观影后对人生的感受
城市很小,一栋公寓里窗户对窗户,门对门,抬头不见低头见,虽然关上门各是一方天地,但我们都生活在一起。
城市很大,一栋公寓窗户对窗户,门对门,抬头不见低头见,门一关上我们都不知道隔壁或上下
观影后对人生的感受
城市很小,一栋公寓里窗户对窗户,门对门,抬头不见低头见,虽然关上门各是一方天地,但我们都生活在一起。
城市很大,一栋公寓窗户对窗户,门对门,抬头不见低头见,门一关上我们都不知道隔壁或上下邻居都是谁都有怎样的故事。
但无论大小,我们都觉得现在的生活很糟心,没有人可以理解我,没有人懂我的独孤,也没有人安慰我。
Embrace the mess
Life is messy, but also beautiful。
走出这扇门,发现身边的美好,总能有意外惊喜。
观影后对悬疑的感受
特定范围内,无数嫌疑人,每个人暗藏故事,这是典型的孤岛设置。
但当孤岛打开,变成开放世界,自由进出,似乎比孤岛更为有趣。
案件并不复杂,手法算是入门级别,但在这个特定的环境,特定的情节设置,和特定的人物背景衬托下就显得很巧妙。
与其把它当成一部悬疑推理剧,不如把它当成一部黑色幽默喜剧。
突然发现,这种开放但特定环境下的悬疑推理比苦大仇深的孤岛设置有意思多了,
毕竟,现代人都这么孤独了就别再小岛转了,走出来多交际点嫌疑人不更好吗,又能给钱,还能给你讲八卦,还能促进友谊,房租没准还免了,更没准还会有艳遇呢~
这不比在小岛上好玩~
【解决师】结尾为什么非得要这样呢,一定要有遗憾才能让人印象深刻么。我真的不认为唐诗咏是最水的视后,回看她之前的剧集,法证3、飞虎,客串的单元坏人演的非常棒。王浩信不用说了, 【解决师】结尾为什么非得要这样呢,一定要有遗憾才能让人印象深刻么。我真的不认为唐诗咏是最水的视后,回看她之前的剧集,法证3、飞虎,客串的单元坏人演的非常棒。王浩信不用说了,帅出宇宙边际,陈敏之和唐文龙终于在这部剧有了一个好ending,论演坏人我只服李天翔,哪种类型坏人没演过?#我的第126个剧评
我妈无意打开这部电视剧,我跟着看了几眼,真是恶臭到令人窒息!男方六个家长坐在桌前逼女方生孩子,趁小夫妻不在家偷偷溜进房间把避孕药换成维生素,小夫妻吵架女方赌气回娘家,结果女孩母亲堵住家门赶她回婆家!真是醉了!什么年代了,还搞这套嫁出去的女儿泼出去的水?女人不生孩子就是对不起老x家列祖列宗?编剧脑子??有shi !
我妈无意打开这部电视剧,我跟着看了几眼,真是恶臭到令人窒息!男方六个家长坐在桌前逼女方生孩子,趁小夫妻不在家偷偷溜进房间把避孕药换成维生素,小夫妻吵架女方赌气回娘家,结果女孩母亲堵住家门赶她回婆家!真是醉了!什么年代了,还搞这套嫁出去的女儿泼出去的水?女人不生孩子就是对不起老x家列祖列宗?编剧脑子??有shi !
在那个年代,对于农民尊严是不复存在的,可是至少他们还是不会饿着肚子,然后在现实环境之下,环境及身边的人的影响之下,还是迫于现实这么做,没有一定的物质基础,那知道尊严是什么东西呢?没想到周宏还拍过这类型的电影,比较有现实意义的,揭露旧社会下乡土人情,就是普通话有点出戏,有点格格不入呀,其实可以配音呀,奇怪了,画质太模糊了,要不是冲这类型的题材,肯定就稍微看看了。其实
在那个年代,对于农民尊严是不复存在的,可是至少他们还是不会饿着肚子,然后在现实环境之下,环境及身边的人的影响之下,还是迫于现实这么做,没有一定的物质基础,那知道尊严是什么东西呢?没想到周宏还拍过这类型的电影,比较有现实意义的,揭露旧社会下乡土人情,就是普通话有点出戏,有点格格不入呀,其实可以配音呀,奇怪了,画质太模糊了,要不是冲这类型的题材,肯定就稍微看看了。其实尺度方面还是很小的,基本没啥呀,大陆的导演拍的。周宏刚刚出场的造型也差点没有认出来呀。
虽然中国电影不断蓬勃发展,可是与好莱坞相比,中国类型电影的土壤依然有待开发。这么多年来,也只有“武侠”这个类别真正走向了世界。
自从《卧虎藏龙》在国际上大放异彩,掀起内地武侠大片风,接连拍出《英雄》、《十面埋伏》、《夜宴》等作品,它们都投资巨大,也都争议满满,被诟病为打着“武侠”的幌子谈恋爱、斗权谋。结果是不伦不类。
虽然中国电影不断蓬勃发展,可是与好莱坞相比,中国类型电影的土壤依然有待开发。这么多年来,也只有“武侠”这个类别真正走向了世界。
自从《卧虎藏龙》在国际上大放异彩,掀起内地武侠大片风,接连拍出《英雄》、《十面埋伏》、《夜宴》等作品,它们都投资巨大,也都争议满满,被诟病为打着“武侠”的幌子谈恋爱、斗权谋。结果是不伦不类。
(原著粉吐槽,剧粉左转)
宁毅何等人物,竟然改成了这样?
宁毅前世商场沉浮,遭人背叛,最终身死,重活一世,一直想的都是做一个富家翁,平淡度过一世,无论有何非议,从来不与人争论,一笑而过,宁毅从来不轻易公开露面,直到苏家遭遇大难才不得已低调出手,就算是做出了这种震动江宁城的大事,都没人知
(原著粉吐槽,剧粉左转)
宁毅何等人物,竟然改成了这样?
