to know what kind of story happened in this space before, and also gives us the best design reference. In the same space, time and space rotated, and their home became an empty room for one person to guard alone, so Qin Fen decided to change the furniture and paint the house. You can't always fall into the black and white of missing, you should make your life colorful. So after trying countless color matching schemes, we completed the final presentation of the film. I think it was a great visual breakthrough.
In fact, under such an imaginary future system, the director can tell a new story and no longer review 1 and 2. But the story of Qin Fen and Xiaoxiao has a beginning and an end, and the ending lives up to the beauty of waiting, which is also the director's expectation for the final chapter of this series of movies. It's like an old man flipping through a diary of the past, full of memories.
The Paper: The story in this episode of is set in 2031. There is no doubt that Qin Fen’s home should keep pace with the times and reflect the sense of technology in the near future. Please talk about this aspect.
The floor plan of the treehouse
Gao Ang: In the design of the treehouse, we have added a smart home system, holographic projection, smart butler, smart light effects, and a deck chair specifically for charging smart people. You mentioned a sense of the near future, which to me is appropriate. All technological conveniences are appropriate in this story, and they all participate in the narrative and cannot take over the main role.
Our dialect smart butler "Baoqiang" is a comedy with unique science fiction elements, mainly humor and supplemented by technology. In addition, the holographic projection is integrated into a pair of glasses, and combined with the "finger pull" remote control, it adds a little fun to Qin Fen's life.
The original appearance of the tree house
The Paper News: Generally speaking, it is believed that the reason why Director Feng Xiaogang chose you to do the art design this time must have taken into account your past resume, especially the art design for two "The Wandering Earth". Did these experiences help you in designing the sci-fi sense of the future world this time?
Gao Ang: Most of the core of science fiction films are about describing the relationship between technology and people, ranging from politics and economy to basic necessities, food, housing and transportation. They all have to build a worldview. To make the audience believe in a future world, "organization" is crucial. Yes, this is what we have been improving in the "Wandering Earth" series.
But after reading the script of "If You Are the One 3", I felt happy and excited. The world view is integrated into the plot and performance. This is a less real world, a fantasy and relaxed story that cannot be too serious.
Director Feng used a lot of details to build the LED screen around the entire scene to dispel the attributes of hard science fiction. For example, in the movie, the artificial intelligence housekeeper "Baoqiang" voiced by Wang Baoqiang, when Qin Fen wakes up from his sleep in the early morning, "Baoqiang"'s voice immediately comes from the bedroom, "Uncle, why did you wake up so early?" The director used Such a dialect solved the story in one fell swoop and brought the story to fruition. Director
wants to repackage it in the shell of science fiction to talk about what he thinks will happen if artificial intelligence appears in our daily lives in the future. And instead of talking about it in detail, the focus is on Xiaoxiao who left and Qin Fen who stayed alone.
The Paper: talk about the communication between you and director Feng Xiaogang about the plot before the filming of the movie started.
Gao Ang: I met the director for the first time at the end of February 2023, and we went to Haikou together for location scouting in early March. The director is a person who loves to tell stories and is very good at telling stories. I think this story has been brewing in the director's mind for many years. At the 1996 Spring Festival Gala, Guo Da and Cai Ming starred in the sketch "Robot Funny Talk", and he wrote the script.
When we chatted this time, he said that he wanted to make such a science fiction film. The biggest highlight of the plot is that there will be artificial intelligence robots. In the director’s opinion, the biggest difference between robots and humans can be summed up in one sentence, “Robots are Calculation, we (human beings) are calculations." This sentence is Qin Fen's line in the movie and is also the core word of the movie.
Calculation is rational. Calculation is both rational and emotional. It is a neutral word, which shows that human nature is multi-faceted, sincere and full, but also seeking advantages and avoiding disadvantages. The robot's behavior pattern is straightforward, but people's hearts are too It’s complicated. Sometimes when we say a word, it may not be completely literal, or even the completely opposite meaning. This sentence is used to govern the entire film. The interaction between Qin Fen and Zhen and Fake Xiaoxiao is where many misunderstandings and laughter come from.
Shu Qi plays Liang Xiaoxia
Simple color drawings drawn by old children
The Paper News: "If You Are the One 3" gave the audience the first impression this time of the bold and outstanding use of colors. How was this aspect considered?
