China Entertainment started in 2004

Although Wang Shu is a consecutive Oscar-winning director, he still has his share of haters.

Some people have always looked down on his background and his academic qualifications.

In other words, those who disliked him became even more unhappy after the marketing of "The Night the Comet Came".

As a low-budget movie, "The Night the Comet Came" created extremely gratifying box office through various marketing methods.

Among them, there is a saying that "If you can't understand it, it means your IQ is not high enough."

……

On Sina Blog, a well-known film critic published a blog post about "Interstellar".

"I have been looking forward to Director Wang's Interstellar and went to the theater to watch it as soon as it was released. Now I would like to share with you some questions about this movie."

"1. Scientific issues."

"There are two details in Wang's Interstellar that really touched me. One is that when the Endurance space station arrives at Jupiter and prepares to enter the wormhole, this high-dimensional space that only exists in theory is visually presented on the screen as a sphere rather than a flat tunnel entrance."

“In the ‘entry’ sequence, Endurance does not ‘whoosh’ into the sphere in an abstract way, but slowly approaches the wormhole. The sphere becomes larger and larger, and the spherical surface reflects the colorful projections of countless distant galaxies in the universe.”

"The space station keeps approaching, and the surface of the sphere keeps expanding and becoming huge."

"Then came Cooper's heroic "We're in"."

"Compared to the vast unknowns of the universe and the infinite details of the wormhole, humanity's most advanced space station is so tiny, especially after Endurance reaches an unknown galaxy and flies towards the huge black hole 'Gargantua'. It is just a tiny black dot that can be almost ignored in contrast to the bright black hole radiation."

“The vastness of the universe and the weakness of human beings, yet their ignorance and fearlessness, are extremely shocking both visually and psychologically, and full of tragic poetry.”

“Second, after the Endurance accident, Cooper and Dr. Brand achieved the docking of the spacecraft and the space station in high-speed rotation. The speed of the events, the compactness of the editing, the tense rhythm of the soundtrack and the meticulous display of details all made people unable to take their eyes off.”

"I particularly appreciate the repeated editing of the big environment shots, docking details, and the astronauts' expressions in this section. There is hardly a single wasted shot, and there is not a moment that doesn't make you breathe faster and your heartbeat quicken."

"Liu Cixin, the author of the science fiction novel The Three-Body Problem, said in an interview that after reading Clarke's science fiction novel 2001: A Space Odyssey, he 'suddenly felt that everything around him disappeared' and 'was left alone facing this huge mystery that the human mind cannot grasp'."

"Real science fiction should make people feel the vastness of the universe, and should allow them to finally stop on their way home from the night shift one day and gaze up at the starry sky for a long time."

"This kind of admiration is the ultimate charm of science fiction."

"But science fiction cannot stand on its own just by relying on 'fantasy'."

“Without solid scientific details to support and present imagination, the work can only be ‘suspenseful’ and ‘fantasy’.”

"The more solid the scientific details in a work of science fiction, the more powerful the fantasy will be."

"When evaluating the appeal of a science fiction film, I think the most fundamental criterion must be the scientific details and the visual expression of science. The plot is secondary, serving the scientific deduction and the advancement of imagination."

“When dealing with the unknown and lacking a frame of reference or criteria for evaluation, the meticulousness of scientific details in Interstellar reflects the sincerity of the creators.”

"While not all details hold up to scrutiny, the following elements of Interstellar lay a solid foundation for its status as hard science fiction."

"1. The setting of human extinction - the realism of environmental degradation."

"2. The design of the space station and its rotation to generate artificial gravity."

“3. The projection form of high-dimensional space in low-dimensional space.”

"4. The conjecture of relativity on the distortion of space-time (including great exaggeration, for example, if one hour on a foreign planet is equivalent to seven years on earth, the gravity is only 1.3G)."

“5. The external visual appearance of a black hole.”

"6. Black hole tidal force."

"7. The fantasy of a space-time singularity inside a black hole."

"The spherical display of the wormhole is a milestone in science fiction movies and will go down in film history forever."

“Even the robot, which pays homage to the black square stone that represents the ultimate secret of the universe in Kubrick’s film 2001: A Space Odyssey, will become a classic because it is free from human form and its design is ingenious and novel.”

“2. It’s a question of values.”

"Director Wang showed two attitudes of mankind towards preserving the flame of civilization in the face of death in Interstellar. He made mankind finally return to the only value standard - love after experiencing high-dimensional space, time distortion, black holes, and the rapid development of science and technology."