宁毅前世商场沉浮,遭人背叛,最终身死,重活一世,一直想的都是做一个富家翁,平淡度过一世,无论有何非议,从来不与人争论,一笑而过,宁毅从来不轻易公开露面,直到苏家遭遇大难才不得已低调出手,就算是做出了这种震动江宁城的大事,都没人知道是宁毅做的,怀疑他的人更是少之又少。结果这部剧改的倒好,上来就和小丑一般逃跑,然后开头就开始和苏家众人对线,愣生生成了一个小丑一般的剧,太失望了!!!!!!
小说重生以后已经结婚了,为何剧中要加这种逃跑成亲的零碎?编剧自己写了两集小说里没有的东西凸显存在感,把宁毅这个清高看透人生的角色给恶搞成一个小丑二傻子?宁毅前世是缺女人的人么,竟然改成了一个见色起意的lsp。
中国的这些出品人,投资方,编剧,导演,真的觉得中国的观众不配一部拥有思想深度的好剧么?真的觉得中国观众只配消费快餐文化么?
更新1:PDD男德学院都出来了,已经不能当做原作看了,就当做是套了一层皮的其他剧吧。
更新2:感觉这剧很失败。男性观众都是冲着原著来的却改成这个样子,部分女性观众也因为原著的情节而对这部剧有看法。结果大部分观众都没有讨好到。
更新3:我真的疯了,我老婆非要拉着我陪她看,她觉得很有意思。我倒是越往后看越觉得不堪入目。所以我也理解有很多人还喜欢这部剧,像我老婆一样。所以喜欢这部剧的,左转开个帖子,我表示理解。我这个贴就当做原著粉的吐槽贴吧。
更新4:我老婆专门来这个贴下吐槽我,她的评论已经被我删了。(更新4的补充:就是夫妻间那种小情趣啥的,“你竟然敢删我评论,你这人怎么这么讨厌”那种撒娇,其实她的发言还挺正常的,大家不要误会我们有矛盾哈,我们俩感情杠杠的非常火热,不过骂我钢铁直男我也认了哈哈哈)
更新5:既然叫赘婿这个名字,宣传海报上写着改编自起点同名小说,人物姓名和人物关系一模一样,我们原著粉做一个比较是很正常的事。
我只是一个普通读者和观众,没有必要站在剧方的角度考虑什么能不能拍出来,只是单纯的发表一下我们的喜好罢了。每一部改编剧都要接受原著粉感性上的judge,评分都会有原著粉的评分,不管是男频文还是女频文,这种事情都是共通的吧。
【以下这句话是重点重点重点!!!!!】我主要不能接受的,不是情节改了,而是男主人公的精神内核改了,没内味儿了。【重点完】
在前面我已经说了,因为我老婆,所以我理解单纯的剧粉,接受他们的观点,但也请尊重我们原著粉的观点。
各自留一片净土吧,各自尊重,各自理解,各自喜爱,我觉得挺好的。
我这个长评吧,其实目的不是为了争个一二三四,只是为我这样的八年的书粉提供一个可以凭吊的地方,如果想要辩论还是另开贴吧。如果不是赘婿的话,我是真的不愿意发长评的,我本身也是一个不争不抢的佛系的人,这是我的第一篇长评。
既然有那么多剧粉喜欢这部剧,那挺好的,就另开贴表达自己的喜爱就好了,没必要过来说服我们剧粉。
我一直觉得辩论和说服他人是最浪费时间的事情了。
而因为观点不合就使用难听的语言攻击别人也是最丑陋的事情了。
我还是想重复一遍这句话,各自尊重,各自理解,各自喜爱。不要希望用自己的观点征服全世界,己所不欲勿施于人,如果真的喜欢这部剧,那可以让好评攻占短评和长评区,让西风压倒东风。我仅仅是微不足道的一篇小评论,如果真的全体人民反对我的观点,那我自然会被淹没在汪洋大海之中了。
先下结论:我个人觉得这部电影是个烂片,不推荐花钱去电影院看。如果你实在是喜欢主演,那在打发时间的时候看看就好。不过小心,你很可能会失望为什么他们要花时间拍这个片子。
当然,作为一个儿童向的电影,小孩子们可能会喜欢它。我没有带孩子看所以对小孩子们的观片体验不作假设。
这部电影改编自1973年出版的一套12册儿童书籍的第一部。原著作者是美国作家John Bellairs。
先下结论:我个人觉得这部电影是个烂片,不推荐花钱去电影院看。如果你实在是喜欢主演,那在打发时间的时候看看就好。不过小心,你很可能会失望为什么他们要花时间拍这个片子。
当然,作为一个儿童向的电影,小孩子们可能会喜欢它。我没有带孩子看所以对小孩子们的观片体验不作假设。
这部电影改编自1973年出版的一套12册儿童书籍的第一部。原著作者是美国作家John Bellairs。
粗粗浏览了一下Goodreads上对这本书的评价,3.93/5的评分(2018/10/03)应该算是个尚可的成绩了。
小说评价Goodreads链接:https://www.goodreads.com/book/show/295801.The_House_with_a_Clock_in_Its_Walls
原著小说讲述的是穿插着魔法与神秘事件的儿童探险故事。很多人的评价认为它的精彩之处在于略微恐怖但不黑暗血腥,给小读者们恰到好处的心跳,在惊吓与搞笑之间有较好的平衡。
我想电影想展现的,也是一部捎带恐怖向的儿童奇幻电影。
我想这也是为什么这部电影的导演是擅长暴力血腥恐怖片的Eli Roth, 编剧是美剧Supernatural(邪恶力量)的creator, Eric Kripke。甚至男主之一的Jack Black,也是另一部儿童恐怖向电影《鸡皮疙瘩》(豆瓣评分6.1,2018/10/03)的主演。
电影鸡皮疙瘩第一部豆瓣链接:https://movie.douban.com/subject/2364051/
怎么看都是应该是一部有潜力的电影吧?