Gao Ang: With the improvement of the script this time, the director wanted to make a bigger breakthrough in terms of tone. He decided to create a colorful space to carry Qin Fen's longing for Xiaoxiao. At the beginning of the
plan, we only matched colors from a composition perspective, and the visual experience of spatial color is different for everyone. It is highly subjective and it is difficult to definitely say what kind of color matching is correct. Finally, we introduced Qin Fen’s character into the design, starting from Qin Fen’s subjectivity and imagining the color matching of every wall and every piece of furniture and soft furnishings.
As an old man who is nearly seventy years old, Qin Fen has a playful personality that makes him more like an old child. The colorful space can bring more emotional joy. On the other hand, the new look of this home is also Qin Fen is looking forward to a surprise when Xiaoxiao returns home. Each space represents a color block in the painting, which together form a three-dimensional work hand-painted by Qin Fen, an old child.
The Paper: When it comes to color in , where did the inspiration for the so-called dopamine color matching come from?
Gao Ang: In my opinion, it is not surprising that the director proposed the concept of colorful space. Director Xiaogang has always been willing to try new things in movies. The previous movie "I'm Not Pan Jinlian" used a circular format because he defied public opinion and drew on the beauty of traditional Chinese painting. It turned out to be a great idea.
In addition, the director himself is also a painter and he is very sensitive to color. There is a very large studio in the reception area of the director's studio, which contains many of the director's own paintings. Colorful paints are applied with pens on the white canvas. Isn't this the direct connection between Qin Fen and the director through the air?
There is a line in the movie, Xiaoxiao asked Qin Fen how he painted the room into dopamine style? In fact, I didn't know the term "dopamine style" when I was designing. After the scene was completed, people always said this, which made me feel that I had unintentionally followed the trend. This is a very interesting thing.
The Paper: I remember the director mentioned at the film’s lineup press conference that the use of color was inspired by the paintings of the contemporary American painter Edward Hopper.
Edward Hopper's painting "Morning Sunlight"
Gao Ang: In our opinion, the colors of the tree house were painted bit by bit by Qin Fen during the 10 years of missing and laughing, and are mixed with various colors. About the emotion of longing. The concise and easy-to-understand picture composition and bright colors are closer to Qin Fen's state, and every stroke is casual. When designing the set, we drew inspiration from the work of painters such as Edward Hopper, Alex Katz, and David Hockney.
It can be said that the entire treehouse is a huge canvas. The plane and facade of the scene space, furniture and soft furnishings, outdoor environment and character shapes are all part of the color composition of the picture, and they are all painted in a flat way. When my son was in kindergarten, we had a wall in my house where his paintings were all colorful flat paint.When we were young, we took art classes and used colored pencils and watercolor pens to draw colorful pictures. Children's imagination will not be limited. Picking up a paintbrush is actually to stimulate their color imagination.
We common people have a saying called "You come with beauty when you are old." Qin Fen in the movie will be 70 years old soon, and the colors of the entire tree house are the simple sketches drawn by him, an old child.
The Paper: In terms of movie color, many viewers will associate it with "The Grand Budapest Hotel" from "If You Are the One 3".
Gao Ang: In fact, those who have watched the movie will know that we are completely different from "The Grand Budapest Hotel". I like the works of director Wes Anderson very much. He is also an excellent graphic designer, but this is different from our attempt this time. We are the logic of color painting. If you look closely, you will see the colors and contrasting colors in life. It's everywhere, it's never one-sided from a certain movie, and I won't do that kind of parody.
The Paper: , can you give a detailed introduction to the colors used this time? For example, how do the colors used in the living room and bedroom coincide with Qin Fen’s mood?
Gao Ang: Many people may say that the main color this time is Tiffany blue. In fact, we refer to the "Cloud Gate" color in the ancient Chinese traditional color chart as the keynote. In order to increase the sense of layering and time of colors, we mixed several dark and light colors of the same color system and painted them on the wall to highlight the handmade feel. At the same time, a large number of glass bricks are used as materials for hard and soft decoration. The different surface curvatures and light transmittance of glass bricks are used to create dramatic light and shadow effects in the corresponding spaces.
started from the foyer, using a blue-green color scheme and a small area of warm complementary colors. The blue-green living room has colorful curtains, and the yellow sofa matches the black portrait sculpture. We try to constantly highlight the contradictory feeling of longing through the use of warm and cold colors.
Real picture of Qin Fen’s bedroom
The tone of the bedroom is warm orange. We hope that the space where Qin Fen rests is warm. There is also a photo of Qin Fen and Xiaoxiao taken in Hokkaido when Qin Fen and Xiaoxiao went abroad together for the first time hanging on his bedside. . Qin Fen’s bed is mainly dark blue. He wants to express his loneliness and melancholy when he is lying in bed alone. There is actually a relationship between Qin Fen’s bedroom and the main bathroom. A semi-open partition was made, separated by an orange glass wall, with a blue bed on one side and a similarly blue washstand on the other side, because he lived alone during the 10 years he was waiting for Xiaoxiao. When washing in front of the mirror at the sink, I can only see myself, which is also lonely.
