欢迎订阅本号,文/茅山娱乐
最近有部由张嘉译、李小冉领衔主演的都市情感大戏《美好生活》正在北京、东方两大卫视以及优酷、腾讯两线上平台上热播。该剧自开播以来收视率、口碑一路走高,收视率迅速破1,目前的在电视剧网络播放排行榜上占据榜首位置,昨日(3月6号)更是以1.8亿的播放量秒杀此前榜单上的第1名《谈判官》。
欢迎订阅本号,文/茅山娱乐
最近有部由张嘉译、李小冉领衔主演的都市情感大戏《美好生活》正在北京、东方两大卫视以及优酷、腾讯两线上平台上热播。该剧自开播以来收视率、口碑一路走高,收视率迅速破1,目前的在电视剧网络播放排行榜上占据榜首位置,昨日(3月6号)更是以1.8亿的播放量秒杀此前榜单上的第1名《谈判官》。
真的是看着贺军翔的偶像剧长大的,斗牛要不要、恶魔在身边、爱情合约、恶男宅急电等等等 ,最近也在重温斗牛要不要嚯!伊胜雪表白那里超酷!“就算是火山 我也可以为了你爬上去”,和恶魔在身边对比,贺军翔演的这个角色更成熟点,更有魅力,哈哈哈哈好帅,为沈若赫心动一万次啊啊啊啊啊,贺军翔真的是年少那会少女的偶像
真的是看着贺军翔的偶像剧长大的,斗牛要不要、恶魔在身边、爱情合约、恶男宅急电等等等 ,最近也在重温斗牛要不要嚯!伊胜雪表白那里超酷!“就算是火山 我也可以为了你爬上去”,和恶魔在身边对比,贺军翔演的这个角色更成熟点,更有魅力,哈哈哈哈好帅,为沈若赫心动一万次啊啊啊啊啊,贺军翔真的是年少那会少女的偶像
就算是在美国,在2016年,同志平权依然面临着很多严峻的挑战。那些开放的城市,像纽约、旧金山这样的大都市对LGBT更加友善,可是南部中部以及一些其它地区仍旧无法接受这个群体。虽然同性婚姻法在最高法院通过了,但是有的州不愿意执行。上一届总统支持LGBT群体,这一届总统则不然。日本人不支持也不反对LGBT文化。日本有同志街区,但是也只是整个日本少有的世外桃源。日本有同人动漫影视文化,但是人们更愿
就算是在美国,在2016年,同志平权依然面临着很多严峻的挑战。那些开放的城市,像纽约、旧金山这样的大都市对LGBT更加友善,可是南部中部以及一些其它地区仍旧无法接受这个群体。虽然同性婚姻法在最高法院通过了,但是有的州不愿意执行。上一届总统支持LGBT群体,这一届总统则不然。日本人不支持也不反对LGBT文化。日本有同志街区,但是也只是整个日本少有的世外桃源。日本有同人动漫影视文化,但是人们更愿意把这当做是另一个次元的事情,而非真实的。但是日本有人在为LGBT进步努力,有出柜的政治家,也有出租朋友协助出柜的商人。日本人本来就活的很压抑,结果在这一个问题上也是一样让人感到沉重。巴西的LGBT现状两极分化,是整个南美洲LGBT文化最繁荣的,同时也是LGBT暴力袭击事件发生率最高的。牙买加状况也很糟糕。出柜即等于被社会抛弃。
我在中国,我不想成为这个社会的弃儿,请不要让我成为弃儿。我们有强大的政府,也许比世界上其他各个国家的政府都要强大。我不是害怕它强大,可是要是有一天它强大到想抛弃我就抛弃我,想让我不能说话我就不能说话,谁来为我声张?