但是去电影院看完了第一部电影的我连去看看原著并多了解这个系列的欲望都没有。居然有12部,拜托不要拍续集了!
那问题出在了哪儿呢?
我觉得首当其冲的是剪辑。我个人觉得整个的剪辑都非常乱,场景转换及其生硬。例如三主角激战南瓜大军,打完后镜头一黑下一个场景就是在女主家中,小男主和女主温柔地看着&照顾着躺着的大男主。还有大小男主找到毁灭之钟的藏匿地时,刚下楼梯就看到了反派进门准备他们计划的最后一步。你要说它逻辑上有问题么?确实没问题。可是真的刚刚好到尴尬。但是观影的时候就是让人觉得很牵强,没有流畅性。而且这种生硬的转变充斥着整部电影所以导致这故事都感觉是现编的,一段一段拼凑起来,而不考虑整体观影性。
然后剧本里对人物形象的捕捉&性格发展也是不敢恭维(我也不确定怎么说,不是故事的问题,而是人对人物刻画的问题。当然故事也没什么令人振奋的地方,只是作为儿童剧,也不那么讲究了)。大男主和小男主因为一次睡觉前的谈话好像就建立起了bonding。我理解导演想要传达的,大男主是为梦想被家族流放的人,小男主是父母双亲的学校怪咖,他们都是孤独的人,都是“black swan"。可是我看到这个桥段不会觉得感动,没有觉得他们心心相惜,因为前面没有足够好的情节支撑这个理应温暖而又有力的场景。再比如大女主一直沉浸在失女的悲伤中,听了大魔王的一段演讲就明白了自己要放手过去,珍惜现在,武力全开了。真的太突然,太理所应当了。还有Tarby, 我觉得他真的是只是为推动剧情而存在的人物。要是没有他小男主的孤独和渴望交流的人设也可以用别的办法表现出来。(还有一个不知道算不算bug,为什么Tarby那么轻松地就找到了打开秘密柜子的钥匙? 既然是那么不可接近的东西那为何不能把钥匙随身带或者把它销毁?)
当然的这些所谓剧本问题,也可能是演员令人遗憾的演技所产生的。这部剧里面的所有人物都不可爱。这可是个儿童剧欸,可是小男主对不起,你太不招人喜欢了。小男主让我印象最深刻的就是他让人烦到翻白眼的尖叫。在整个剧中你会看见很多次小男主的惊吓表情,瞪大眼睛嘴巴撑成O型。能次次尖叫惊吓都用一个表情能算始终如一么?小演员也是有演技高低之分呀。Jack Black也毫无惊喜,他演得最好的部分我认为是中间回忆过往的那段。除此之外,比起魔法师他还不如去演一个利益熏心的房地产商,或者变态大叔。我曾经可是很喜欢他的,可惜近年的作品实在不对我的胃口。女王大人Cate Blanchett依然很美,但也就仅此而已了。美貌对这个人物没什么帮助,不过她的原声真的很好听,如果这是个广播剧的话我会愿意追,声音实在是悦耳。
那为什么我只打2星不打1星呢?平心而论电影的道具布景等等的制作还是十分精美的。这方面给1星。再来影片还传达了反战的思想,虽然只是一笔带过但反战在故事中的运用在儿童剧种应该算不老套。不过这功劳也是1973出版原著小说作者的(没读原著,假设电影没做较大改动)。
还有一点关于这个电影的定位,最开始我说我以为这是个恐怖向但不失幽默的儿童电影。看完后我觉得导演也真的是向往这个方向走的。但是电影里搞笑的片段太刻意&老套了,恐怖的地方几乎没有。但这一点我不想细谈因为从一个儿童的眼光来看,他们可能认为拍得刚刚好。
截至到今天(2018/10/03),烂番茄新鲜度66%,平均打分5.9/10;观众49%,观众平均打分3.2/5。IMDB打分6.3/10。 我觉得这分都还要掉,但不会跌出5吧。正如烂番茄网的一位评论员 Carey-Ann Pawsey所说,你不会认为这是你看过的最烂的电影但它也几乎不会是你的年度十佳 。我觉得她还太温柔了,这部电影跟年度十佳绝对没关系,它不是年度十大烂片也要感谢别的片太烂&他的道具布景挽救了一点。
大人们的话不推荐自己花钱去电影院看。有小孩的话还不如教他们看原著&看哈利波特。
三星评价,不能再多了。电视剧的主题立意是很好的,几个主角和主要配角的演技也不错。硬伤也不少,一是演员的选择,李化边的媳妇、徐百年的媳妇。那都是后娶的小媳妇么?夫妻俩明显不是一个年龄段的,即便是穿着老太太的衣服作掩饰,可看脸还看不出来么?选角严重失败! 二是许多剧情失实,村里的一个小卖部,会一年花二十万请个戏班子;文秀会自己掏出二三十万去给高地。。。。臆想么? 太理
三星评价,不能再多了。电视剧的主题立意是很好的,几个主角和主要配角的演技也不错。硬伤也不少,一是演员的选择,李化边的媳妇、徐百年的媳妇。那都是后娶的小媳妇么?夫妻俩明显不是一个年龄段的,即便是穿着老太太的衣服作掩饰,可看脸还看不出来么?选角严重失败! 二是许多剧情失实,村里的一个小卖部,会一年花二十万请个戏班子;文秀会自己掏出二三十万去给高地。。。。臆想么? 太理想化了。 三是不符合政策,村里要搞旅游开发的招商,这么大的项目规划,选哪个公司来难道是村里的几个党员干部讨论一下就能定下来的么? 四是高地去镇里告状,镇委书记的办公室,说进就能随便进的么???五是。。。。省略1千字。。。。
命运速递》事先知道是一部低成本电影,但确实没想到只花了200多万。剧本创作2个月,筹备1个月,29天拍完,剪辑半年,完成至今3年有余。很明显美术费用是没有省的,大量的夜戏注定灯光费用也省不了,因为是非线性叙事结构,很多戏需要设计N种镜头方案,演员费用按导演的说法,都是一帮志同道合的朋友参与,省了不少,其中有我喜欢的余皑磊加盟。可见,作为编剧出身的李非导演魅力还是有的,作为处女作确实厉害了!男
命运速递》事先知道是一部低成本电影,但确实没想到只花了200多万。剧本创作2个月,筹备1个月,29天拍完,剪辑半年,完成至今3年有余。很明显美术费用是没有省的,大量的夜戏注定灯光费用也省不了,因为是非线性叙事结构,很多戏需要设计N种镜头方案,演员费用按导演的说法,都是一帮志同道合的朋友参与,省了不少,其中有我喜欢的余皑磊加盟。可见,作为编剧出身的李非导演魅力还是有的,作为处女作确实厉害了!男主赵炳锐凭该片拿到第9届FIRST青年电影展最佳演员奖。他一出场老让我联想到年轻时候的谢霆锋。张优的戏也非常棒,诠释一个跟着大哥混了五年还得不到大哥照顾的小弟,为了还10万元债务,不得不让自己的媳妇铤而走险,媳妇作为一个有梦想的底层职业演员,为了爱人而被迫卷入漩涡,媳妇的扮演者吕晓霖说这个角色是导演兼编剧的李非为她量身打造的……整部影片的大大小小的角色个个都入戏了的,让这部电影很接地气,人物命运有呼吸感,导演的个人表达也在片中处理得当,发声和过审之间的分寸拿捏到位。按投资方要求,商业片卖相下最大程度兼顾了文艺片的个人表达。如果能有《心迷宫》的宣传模式,《命运速递》的票房会远超前者。一观众提问:为何要用类似《心迷宫》的非线性故事结构。导演回答如果用常规叙事那岂不是有更多类型片对比了,相对来说非线性故事结构还少一些,更主要的是他喜欢昆丁和科恩。李非导演也因为这部影片得到姜文的认可,受邀加入了姜文导演新片《邪不压正》的剧本创作。《命运速递》是一部诚意之作,值得进影院捧场。从我的角度非常想给5星,从第一部导演处女作完成到这样的层度非常值得鼓励,但为了避免被归入水军的队列,就不打五星,4星半吧!