It is separated by an orange glass wall, with a blue bed on one side and a similarly blue washstand on the other side.
The kitchen is connected to the terrace, and the red dining table is particularly eye-catching.
The main color of the kitchen is yellow. Qin Fen usually Most of our meals are take-out, so the kitchen doesn't feel like much use, and there's no obvious smoke and smoke. Where the kitchen is connected to the outdoor environment, medium yellow is used. But we chose a red dining table. Red is warm, and Qin Fen himself is also warm. He likes to entertain friends, chat with people, and drink. His heart is still hot and surging. We hope that the large area of red on this dining table can stand out and give people a sense of tension.
The door of Qin Fen’s house is painted with a red frame
Careful viewers may also notice the door frame of the treehouse door. We I deliberately painted narrow red strips on the inside and outside. This is like when we make a ppt. If there is any content that we want to emphasize in it, we will mark it with a red square. This red mark is actually the mark left by Qin Fen to Xiaoxiao. He hopes that one day Xiaoxiao will come back and he can find his home at a glance. The main colors in the space are blue, green and yellow. Blue and green actually express melancholy and loneliness, and are occasionally embellished with warm colors, which can reflect Qin Fen's character and emotions.
The furnishings should be both life-like and concrete.
The Paper: The large-scale use of colors will actually give people a sense of unreality, but this treehouse is a home after all. I think the elements of postcards and kites bring a different feeling. The atmosphere of young family life.
Gao Ang: Yes, the concepts of postcards and kites are very important plot settings in the movie. The postcards are Xiaoxiao’s greetings from all over the world, and the kites are Qin Fen’s expectations for Xiaoxiao’s return home. Every time he received a smiling postcard, Qin Fen would fly a kite, then put on a new one and start a new round of waiting. This was the only connection between the two in the past 10 years, and it was one-way.
Postcard wall
When setting up the scene, we purchased old postcards from all over the world from various channels, reproduced stamps and postmarks, etc. Full of details, and added Xiaoxiao’s handwriting to create this postcard wall.
Kite Wall
In the plot, Qin Fen made the kites one by one by hand. We invited traditional kite craftsmen to teach, and set up a kite wood-making workspace in Qin Fen’s house. On the basis of traditional kites, more details were added to the painting part. Many modern color elements are used to highlight the character of Qin Fen.
I would like to emphasize that unlike the indoor flat paint colors, the postcard wall and kite wall in the movie are both three-dimensional. The postcards are stacked on top of each other, and the kites hanging on the wall are also scattered at different heights.
The hat wall at the entrance hall
In addition to these two walls, the hat wall at the entrance hall is a particularly exquisite idea of the director. When I was thinking about how to design this wall, I was particularly troubled. It felt awkward to hang any decorative painting when I entered the door, and it was even more inappropriate to leave it empty. The director suggested that I could hang a wall of hats here. Qin Fen is bald, and the island where he lives has very strong sunlight. In the movie, he wears a hat whenever he goes out, which is very reasonable. Director
hopes that the interior furnishings should be both life-like and concrete. Specificity actually means being meaningful and useful, and the decorative aspect should be weakened. The small round mirrors on the hat wall are also used for wearing hats and sunglasses.
The Paper: I noticed that Qin Fen’s home in the movie also has some artistic furnishings, such as installation art and some hanging paintings in the living room.
Gao Ang: Qin Fen, who was waiting for Xiaoxiao to go home, was undoubtedly lonely, full of longing for her, and wished he could see her all over his eyes. In addition to smiling photos everywhere at home, we also selected some art works that are consistent with Qin Fen’s mood as displays. At the same time, the color of the interior this time was extraordinary, so the director was very strict in selecting decorative furnishings, aiming to be less but more refined.
The sculpture in the living room you mentioned is the work of contemporary artist Du Chunfeng. It is black and white. It can be understood as Qin Fen's emotion when he is waiting for Xiaoxiao. He is very lonely. You can also understand it as the feeling of peace and harmony. There’s something metaphorical about replicants, and having it there makes the whole space feel special.