也许事情已经发生了,也许还没有。
先说结局吧,第一版结局可能是符合泰国人常理的人生观:那种只有一个亲人死了才能救赎的结局……但是,网友不买账,所以说才重新拍了新版的结局——暴露了小鲜肉演技太一般,不过,没关系啦,我们只看颜值,哈哈。
再说说剧情不合理的地方吧:1-8集女主跟小鲜肉互动太少了,最高倍速。而且,这个剧女主老公那么渣,女主伤心个什么劲儿啊。再者,女主同事这些人整天管什么闲事呀,泰国朋友之间管太多了吧——
先说结局吧,第一版结局可能是符合泰国人常理的人生观:那种只有一个亲人死了才能救赎的结局……但是,网友不买账,所以说才重新拍了新版的结局——暴露了小鲜肉演技太一般,不过,没关系啦,我们只看颜值,哈哈。
再说说剧情不合理的地方吧:1-8集女主跟小鲜肉互动太少了,最高倍速。而且,这个剧女主老公那么渣,女主伤心个什么劲儿啊。再者,女主同事这些人整天管什么闲事呀,泰国朋友之间管太多了吧———其实只要支持女主就行啦,不用管对错。15集超搞笑,妈妈流产需要大儿子来陪伴吗?——还是陪睡觉啦,晕!这种剧情简直就是给编剧寄刀片都不解气!关键是第一版结局女主和小鲜肉居然没在一起,这种无脑剧看得就是大团圆结局!18集小鲜肉妈妈以前都不管儿子,现在居然担心了!关键是女主真的怀孕了——这剧情我服了!!!20集,小鲜肉的妈妈爸爸找人教训自己的儿子,打到住医院了?!——这种也是逻辑也是可以了!
一直不怎么喜欢林心如的,觉得太造作,不过和从还珠出身的其他人比她还是比较不错的,个人认为她的演技比章子怡有有过之,无不及。个人有个人的看法,看她其他电视剧的时候我只是个凑热闹的,看的是剧情,图的是乐呵。但是从《美人心计》开始我不得不改观,这部电视剧没有多少人知道,只有少部分人看过,在电视上也不热播《美人心计》中剧情紧凑,演技超群,它可以控制你的思路,你的情绪。它让你恨,让你哭,让你笑,让你惊
一直不怎么喜欢林心如的,觉得太造作,不过和从还珠出身的其他人比她还是比较不错的,个人认为她的演技比章子怡有有过之,无不及。个人有个人的看法,看她其他电视剧的时候我只是个凑热闹的,看的是剧情,图的是乐呵。但是从《美人心计》开始我不得不改观,这部电视剧没有多少人知道,只有少部分人看过,在电视上也不热播《美人心计》中剧情紧凑,演技超群,它可以控制你的思路,你的情绪。它让你恨,让你哭,让你笑,让你惊悚。林心如一个人把窦漪房的一生全部包揽,从年幼到去世。佩服她的演技,可以称之为生活。《倾世皇妃》对于它更是期待,电视剧还没出。我是一个从不熬夜的人,昨天晚上开始看倾世皇妃这部小说,看到一半发现已然快中午了,可我一点睡意都没有。我深深的陷了进去,情节抓住我将我溺毙在书中,也可以说是我自愿的。我强烈推荐。
隐隐感觉凯西要和那个傻逼内特 在一起 不要啊啊啊啊啊啊啊
还有傻逼阿洛和他大傻逼爸爸 我靠 还要写140字?????? 山姆父母会重归于好吧 不知道那酒保有啥好的 山姆的妈妈 看着也不像出轨的人 性格好 脾气也好 谁知道编剧为啥整这么一出 当初第一季就感觉山姆父母气氛不对 第二季更诡异了 那妈妈出轨之后像没事似的???? 对了 还有那心理医生 她未
隐隐感觉凯西要和那个傻逼内特 在一起 不要啊啊啊啊啊啊啊
还有傻逼阿洛和他大傻逼爸爸 我靠 还要写140字?????? 山姆父母会重归于好吧 不知道那酒保有啥好的 山姆的妈妈 看着也不像出轨的人 性格好 脾气也好 谁知道编剧为啥整这么一出 当初第一季就感觉山姆父母气氛不对 第二季更诡异了 那妈妈出轨之后像没事似的???? 对了 还有那心理医生 她未婚夫也太脑残了吧 求婚的时候居然说你赢了[手动黑人问号脸]
最后总结 就是除了第一段剩下都是凑字 我就想说 傻逼内特 滚远点 好么??