这个片子刚开始我以为是个武打片,毕竟黄飞鸿嘛。就是看着海报觉得这个男猪脚应该打戏不咋滴。闲来无事,那就看看是个什么货,看了十分钟之后倒是挺让我意外,这个片子竟然是个喜剧。而且越看越有意思,其中关于凉茶的梗贯穿整个片子,做得非常的巧妙,堪称高级黑啊。具体我也不剧透了,全片笑点不断,只是开头推进有点慢,不像是个网络电影,更像是院线电影,开头不停铺垫。闲暇时间看看还是挺有意思的,值得推荐!小成本电
这个片子刚开始我以为是个武打片,毕竟黄飞鸿嘛。就是看着海报觉得这个男猪脚应该打戏不咋滴。闲来无事,那就看看是个什么货,看了十分钟之后倒是挺让我意外,这个片子竟然是个喜剧。而且越看越有意思,其中关于凉茶的梗贯穿整个片子,做得非常的巧妙,堪称高级黑啊。具体我也不剧透了,全片笑点不断,只是开头推进有点慢,不像是个网络电影,更像是院线电影,开头不停铺垫。闲暇时间看看还是挺有意思的,值得推荐!小成本电影不容易,主创团队确实是用心了,拒绝黄赌毒,也是满满正能量!为了鼓励,给五星!
16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影
And when the film was over, I wanted to not be a director anymore because the bar was too high.
It was the first time, seeing a movie, I realized that there are th
16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影
And when the film was over, I wanted to not be a director anymore because the bar was too high.
It was the first time, seeing a movie, I realized that there are themes that aren't narrative story themes. There are themes that are character themes, that are personal themes. That David Lean created a portraiture, surrounded the portrait with a mural of scope and epic action, but at the heart and core of "Lawrence of Arabia" is "Who am I"?
I started making movies when I was a young kid, but I remember the time I almost gave up my dream of being a movie director. I must have been 16.
越对什么事情感到自信或确定无疑,成果就越少
The more I'm feeling confident and secure about something, the less I'm gonna put out. The more I'm feeling, "Uh-oh, this could be a major problem in getting the story told," I'm gonna work overtime to meet the challenge and get the job done. All right, that's done. I don't know if it's worth it.
Spielberg:And so, I hate the feeling of being nervous, but I need to feel in this moment I'm really not sure what I'm doing. And when that verges on panic, I get great ideas. The more I feel backed into a corner, the more rewarding it becomes when I figure my way out of the corner.
Just before I went off to make "Jaws," I got to meet Henry Hathaway. He was kind of a tough-guy director, and he said, "There's gonna be moments where you're gonna get to the set and you're not gonna know what the hell you're doing. It happens to all of us. You've gotta guard that secret with your life. Let no one see when you're unsure of yourself. Hide that from everybody, or you'll lose the respect of everyone."
未见到的潜在危险更让人恐惧,细腻的心理层面
I knew that it's gonna take three or four weeks to rebuild the shark, and so we'd have to make up something else that didn't exactly show the shark but gave the sense the shark was near.
The barrels were a godsend, because I didn't need to show the shark as long as those barrels were around. What you don't see is generally scarier than what you do see, and the script was filled with "shark." Shark here, shark there, shark everywhere. The movie doesn't have very much shark in it.
