Because today is the day when the filming of "Reply 1988" starts, Lin Chengxun did not choose to skip filming. He was a little afraid that skipping filming would confuse and disrupt the overall plan. The filming was piecemeal, not to mention that the new actors were inexperienced.
The emotional transformation speed is too slow, and the shooting is too slow.
This scene is an introduction to the year 1988. The main requirement is that the furnishings in Cui Ze’s bedroom, the base of the friends, should meet the requirements of that era, such as comics, video tapes, big-ass TVs, VCRs, etc.
Although these props are not authentic objects from that era, they were made by the crew under the enthusiastic suggestions of people who lived through that era, such as Yoo Jae-seok, Kim Soo-ro and others. The details are very detailed. The opening chapter
The "A Better Tomorrow 2" video was simply provided by Yoo Jae Suk himself. This brother was crazy about star chasing in his early years. He was a die-hard fan of his brother Leslie Cheung and could casually hum the Cantonese interlude melody of "A Better Tomorrow".
Hyeri's group of young actors were fine, but middle-aged people like Sung Dong-il felt a surge of emotion in their hearts as soon as they saw the entire Ssangmundong alley set. A group of people came closer and went in and out of each person's home.
When he came out, the scene in his memory appeared before his eyes. The place he looked at seemed to have traveled through the torrent of time and entered another timeline. The light and shadow shone into reality, and reality reflected the light and shadow.
Even after hearing that the filming of "Reply 1988" had officially started, Yoo Jae-seok came to the filming site in person. He also rarely showed a side that is rarely seen on TV. He looked at the familiar scene in front of him with a sincere expression and deep eyes.
It seems to exude a brilliant brilliance.
...
In a small room of about ten square meters, there were high-waisted straight jeans, boys' crop tops and solid-color shirts, and women's colorful T-shirts, with the hems tucked into their pants. Five boys and girls dressed in a contemporary style were sitting in a row, in front of their sight.
In front of the finish line, a big-butt TV with a screen size about the same as a later-generation tablet computer was playing the Cantonese original audio video "A Better Tomorrow 2". In the quiet "little base", the movie episode "Toward the Future" was floating, and
Accompanying it is a scene between Ponyboy and Leslie Cheung.
At the critical moment of the line, there was a "bang", and the sound of Xi Dongdong tearing open the snack packaging covered everything.
At this time, the camera cuts to a sheep doll, where "baa baa baa" will be dubbed later.
After a very brief scene was filmed, Lin Chengxun stood behind the photographer and waved to the makeup artist: "To touch up the actor's makeup."
Afterwards, he directly asked the photographer to show him the previous scene. Because the color of this first scene must highlight the sense of age, Lin Chengxun did not sit safely behind the monitor, but stood beside the cameraman.
Next, observe the actors' performance from a place close to the camera position.
Lin Chengxun can't say what the benefits of doing this are. It's just that he is a photographer, and observing from the camera's position will give him a special feeling.
Soon, the makeup artist finished applying makeup and the scene was cleared. People and props that had nothing to do with the shooting and could not enter the camera were moved out of the shooting area, and the shooting continued.
The next scene was not troublesome, but it was Xi Dongdong being complained about by Kim Jung Hwan, Cheng Deshan getting angry, and finally Cui Ze ran outside to get some snacks for entertainment, but before they could continue eating snacks and watching the movie
Living a leisurely life, the voice-overs of several mothers hit hard.
"Kim Jung Hwan/Deok Sun/Sun Woo, it's time to eat!"
A scene that adults will miss very much.
Before the song ended, everyone had dispersed, and the friends scattered in all directions.
There is a small detail here, which is the close-up of the shoes when Deshan and others left Cui Ze's house and put on their shoes.
Four people, four different pairs of shoes, branded goods, counterfeit goods, ordinary goods and school-customized shoes; through the detail of the different shoes worn by the four friends, the financial status of several families is revealed.
After this shot was passed, the crew immediately prepared to shoot the second shot. The scene of the housewives urging their children to go home for dinner was very heartwarming. Moreover, due to the time design of the play, the fathers of several families were also there for the meal.
When Time Comes Home, this second shot uses a parallel narrative method to establish the images of several middle-aged men. Unlike the previous flat roles of the children, the roles of the fathers are more complex and require more acting skills.
Higher.
The first person to appear was Cheng Deshan's father, Cheng Dongyi. As a bank employee, his family was originally relatively well-off, but because he was a good old man and a soft-hearted person, he helped his friend guarantee a loan. As a result, his friend ran away and he himself
He had to afford such a large loan, which caused his family to move to the basement. After repaying the loan every month, his salary was often not enough for daily consumption. His wife, Li Sanhua, often had to go to Kim Jong Hwan's mother, the Leopard Lady, to borrow money.
Wearing a suit and tie, large leather shoes and a briefcase, he is dressed meticulously and his expression is exhausted.