冲着张子枫看的,但是,这男主是什么?要相貌没相貌,要身材没身材,要演技没演技的,为什么还有人捧!!!又是一个学霸和学渣的组合,看不出女主怎么就对男主那么上心了???
男主那是演戏吗,有时候简直跟白痴一样,一到强烈感情戏就是转头、远景,又或者是别人的脸!
高中上学就背一个空空的书包吗,那
冲着张子枫看的,但是,这男主是什么?要相貌没相貌,要身材没身材,要演技没演技的,为什么还有人捧!!!又是一个学霸和学渣的组合,看不出女主怎么就对男主那么上心了???
男主那是演戏吗,有时候简直跟白痴一样,一到强烈感情戏就是转头、远景,又或者是别人的脸!
高中上学就背一个空空的书包吗,那书包一看就是没装什么东西,拍电影能不能认真点???里面装几本书很累吗???
看了半天也没看明白,男主为什么要听那些小混混的话,为什么要给他们钱,为什么就被那个所谓的老大赏识!!!而且这个老大还说出“你们都瞧不起我”的话来,我的妈呀,你不是老大吗?这简直就是小孩子过家家啊!
最后,摔下山坡就能摔死俩人,这段真是把我笑死了,我还以为男主是故意杀人,原来只是破坏尸体!!!
对了,还有,张子枫的成绩只是班级三四名,全年级十几名,怎么就有机会做交换生了???她不被选上太正常了吧???而且这事不需要钱吗?不需要跟家里商量吗???
暑假到了,各类剧集扎堆播出,也许是《隐秘的角落》、《少年游之一寸相思》、《重启之极海听雷》等剧的质量提升了国产剧的level,所以这回即便有不少电视剧接连上线,但还是有不少人直呼剧荒。
而小甜剧《离人心上》只看剧照就劝退了不少路人粉,再翻看剧情简介,架空加玄幻,宫廷加偶像,简直就是烂剧标配,而且这部剧不是根据小说改编的,剧本完全原创,主演们除了郑业成有名气外,其余的全是新人。
暑假到了,各类剧集扎堆播出,也许是《隐秘的角落》、《少年游之一寸相思》、《重启之极海听雷》等剧的质量提升了国产剧的level,所以这回即便有不少电视剧接连上线,但还是有不少人直呼剧荒。
而小甜剧《离人心上》只看剧照就劝退了不少路人粉,再翻看剧情简介,架空加玄幻,宫廷加偶像,简直就是烂剧标配,而且这部剧不是根据小说改编的,剧本完全原创,主演们除了郑业成有名气外,其余的全是新人。
完了完了靓女越来越多了,tvb哪里找来的。那么多漂亮姐姐呀~( ̄▽ ̄~)~质量非常稳定,情节设计不落俗套,敢于尝试一些诸如婚内强奸、同性恋,精神病责任能力、性别歧视、学生在学校出现意外等争议性题材。jessica的造型确实比第二部讨喜不少,从穿绿色变成穿粉色,头发也长了少少,人畜无害的感觉,果然是人靠衣装啊。角色转变非常大,其实正常的jessica和raymond
完了完了靓女越来越多了,tvb哪里找来的。那么多漂亮姐姐呀~( ̄▽ ̄~)~质量非常稳定,情节设计不落俗套,敢于尝试一些诸如婚内强奸、同性恋,精神病责任能力、性别歧视、学生在学校出现意外等争议性题材。jessica的造型确实比第二部讨喜不少,从穿绿色变成穿粉色,头发也长了少少,人畜无害的感觉,果然是人靠衣装啊。角色转变非常大,其实正常的jessica和raymond还是很衬的。ben和michelle总觉得两人的关系有点难受,两人之间的关系根本还有很多不可调和的地方,为什么要着急搬到一起去住呢?好在后期对两人关系的剧情走得偏搞笑,又有eva(话说eva的身材真的好好)的加入从中缓冲,到没那么难受。虽然剧情线也有很多恋爱的部分在里面,讲真人物关系确实越来越复杂了,不过本剧作为律政剧还是坚持了专业性,这一点国产剧应该好好学学。港岛不至于就那么几家酒吧吧怎么老是能遇到熟人哈哈哈。酒吧bgm When a man loves a women好评。不足之处就是法庭上法官的存在感可以更强一些,不用每集先用上帝视角介绍剧情,会使观众代入感更强,还有就是最后结局太草草,人物关系的交代也略显仓促,可能这就是人物太多太杂的弊端吧。