John Williams:If the shark had been available visually, it might have changed the whole psychology of the experience.
青少年时期的自我认知,摄像机就是笔
I didn't have a lot of high esteem for myself, you know, growing up. I just was a lonely guy.
The camera was my pen. I wrote my stories through the lens. And when I was able to say "action" and "cut," I wrested control of my life.
But I didn't know anything about whether I was gonna have a career or where this was gonna go. I just knew that it filled up the time and it gave me a tremendous amount of satisfaction. And the second I finished a movie, I wanted to start a new one because I felt good about myself when I was making a film. But when I had too much time to think, all those scary whispers would start-- start up. It was not fun to be me in between ideas or projects.
遇到伯乐
"If you sign with us, I will support you as strongly in failure as I will in success."
对镜头语言的掌控
Steven Bochco:Steven had a gear in his brain that automatically translated words into pictures almost without it being a conscious process for him. There was a unique visual voice there that you had to not only pay attention to, but you had to give somewhat of a free rein to.
Edelstein:Right off the bat, it was clear that no one moved the camera like Steven Spielberg. Other directors had a fantastic sense of space. Orson Welles, you name it, people who understood composition. But the way that Spielberg's camera moved through a shot and then ended up somewhere that completely shifted or intensified the emotion of the scene, that was just a natural gift he had. Who knows where that came from. Who-- but it was his own technique.没人象斯皮尔伯格一样移动摄像机。其他导演有很出色的空间感。随便说一个Orson Welles非常理解构图。但是斯皮尔伯格在一个镜头中对摄像机的移动,以及在某一处停下来,完全改变或强化了场景的情感,那是他的天分。
George Eckstein called me and said, "Network's really upset that the truck didn't blow up, so they're ordering us to go back to that cliff and blow the truck up." And I said, "I'm not gonna do it." The death of the truck is so agonizing. I said, "I made that truck die slowly." The oil, like blood, dripping off the steering wheel. The wheel slowly rolling to a stop. The fan still going, but the truck's dying. I mean, it's the death of the truck. That's what the audience wants to see. This criminal element paying-- you know, paying the price for what it did to this man. I wouldn't do it. I wouldn't blow up the truck.
对表达媒介的熟悉
Bochco:For Steven, the little screen was an interesting canvas, and obviously he painted on it very well, but he knew that this screen simply wasn't a large enough canvas.
Spielberg:For me, directing is camerawork, and so I'm very on the front line of that. I've gotta set up the shot, I've gotta block the actors, choreograph the movement of the scene, bring the camera into the choreography, figure out when the camera stops, how it moves, how far it moves, what the composition is, so I've always got my eye on the lens, and that's what I do. I even pick the lens I want.对我来说,导演就是摄像技术,因此我总是在摄像的前线。我需要设定镜头,隔离演员的因素,为镜头设计动作,将镜头带入到动作中,确定摄像机什么时候停止,怎样移动,移动多远,构图是什么样的,因此我的眼睛总是关注在镜头上,那就是我所做的。我甚至会自己挑选想要的镜头。
Scorsese:His strength is really the ability to be able to tell a story in pictures instinctively. I sometimes watch his pictures on TV without the sound just to see the pictures.
Edelstein:Pauline Kael, one of the most influential film critics of all time, wrote in "The New Yorker" that Steven Spielberg had made one of the most phenomenal debuts in the history of film. She compared him to Howard Hawks in terms of how natural his feel for the medium was. What Kael saw in Spielberg was someone with a real movie sense, but she also said she wasn't necessarily sure there was great depth to go with it. She didn't see a sign of an emerging film artist like Martin Scorsese. What she saw instead was the birth of a new generation Hollywood hand.
幸运的处于一个活跃的文化氛围中
Spielberg:We were very, very fortunate to be part of that time. The culture was converging. It was filmmakers, it was artists, musicians, performers. It was an incredible, fertile time.
未曾有意追求电影的精神内核,自己的精神层面会通过工作渗透到作品中
I don't search for films consciously that have a spiritual core. There's a spiritual part of myself that happens to bleed over into the work, and so I subconsciously, which is the only choice that's important, will find things that inherently have something of a belief system that's beyond our understanding, that's a little bit out there.
人与人之间的联结
Coyote:For many years I wondered about the universal appeal of this movie, and one day, it hit me. There are no two humans on Earth that are father apart than those humans and that alien creature. And if Elliott, and the mother, and the little girl, and the scientist, could all love and empathize and make a rapprochement and a rapport with this creature, so, too, can any two humans on Earth, and I think that was a subtext that bubbled up through the film and must have touched something, because you don't get many films that are universally loved and appreciated 40 years later. And it spoke to something. Some desire to be able to reach across boundaries and touch other people.
对儿童演员的特别关照
Spielberg:I think all of my movies that have dealt with young people and their stories are about the importance of empowering these children to take control of the story, at least take control of their lives.我所有的电影都与年轻人和他们的故事有关,使这些孩子们更强大,控制故事的呈现很重要,至少他们可以控制自己的生活。
二战喜剧片带来的失败与挫折
But it was like I committed a war crime by making "1941." Everyone was eviscerating it. I was really devastated. Just that feeling of failure, that cold emptiness, where every reminder of the movie, you get that sick feeling in the center of your stomach, and you just want to go dig a hole and stick your head in it. I mean, for the next year, I put my head in a lot of holes. And my friend George Lucas came to the rescue.
自身的成熟,期待电影在更本质更人性方面的变化
Spielberg:I was looking for a different perception of myself. And if I didn't want to consciously make a departure and prove something, not just to myself but to everyone else, I might not have chosen "Color Purple" as my next movie. But it was my first really mature film, which took on, you know, substantive, humanistic subject matter. I was turning 40 and I was looking at life perhaps less optimistically.