This is probably the norm for middle-aged men who struggle to achieve high or low levels in the workplace. In addition, Cheng Dongyi just received his salary today. Everyone knows how to pay wages in the workplace. Newcomers are scratching their heads and old birds are scratching their heads.
His heart is filled with despair, and part of Cheng Dongyi's monthly salary will be automatically deducted to repay the loan. You can imagine how he feels now.
However, as a husband, as a father, and as the backbone of the entire family, he cannot bring this emotion back home.
So in the long shot, Cheng Dongyi is walking in an alley that has long lost its noisy daytime, with a slumped face like a statue. This emotion lasts until he stands at the door of his house, and Cheng Dongyi slowly sits down.
on the steps.
He did this for a while, and then the quarrels between the eldest daughter and the second daughter were heard in the house, as well as the wife's complaints about why he hadn't come back yet. Cheng Dongyi knew that it was time for him to enter the house.
He covered his face with his hands, and rubbed his face, which had gradually become rigid in the company, little by little, as if to remove this layer of gray skin, this heavy breath, and this whole day's fatigue.
I couldn't bear to tear it all off.
Then Cheng Dongyi raised his eyes, looked at the electric light hanging on the door, put a smile on his face, and opened the door.
The camera zoomed out, and a blurry figure appeared just around the corner.
He is the male head of another family, Kim Jung-hwan's father, Kim Sung-jun. He is the youngest among several fathers, and the one who seems to be the most inconspicuous in the drama. Unlike other peninsula families, the status of the male and female protagonists is different. Kim Sung-jun's family is the leopard.
The lady is strong, but as the male host, Jin Chengjun is like the family's funny man. He is full of cold jokes in his daily life, and only Deshan can pick up on his jokes.
But he was such a funny person. Later, he sang the song his mother asked him to sing on the tape on a rainy night, and shed tears. His sudden expression touched people's hearts.
In order to highlight Kim Sung-jun's frugal character, the clothes that Lim Sung-hun arranged for him were a little too small and dark in color, which made him walk less calmly than the male protagonists in the drama such as Sung Dong-il, who put his hands in his pockets and walked all the way.
, the most eye-catching thing is the nondescript smile on his face.
Jin Chengjun came to the door of his house, pushed open the door and walked in. He opened his mouth and made a cold joke, which made his wife, Ms. Baozi, nag harshly.
Then, Cui Ze’s father appeared,
The dim street lights reflected his strong body, and he was holding two bags in both hands. The contents of the bags were clearly visible in the camera. One was a takeaway for tonight's dinner; the other was a vegetarian meal from the family's food reserve.
Hand-Pulled Noodle.
He is a single man with a genius son, and his three meals on weekdays are either ramen or takeout. There was a close-up shot of Cui Ze's refrigerator before, and the scene of the messy refrigerator in the shot directly illustrates that Cui's family is a single-parent family.
At this point, the three middle-aged men who have a lot of roles have all appeared.
The sky turned completely dark, and the swing arm slowly rose up, zoomed in and out, and finally settled on a panoramic shot. In the overlooking shot, all five families lit up the warm lights belonging to their homes, but there was no male in Shanyu's family.
The scene of the host and the scene of Xidong and Dong's family eating alone are particularly sad to watch. They seem to be telling the audience about a Taoist family that has a difficult lesson to recite.
Sun Woo and Cui Taek's family, a widow is newly deceased and a widower lives alone, are both single-parent families; Deshan's family is so debt-ridden that they can only live in the basement; although Kim Jung-hwan's family is a nouveau riche, the male owner Kim Sung-jun and the eldest son Kim Jung-feng make it difficult for them to live alone.
The hostess, Ms. Baozi, was heartbroken; the last one, Xi Dongdong, was from a dual-income family and often neglected her son Xi Dongdong in order to work. The relationship between father and son and mother and son was the biggest family conflict.
After finishing shooting this scene, Lin Chengxun looked at the picture in the camera and was reluctant to stop. Finally he said: "Okay, it's over. Several parents, Brother Shi and screenwriter Li Youzhen, come over and experience these paragraphs.
Lens, after all, I haven’t been through that era. I don’t know what should and should not be in that era, or even what that era was like. Come and see for me.”
After Lin Chengxun finished speaking, he made way for Cheng Dongyi, Liu Zaishi and others.
In fact, Lin Chengxun was quite satisfied with the filming of these scenes. The setting, lighting, art and even the actors' interpretation of the characters all met his requirements for the film "Reply 1988" as a director.
But the problem is that Lin Chengxun has never experienced that era after all. He only relies on other people's narrations and descriptions in text and picture materials. The whole picture is still very blurry. It's as if he added a paragraph of his own when he started writing the scripts for his two episodes.
The plot of SNSD was that when Sung Yuhui was studying, he had to go to the school boiling water room to pick up ramen noodles in water for lunch every day (the author's personal experience). As a result, after writing it, Lin Sunghun was laughed at wildly by Li Youzhen and Yoo Jae Suk.
In the end, he had to delete this paragraph and continue his plagiarism business honestly.