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
(完结)细节向,这部剧用心的地方大家要多多留意,细细品味。1.叶总办公室后面给到擦玻璃工人镜头是在给玻璃水淋湿贺繁星作铺垫。2.贺繁星去见李浩淼之前特意换了一双粉嫩的高跟鞋。3.元宋在进屋给贺繁星充当男友之前特意拿下了实习生工牌(后面回到座位才戴上) 4.OST中有一首叫作amazing,奇妙装饰公司墙壁上英文名是amazing
2020/1/28 15:10p.m 更新第三集
(完结)细节向,这部剧用心的地方大家要多多留意,细细品味。1.叶总办公室后面给到擦玻璃工人镜头是在给玻璃水淋湿贺繁星作铺垫。2.贺繁星去见李浩淼之前特意换了一双粉嫩的高跟鞋。3.元宋在进屋给贺繁星充当男友之前特意拿下了实习生工牌(后面回到座位才戴上) 4.OST中有一首叫作amazing,奇妙装饰公司墙壁上英文名是amazing
2020/1/28 15:10p.m 更新第三集的细节------
5.贺繁星起床气之前有给到小区楼下练太极剑的实景,很生活化。ps.结合后面剧情,这里一镜多用(贺妈买菜回来听到王阿姨边练剑边八卦)6.双胞胎姐弟俩在沙发上看恐怖电影的姿势同步。贺家父母看宋老师的情感访谈节目在茶几上嗦面的姿势同步。喜剧无疑。7.贺繁星收花的神情处理,把花放在办公桌上,深呼吸了一下才拿下卡片看内容。表现一个平常只会自己给自己买花的资深少女陡然收到别人送的鲜花时的期待和不安。
8.(这里搬运组内剧粉 诗语无鱼 的发现,很精彩,很惊喜) 叶鹿鸣送的白玫瑰
花语——我足以与你相配是自信到极致的霸道总裁本人了
17:00p.m 第四集 这集贯穿始终的是雨。助推器也是雨---------
9.元宋可能是因为确认了贺繁星的心意当晚太兴奋淋雨回去所以感冒。10.同事中午聚餐聊到小时候的回忆"下大雨,让人心情不太稳定",为后面贺繁星淋雨做铺垫。
11.‖新增剧粉 夏栀子 的发现‖
作为实习设计师,元宋生病镜头给到床头放的书是日本著名建筑师安藤忠雄的。(评论区补充安藤忠雄前几年确实去苏州开过讲座,大结局的铺垫很早)
1.建议编剧多看看记录片如:《守护解放西》,再写派出所警察对于报警“强奸”的处警经过;
2.建议编剧百度一下省直监狱的二把手(实际为一把手)的行政级别,再决定写监狱“一把手”和检察室的交流态度;
3.建议导演睁大眼睛看看那些基层干部的生活和工作!不要为了黑而黑!
1.建议编剧多看看记录片如:《守护解放西》,再写派出所警察对于报警“强奸”的处警经过;
2.建议编剧百度一下省直监狱的二把手(实际为一把手)的行政级别,再决定写监狱“一把手”和检察室的交流态度;
3.建议导演睁大眼睛看看那些基层干部的生活和工作!不要为了黑而黑!
4.建议编剧多看看新闻,《扫黑除恶专项行动推进会》这种会议没有一个公安人员、法院人员参加,您倒是看看实际上扫黑除恶这些战果是谁打出来的?谁顶着关系错综复杂的压力给判决的?