紫色中本可以有更深入的表达
Spielberg:I got in trouble with several critics who didn't like that I shied away from the love story between Shug and Celie. And the scene where Shug Avery shows Celie, with a mirror, her vagina, that that did not go into the movie, which would've really changed the entire nature and tone of the film. I just didn't go for the full monty the way the book did. I might've done that had I made the movie 10 years later. I was just timid. I was just a little embarrassed. I just wasn't the right guy to do that.
对自己犹太人身份从拒绝到接受
I certainly experienced being excluded and being picked on and discriminated against. All I wanted to do was fit in. And by being Jewish, there was no way I could fit into anything.
I began to deny my Jewishness, you know, began to deny everything that I had accepted as a child and was not willing to accept if it was going to make me a pariah. I was ashamed of myself. I still feel ashamed of myself even remembering that long stretch of my life where I didn't want to be Jewish anymore.
辛德勒名单的基调
I tried to do it with no fancy tricks, no fancy lenses, no big Hollywood sweeping cranes. I tried to take all the tools with which I made so many of my films and just chuck them out the window. I never handheld anything, but I wanted to handhold as much of "Schindler's List" as I possibly could. I just wanted to create for all of us the feeling that we were absolutely there at the time.
光影的隐喻
Neeson:Oskar Schindler was a gregarious man. He was a second-rate businessman. Bit of a shady character, you know? A man about town, loved the women, loved his booze. A bon vivant, that's what he was.
Spielberg:Everything we do in this medium is about light and shadow, how the cinematographer lights the actors, lights the set. If you look at "Schindler's List," Amon Goeth was always lit beautifully. He always had that beautiful front light. You know, the guy was very clear. There was no mystery in him. You don't have to enhance his evilness, if you may say, by lighting. Now, if you look at Oskar Schindler, that was a confused individual. He came to Poland to make money, so it's always glamorous, but always shadowy. And then as the movie's progressing, he gets more frontal light. The shadows disappear.身为导演的情感投入,以及电影之外的社会互动
It was, emotionally, the hardest movie I've ever made.
Kennedy:That was a pivotal moment in Steven's life. He recognized he couldn't take any of the profits from the film. He wanted to give something back, so he started what became the Shoah Foundation, documenting that oral history and capturing history in a way that allowed people not to forget.
多面手
Robert Zemeckis:For a filmmaker, you can't have a better producer than one of the greatest directors in the world. He really nurtures young talent coming up. It's a pretty amazing roster. He's also a major figure in the television business. He started a restaurant. Dive! Submarine sandwiches. The man was, like, doing 27 things at once and being perfectly unselfconscious about it.
Geffen:I don't think Steven really fears anything. He's always ready to go and do something new.
拯救大兵瑞恩中镜头距离与观众心理感觉的关系,声效,应变能力
Spielberg:I tried very, very hard to put the audience as close to the experience as I possibly knew how to do so there wouldn't ever be a safe feeling in the audience. And when you narrow that distance-- if you're successful in narrowing the distance, then the audience really becomes those characters.
Edelstein:In "Saving Private Ryan," Spielberg understood the expressionistic possibilities of sound.
And if you're not Steven, if you don't have this lifetime of cinematic language in your head, that's a different kind of day. But because his eye is so connected to his brain and every movie that he's ever seen and every movie that he's ever made, he just went out and said, "Here's how we're gonna do this, and that's it." Incredible.
自身的情感挫折与电影作为治疗方法
It was complex for me for a long time, but at least I had a art form that I could filter it through. At least I had that. If movies did anything for me, it-- I've avoided therapy because movies are my therapy.
“无论怎样都要争取自由”的电影主题,爱国主义与理想主义
Insdorf:There are people struggling in one way or another for freedom in these movies. Give... us free. He doesn't take freedom for granted.
Spielberg:I really believe in this country, and I always have. And it just resonated throughout my work-- wanting to tell American stories, wanting to tell stories about principled, ethical people who, against all advice and against most everyone else's better judgment, just proceed to do the right thing. I'm sure that sounds like I'm this kind of, you know, idealist or some sort of a patriot, but I am a patriot. And I'm somewhat of an idealist, too.
讲故事的方法
Steven worked a long time to find where the story was to tell it.斯蒂芬会花很长时间去找在哪里讲故事。
保持中立
Spielberg:I felt I could not make this one-sided. And so, I knew it would be controversial from the very get-go.
Daniel Craig:This movie was trying to affect and turn on a debate. Is vengeance the answer? Does it actually solve anything? If you continue the cycle of violence and cycle of blood, then... that's what they'll be and nothing else. Steven was very keen to tell a human story, that these were men and not superheroes. Their indecision and their mistakes and their-- is the reality of what happened, you know? Life isn't a "James Bond" movie.复仇是否就是答案
叙事的方法
Kushner:You're in the hands of somebody who will always show you what you need to see in order to understand, on a narrative level, what's happening. And you'll also see a lot of things that will help you understand on deeper levels as well. And that sort of narrative device
电影带出的不确定性
Hoberman:The movie was perceived to be suffering from a sense of moral equivalence, which is really the bravest thing about the movie. It's looking for aspects of humanity on both sides of this conflict. Ambiguity is something that you don't normally associate with Spielberg's films, and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.
家庭,分离与重聚
Spielberg:Family is a big element in my life, which is why so many of my stories are about separation and then reunification. Even "Lincoln" is about separation and reunification.
工作团队的稳定,与他人合作,激励同伴
Williams:He understands that people and can serve him and how to synchronize his wishes with your own. He would've made a great general.