"Waiting"
There is also a small sculpture about waiting, which is placed on the red dining table, facing the outdoors, clearly expressing a kind of longing. In addition, we also selected three Edward Hopper paintings this time, one of which is "Morning Sunlight". Their themes are all about waiting. There are single or double figures in the paintings, which also reflect the relationship between men and women. relation.
I am from Xi'an. There is a line in the movie that is very Xintianyou style. It comes from the folk song of northern Shanxi "Singing a Little Qu'er and Understanding the Heart". "Do you know what missing is?" "It's when a temple is built on a high mountain but it's too low, but it's when we sit face to face and still miss you." These words are very simple, but they are very touching.
The Paper: In addition to the dopamine style of spatial color in , the colors of the actors' costumes this time are also relatively bright. Is there anything that should be paid attention to in matching with the scene?
Gao Ang: At the beginning of , the director and I wanted the costumes to have contrasting colors as much as possible. However, after the fitting, we found that if there are too many colors in the room and the people's clothes are particularly fancy, the actors will look awkward when placed in the space. There is a feeling of excessive decoration, and the audience’s eyes don’t know where to look.
Theoretically, if the person's clothes are particularly fancy, then the indoor color should be supplemented with some high-end gray, but this is not the color texture the director wants and is not full enough. We were at the scene and had adjusted the color of the monitor to 150%. When the color density of the camera and monitor were adjusted to the limit, after watching it for a long time, you will find that the normal colors are all gray (laughs).
The colors of the actors' costumes have been adjusted this time. The proportion of warm and cold colors, including the colors exposed in the collar, have been paid attention to. The final effect is just decent, comfortable and colorful, without overdoing the styling. We look for synaesthesia between colors as a whole. In the end, art must serve the story of the movie.
The Paper: I would also like to mention one more character, Jianguo played by Chang Yuan. What references did you use for his costume design?
Chang Yuan plays Jianguo
Gao Ang: Jianguo is a rather special character. When designing his costume, I couldn't grasp the degree and proportion in it at first. Jianguo's identity in this episode is a fashion designer. We later referred to internationally famous fashion designers, such as Dior's designer John Galliano, and Chanel's designer Karl Lagerfeld. dress. Jianguo's role in the movie is relatively small, and the visual memory for the audience is relatively strong.
Lightweight, simple and easy to read are the keywords of this art and styling design
The Paper: What considerations did take in the art design of this time’s location?
Gao Ang: The outdoor scenes of were all shot in Hainan, but they were color corrected. There were not so many people or crowds in the movie. There was one scene with more extras, which was shot in front of the Westin Hotel. There were some people running for fitness and guests coming to eat. There is also a scene at the end of the film where Akapani Company throws a birthday party for Qin Fen, and there are some extras.
I think this movie is quite like a stage play, an exquisite indoor play. The director originally even wanted to use a painted background to present the outdoor environment, but this would cause perspective problems. Once the camera moves, it will disappear. It can't be connected, and it can't form a fill light of light color and brightness for the indoor environment.
This time the outdoor environment uses a wrap-around high-precision LED screen to play environmental videos. The material is synthesized from real-life shooting combined with digital means. The color of the environment has also been artistically processed and made more exaggerated adjustments, making the world look a little bit different. Illusive, like the feeling of a child observing the world, the color information is infinitely amplified and exaggerated. The director has a clear shooting method on the set, and he is very clear about the editing points. It can be said that he has a plan in mind.
serves as the "finger" of the holographic projection remote control. Although the audience cannot see it, a chip is added inside. The Paper reporter Wang Zhen Picture
The Paper: We know that the art director has to work closely with the cameraman on the set. Can you talk about your communication with Zhong Rui?
Gao Ang: Photography director Zhong Rui and I are similar in age. Whether it is in the early preparations or on the set, the communication between us is frequent, and the collision between the two people is a steady stream.
Colors are ever-changing. In fact, it is difficult to match them comfortably and appropriately while highlighting the auxiliary effect of contrasting colors on movies. The filming of "If You Are the One 3" should be the most difficult creation in my career. This kind of use of color has never appeared in previous domestic films. How does the color match the light and shadow? Flat paintings do not have such a strong sense of perspective and need to compress the depth of field. This time, I generally used a medium-long focal length to shoot, so that the picture can be full and the flat painting feeling is highlighted.
The Paper: Does art consultant Zhang Shuping have any suggestions on art and styling?