既然一直强调政法系统,那为何法院一点存在感没有,公安一点正义感没有,那你们为什么不直接拍《政法只有检察院》?所以,不仅仅是有失偏颇,而是为了黑而黑,为了赞扬而赞扬。
一部黑帮线人的故事,迫不得已做了线人,意外出现在NYPD卧底被杀的现场,被NYPD警察追查,又被FBI当了弃子,黑帮准备处刑,在监狱里上演了一出监狱风云和越狱。故事的框架其实虽然不算新奇,也还算不差,本子感觉应该尚可,中上的卡斯,可惜导演的把控能力太差,好食材糟蹋了,好牌打输。好多情节本都可以拍的惊心动魄、扣人心弦,但最后却都平淡收场,除了男主最后在监狱塔楼上的谋划来了个小高潮,我看的时候还
一部黑帮线人的故事,迫不得已做了线人,意外出现在NYPD卧底被杀的现场,被NYPD警察追查,又被FBI当了弃子,黑帮准备处刑,在监狱里上演了一出监狱风云和越狱。故事的框架其实虽然不算新奇,也还算不差,本子感觉应该尚可,中上的卡斯,可惜导演的把控能力太差,好食材糟蹋了,好牌打输。好多情节本都可以拍的惊心动魄、扣人心弦,但最后却都平淡收场,除了男主最后在监狱塔楼上的谋划来了个小高潮,我看的时候还有点揪心,但是来得突然,又戛然而止。
男主太帅了,一脸胡渣都遮不住俊俏的脸庞,看了下参演的电影看过的有《机械战警》《自杀小队》《暗夜逐仇》都是重要角色但都没留下深刻印象,看了下片单才发现,哦,原来是他。参演了不少美剧,电视剧演员和电影演员总还是差那么些气场,还需要再磨磨演技,等待那个生命中角色的来临。
裴淳华在《消失的爱人》实在太惊艳了,至今看到她都有种不寒而栗的感觉。之后的角色都黯然失色,这里对女主的内心的挣扎没有充分挖掘,感觉像突然倒向上级放弃男主还背后来一枪,结尾又突然反水帮助男主,显得突兀。
克里夫·欧文这几年都没接到好本子,最近有印象的还是《双子杀手》里的反派,同样都是脸谱化的反派,出场就告诉你我是反派,然后板着个脸干着反派的事。是该好好反思下自己的定位了,光靠一张硬汉的脸已经没办法一招鲜吃遍天了。
安娜·德·阿玛斯实在是天生尤物,演个家庭主妇一身朴素装扮都无法掩饰身上的光芒,期待发光发热,打下一片天地。黑人警察看着很吊,结果后面一下弱鸡,波兰小辫子演的可以更好,黑帮老大有点不怒自威的范儿但是没给机会发挥。
打法时间看看可以,别期待太高。
多么诚意啊 原封不动抠图《动物世界》的海报
让我们起立 鼓掌 致敬 杀亖原创的各位创作者
你们永远被钉在耻辱柱上
出品公司 北京天桐互动信息技术有限公司
制作团队 成都聚象传媒有限公司
出品方 快点App
多么诚意啊 原封不动抠图《动物世界》的海报
让我们起立 鼓掌 致敬 杀亖原创的各位创作者
你们永远被钉在耻辱柱上
出品公司 北京天桐互动信息技术有限公司
制作团队 成都聚象传媒有限公司
出品方 快点App
一开始就可以看出男主喜欢女主,也是同窗好友,一个成绩好,一个成绩差。
还是女生的成绩好,家长不允许谈恋爱。
在学校调皮的男主,在家乖乖的女主。
不过和《那些年》不同的是,
男主女主破了色戒罗!
然后男主因为借钱,欺骗了女主,自己去跟别的女人上床。
女主误会了,奋发图强变成女强人。
重逢后,男主又
一开始就可以看出男主喜欢女主,也是同窗好友,一个成绩好,一个成绩差。
还是女生的成绩好,家长不允许谈恋爱。
在学校调皮的男主,在家乖乖的女主。
不过和《那些年》不同的是,
男主女主破了色戒罗!
然后男主因为借钱,欺骗了女主,自己去跟别的女人上床。
女主误会了,奋发图强变成女强人。
重逢后,男主又想追回女主,满满的套路。
其实还是因为我还是爱你的。
HAPPY ENDING~!
虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本
虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。虽然导演有诚意,但片子剧本不咋地。至于演员,他们尽力了,但实力有限。