在看电影中不断学习
Kennedy:Steven looks at movies constantly and over and over and over again, referencing shots and framing and ideas. That's something Steven does all the time.Spielberg:Great filmmakers' works live on to create tremendous moments of inspiration. And so, one of the films I still see every year is "Lawrence of Arabia." The shots, the sheer vistas, and the portrait of such a complex character, it's pure moviemaking. 伟大的电影导演的工作是创造巨大的启发性时刻。自我审视中的过去,成长
Spielberg:Many years ago, Pauline Kael gave me a really great review on "Sugarland Express," but she said, "Whatever's on the surface might be all that is there. There may be nothing behind that." And she was absolutely right. I hadn't grown up yet through the movies. That was going to come in time.
到现在为止的评论
Maslin:Take a look at what he's done over close to 50 years. There's certainly a lot of variety. There are some things he's done that haven't worked, but there is absolutely nobody like him and no film career trajectory that is anything like his in the history of film. He speaks cinema as if it's his native language. He is so fluent in it that he does things that nobody else would dare to do and they are instantly recognizable as things that are purely his.
Scorsese:He has a dynamic sense of real filmmaking. I'm talking about filmmaking of--in the great narrative tradition of American cinema. 真正的电影制作的动态感
Coppola:Steven was blessed in that he could be commercial and he could do art.That's why I always compare him to a kind of George Gershwin, because Gershwin could write a Broadway show or he could write "Concerto in F." He could both, and very few people can do both. And Steven can do both. And that's a talent you have to be born with. 商业与艺术
刚看了一下这个绝地枪王的点评哎呦才5.4分,这分数是不及格了。这对抗战题材的电视也算地分了。而且看看评分人数才290人,一部电视剧题材是限制了关注的群体,但是只有2百多人评分也真是一点水花也没有这就是男女主角的号召力不够了,难怪现在不管电视还是电影都要请当红小生小花啊!这些小生小花自带流量啊!即使再一搬的剧要他们来演这收视率就不会太差。这关注度怎么也不会一点水花也没有。
刚看了一下这个绝地枪王的点评哎呦才5.4分,这分数是不及格了。这对抗战题材的电视也算地分了。而且看看评分人数才290人,一部电视剧题材是限制了关注的群体,但是只有2百多人评分也真是一点水花也没有这就是男女主角的号召力不够了,难怪现在不管电视还是电影都要请当红小生小花啊!这些小生小花自带流量啊!即使再一搬的剧要他们来演这收视率就不会太差。这关注度怎么也不会一点水花也没有。
看到第七集实在是看不下去了,70年代人民积极乐观向上思想,务实工作作风完全没有看到,看到的只有尔虞我诈、勾心斗角的小人物,没有一个人物刻画的是正常的心态,老大结婚是被认为乡下人逼婚,大女儿蛮横无理、尖酸刻薄,没有一点智商可言,自私自利,不顾任何人的感受,只顾自己,二女儿为了他人,放弃自己回城机会,不想父母感受,小儿子更是无脑,求求编剧、导演,多还原一点当时
看到第七集实在是看不下去了,70年代人民积极乐观向上思想,务实工作作风完全没有看到,看到的只有尔虞我诈、勾心斗角的小人物,没有一个人物刻画的是正常的心态,老大结婚是被认为乡下人逼婚,大女儿蛮横无理、尖酸刻薄,没有一点智商可言,自私自利,不顾任何人的感受,只顾自己,二女儿为了他人,放弃自己回城机会,不想父母感受,小儿子更是无脑,求求编剧、导演,多还原一点当时的社会真想好吗?这种现代家庭伦理剧放到当时,真的是拉低人的智商!
朱可欣监制、袁烁导演的《甩尾王2》,将于8月20日在爱奇艺VIP会员独家上线,继续着风驰电掣的迅猛故事。《甩尾王》系列是对车的速度、人生的态度基础之上的寻梦之旅,秦浩和顾海、陈子豪三个赛车手沿着不同的套路前行,获得的也是完全不同的结果。秦浩在师父陈子豪的指导下,获得了漂移赛冠军,然后共同选择了淡定、藏拙、隐身的有修为的进取,而不是盲目的把竞赛作为孜孜以求的俗事。但是,世间事十有八九不如意,并