Gao Ang: After we completed several versions of color matching this time, we felt really unsure. As I just said, such an attempt had never appeared in a domestic film before, so the director and I flew to Hong Kong to visit my uncle (Zhang Shuping). . Teacher Zhang is an all-rounder, with expertise in art director, costume designer, and editor. My uncle did the editing of "I'm Not Pan Jinlian" back then.When
arrived in Hong Kong, he showed his uncle a lot of our design drawings. Generally speaking, he was satisfied with 70% of them, but he felt that it was not enough. He needed to be more energetic and exaggerated. In his words, if he wanted to "play" Play thoroughly. He is 70 years old. This time I found that my thinking is much more conservative than his. Creation really requires boldness. It is difficult to break through by sticking to familiar things. My uncle came to the set for a week before the filming started and has been helping me adjust the scenery and styling. His participation was crucial and played a finishing touch.
The Paper: What specific suggestions did Zhang Shuping give for ?
"The Works of William Scott" was recommended by Zhang Shuping to Gao Ang and appeared on Qin Fen's bookshelf. The Paper reporter Wang Zhengtu
Gao Ang: For example, I have never thought about how to make the hair style of the robot Xiaoxiao more suitable, so he proposed to use the short hair of young girls - I have been thinking about the hair style logic of the AI robot. There are many twists and turns, but my uncle’s thinking is that the character must first be interesting, and the character must serve the story.
Secondly, after listening to Qin Fen’s suggestion that the robot be more humane, Lao Fan changed Xiaoxiao’s hairstyle. In the movie, at first, the robot’s standard hairstyle was short straight hair with bangs, and then Xiaoxiao’s hairstyle My hair has become short and broken, a bit shaky. Including Xiaoxiao’s “self” feeling tired after coming back, just tying her hair up and down on her head casually. In terms of plot setting, Xiaoxiao has really returned since her "fried hair" hairstyle. She is a very willful girl with a high-spirited personality, which is reflected in her short broken hair.
Another thing I particularly admire is that my uncle suggested removing a lot of green plants. I initially made a lot of green plants when I was in the garden. There were a lot of green plants around the kitchen and terrace, including grape vine trellises and flower trellises, which were already full. But when my uncle came to adjust the scenery, he removed everything that could be removed, including the washing machine and other special daily furnishings we had before. My uncle has been helping us do subtraction. He dares to delete things and is very good at deleting things. This really benefits me a lot.
A pot of green radish brings back the friendship between Qin Fen and his best friend Li Xiangshan
The Paper: How did ’s visual effects director John Hughes (John Hughes) collide with you on the set?
Gao Ang: John Hughes was the visual effects director of "Life of Pi". On the set, he was present throughout the entire process, and his specific tasks included controlling the LED screen. In terms of visual effects, the most difficult scene in this movie is the real and fake Xiaoxiao and the real and fake Qin Fen, four people in the same frame. In terms of shooting methods, I know that they shot it twice, once with the real person and once with the stand-in. I really don’t know how the final synthesis was done.
The Paper: The last question for . Having experienced the filming of the "Wandering Earth" series and "If You Are the One 3", what do you think of the differences between the two science fiction films?
Gao Ang: For me, is a big breakthrough. First of all, we must break through the inherent logic of the "establishment" of science fiction films and understand the word "science fiction" again from the perspective of the audience. When there is a major breakthrough in science and technology, , bionic people have entered thousands of households in the human world, how do I build this world?
Director Feng Xiaogang uses color to resolve this matter. He uses "unreality" to tell the truth. His pictures and the world are unreal, but he is telling a real thing, using his own Feng's humor. To eliminate the weight of hard science fiction. At the same time, the core of science fiction is still there, but the functionality has been weakened or made daily. The intelligent people in the movie must "real" exist for the story to be true. In addition, the dialect of the smart housekeeper is a tone of the film. Its appearance always reminds the audience that the future is not unpredictable, and the dialect is the key point that connects the audience into this future world.
From this point of view, it is very different from "The Wandering Earth". The robot Moss in the latter mouthed "Lieutenant Colonel Liu Peiqiang..." It has a very cold technological texture.Visually, the "Wandering Earth" series follows a heavy industrial style. Its image style comes from the texture of materials, the heavy feeling of industrial construction.
The story of the "Wandering Earth" series tells the story of a community with a shared future for mankind in the face of a global crisis. "If You Are the One 3" tells the story of the joys and sorrows of a small family, a lonely old man and his wife at home after 10 years apart. , it’s just that this story is set in 2031, so it needs futuristic packaging, mainly with colorful flat paintings. When the audience sits in the theater, they are actually following Qin Fen in a dream of mixed joys and sorrows. The design ideas and focus of
are completely different. The key words of the art and styling of "If You Are the One 3" can be summarized as light, simple and easy to read.