朱可欣监制、袁烁导演的《甩尾王2》,将于8月20日在爱奇艺VIP会员独家上线,继续着风驰电掣的迅猛故事。《甩尾王》系列是对车的速度、人生的态度基础之上的寻梦之旅,秦浩和顾海、陈子豪三个赛车手沿着不同的套路前行,获得的也是完全不同的结果。秦浩在师父陈子豪的指导下,获得了漂移赛冠军,然后共同选择了淡定、藏拙、隐身的有修为的进取,而不是盲目的把竞赛作为孜孜以求的俗事。但是,世间事十有八九不如意,并非你想如何这个世界就让你如何。顾海,是挑战者,或者说是破坏王,他的出现意味着赛车江湖的秩序不再平衡。
拜前几年一堆国产青春片所赐,说起青春片,很容易让人想起堕胎、撕X、出轨等一系列字眼,明明视觉上没有任何大尺度,可惜情节却狗血至极。
按照大家印象里明媚的夏日青春,美好的胴体、恣意的状态、迷茫的思考、毫无保留的笑容,才是青春片里应该呈现的内容。
这部戛纳电影节大放异彩的青春片《艾娃》,讲述了一个13岁眼疾少女的青春成长,画面几乎全是大尺度,内容却极为纯情,清新的故事让人
拜前几年一堆国产青春片所赐,说起青春片,很容易让人想起堕胎、撕X、出轨等一系列字眼,明明视觉上没有任何大尺度,可惜情节却狗血至极。
按照大家印象里明媚的夏日青春,美好的胴体、恣意的状态、迷茫的思考、毫无保留的笑容,才是青春片里应该呈现的内容。
这部戛纳电影节大放异彩的青春片《艾娃》,讲述了一个13岁眼疾少女的青春成长,画面几乎全是大尺度,内容却极为纯情,清新的故事让人想起夏日的微风。
对未来充满迷茫和不确定的艾娃,蒙上眼睛,脱下衣衫和短裤,赤身裸体奔向海边。白白的海浪如同雪花一般向她涌来,看不见前方的她,笨拙地伸着手,一路向前,任凭海浪将她击倒。但那份小心翼翼试探,却不惧怕眼前的危险,让这个13岁的少女,有着别样的魅力。
艾娃同自己救助过的阿璜一起逃走,慌乱中还不忘带上艾娃偷来的小黑狗,路上更是截获一辆摩托车,在公路上一路疾驰而去。
一男一女一狗,迎着蓝天白云行驶在荒无人烟的大道上,显得恣意而浪漫。不得不使人想起影史上著名的雌雄大盗——《邦妮和克莱德》。
只是一同奔走的艾娃和阿璜,等待他们的又是什么呢?两个前途未卜的年轻人,为了灿烂的青春,一同逃离百无聊赖的沙滩。相守在一起是欢乐和美好,但也有分歧和争执。
整部影片采用胶片拍摄,显得颗粒饱满。失明少女的心事,如同白日梦一样展现在观众面前,召唤着大家一同参与。只可惜影片剧情和节奏太过散乱,即便是背景音乐和画风再出色,也依然不能挽救剧本的无力。
很喜欢片中一些无拘无束的小段落,刻画着艾娃从孤独和迷茫,走向成长和有所依靠。
对于艾娃来说,失明的恐惧不是最让人绝望的,让她对未来充满不确定和畏惧的,其实是来自身边至亲的反应。关注点全在新生妹妹身上的母亲,带着艾娃来海边度假希望帮她缓解心情,结果自己却开始享受艳遇。就连母亲的艳遇对象也未曾将艾娃的悲观放在心上,觉得她所谓的死亡,不过是青春期小女孩的伤感。
在海边无所事事的艾娃,如同一条被遗弃的小狗,就连这热闹海边的一切,都与她毫无关联,那些美好或者松弛的肉体,都是摆设,年轻小伙的殷勤相约,也失去了应有的吸引力。
孤独、失意、渴望陪伴,艾娃才会鼓足勇气在便利店门口带走同病相怜的小黑狗。让这只小狗,同她一起面对即将失明的恐惧。
一开始她为了刺激自己的感官,蒙着眼睛独自奔向大海,却被汹涌而至的浪花拍到在海滩上。因为海水的冲击,几乎都不能在水中站稳的她,因为害怕和妥协,不得不摸索着回到了岸上。
而和阿璜在一起时,身上涂满了泥的她,却显得欢乐而活泼,一下子释放出她的活力。同样是赤身裸体,但她却无所畏惧同阿璜互相追逐,一路小跑飞奔到海边,迎接浪花的洗礼。岸边的沙滩上,留着两串凌乱的脚印,两个人身上散发着阳光、恣意的气息。
受到海浪的冲击时,艾娃不再同之前一样,不堪一击,跌到在海边,最后狼狈回到岸上。反而是能够张开双臂,勇敢迎接雪白的浪花,没过脖子的浪花,勇猛地扑向艾娃,如同给了她一个巨大的拥抱。
两人劫了车一路飞奔,任性妄为得有些让人羡慕。而之后阿璜推着车,艾娃牵着黑狗,一前一后走在公路上,兴之所至的艾娃牵着遛狗绳,欢欣鼓舞一路蹦跳,痞痞的阿璜转过头看着她,嘴角露出微笑,眼神中写满了灿烂,有着莫名的宠溺。
这一幕实力诠释出那句“我在闹,你在笑”。不管后面的路途如何,两人都携手相伴,光影拉长,两个人的身子显得那么渺小,但牵着的手却未曾分开,孤独的艾娃渴望的那份陪伴,始终还在。
你还记得你13岁夏天发生了什么吗?
一个午后,看完了这个影片,又增加了我的烂片观看记录。
看到开头的时候,就对于这是烂片心有所感。但是我挺好奇曹家到底发生了什么的,村民含糊的话语,对外来人的避讳,还是勾起了我一点好奇心的。可惜的是最后也还是含混不清。
一,情节稀烂
据村民所言,曹家被土匪灭了门。穿插的回忆显示,曹晓玉未婚先孕,被父亲责打流产,后面被阻止参加家人的葬礼。含恨带着情起的牡丹在定情
一个午后,看完了这个影片,又增加了我的烂片观看记录。
看到开头的时候,就对于这是烂片心有所感。但是我挺好奇曹家到底发生了什么的,村民含糊的话语,对外来人的避讳,还是勾起了我一点好奇心的。可惜的是最后也还是含混不清。
一,情节稀烂
据村民所言,曹家被土匪灭了门。穿插的回忆显示,曹晓玉未婚先孕,被父亲责打流产,后面被阻止参加家人的葬礼。含恨带着情起的牡丹在定情的古树下成了妖。一分为二,一个是带着恨和记忆的,被烈火灼烧的葛巾,一个是失去记忆的,但是仍旧爱着的玉版。但是并没有呈现清楚,为什么村民对于曹家灭门含含糊糊,充满畏惧,已经葛巾下面的几个姑娘,为什么对村民有恨,村民到底做了什么孽。
二,人设稀烂
葛巾和玉版明明是一体双生,但是很多镜头都是,玉版受伤,葛巾痛,但是葛巾受伤,玉版却不疼。当树妖占据葛巾身体时,仍旧是葛巾的思维与情感。
男主角的设定就完全离谱,他是个渣男完全不奇怪,是个痴情种就让人感觉十分离谱。
三,剪辑稀烂
前期在交代剧情时,穿插回忆有助于交代剧情,但是后面疯狂插回忆,就完全是在注水了,连道士放个大招也要加个回忆。
四,强行升华
最后葛巾说,什么爱比较容易,恨很累什么的,简直是尴尬。