"It's hard for a Chinese science fiction fan not to think of The Three-Body Problem with this setting."

"I personally have a neutral view on the 'emotion' of 'sensationalism' - after all, a work should strive to move people's hearts. I even quite appreciate the conclusion that 'love' is the ultimate key to solving human survival problems."

"The key to the sensational result is not the emotion itself, but the way the emotion is expressed. Especially in a serious hard science fiction film, 'how to sensationalize' is the key."

“A good science fiction work is actually very similar to the models we build in scientific research: the ‘fantasy’ part is to establish hypotheses – technological developments that are beyond the reach of current technology have become reality, and conjectures that cannot be confirmed have been confirmed, etc.; the ‘science’ part is the evolution of all events and plots after the hypothesis. Everything strictly follows the logical relationship based on the hypothesis, presenting reasonable evidence and argumentation process.”

"Science fiction can be wildly imaginative in setting up premises and assumptions, but it cannot make random deductions afterwards and cannot lose its logical connection."

“Even if the result points to an emotional belief that transcends logic, the deduction process must strictly abide by the logic of thinking, and accidentally but inevitably present the connection between a series of events, step by step leading to the ultimate truth that is finally inevitable.”

“Before analyzing Interstellar, let’s first briefly review how Liu Cixin made the fate of the universe lead to love in The Three-Body Problem.”

“There are two key characters in The Three-Body Problem: Luo Ji, the ‘wall-facing man’, and Cheng Xin, the ‘saint mother’.”

"The former is a cynical scoundrel who finally steps out of his own little world and takes on the fate of all mankind. The opportunity is to save his wife and children in the 'World War II'."

“Although the final destination of love is Luo Ji’s family, the contest between the emotion-driven human civilization and the pure logic-driven Three-Body civilization runs through the entire Three-Body series.”

"In other words, the appearance of 'love' is well-prepared throughout the story. It was designed from the very beginning and closely permeated into the characters' behavior choices and the final direction of the story. Especially at the end of The Three-Body Problem II, Liu Cixin even specially arranged for a Three-Body civilization observer to emphasize the great significance of love to the development of human civilization."

"The characters' logic in choosing love is reasonable and unified from beginning to end, and does not require the usurpation of faith beyond logical thinking." "The summary of love at this level is not sensational."

…………

"The return of love at the level of Cheng Xin in The Three-Body Problem has a logical gap and requires a leap in values, which is for the sake of sensationalism."

“However, such sensationalism was finally achieved through a series of processes of huge technological evolution, historical deduction, and the final direction of the universe’s destiny. It was rigorous, slow, and infiltrated step by step until it finally became a philosophical sublimation of thought.”

"Even if readers have completely different opinions and do not buy into the ultimate conclusion that 'love is eternal,' they still have to admire Liu Cixin's narrative process of guiding the entire universe toward love."

"So let's compare it to how Wang Shu was sentimental in Interstellar?"

"He actually laid a solid foundation, whether it was the long, seemingly insignificant family life on Earth or the video calls on the space station where Cooper watched his children grow up little by little, all of which paved the way for the return of love later on."

"Anne Hathaway's character, Dr. Brand, relies on her intuition to decide to explore another planet, and points out that love may be a real cosmic force that humans do not understand yet. This is a key part of the plot arrangement. It seems inadvertent, but it is the key to unlocking the mystery of the entire movie."

…………

"In the black hole, after Cooper finally came to an epiphany, he explained to the robot Tars why the three-dimensional projection of this small high-dimensional space where he existed was exactly the day before he left the earth. He said that love, as a force, guided him to this direction - just like gravity determines the position of objects in space in the three-dimensional world, love, as a high-dimensional 'quantum force', can determine a person's position in the high-dimensional space, that is, when and where a person will appear in the projection of the low-dimensional space."

"Later, before Cooper lost consciousness, he saw Dr. Brand on the Endurance space station as they passed through the wormhole, and there was that mysterious handshake, which is also the power of love."

“In The Three-Body Problem (and most science fiction works), love, as a belief that transcends the laws of physics, is the power of the human spiritual world that is separated from the physical space. Human beings’ return to love is the coordinate for confirming the value of their own existence. This return is abstract and philosophical.”

"But in Interstellar, love is no longer an abstract spiritual force, but is portrayed as a specific, actual force in the quantum state of high-dimensional space, similar to gravity, electromagnetic force, strong interaction and weak interaction. It actually participates in the material composition of the universe and is even likely to be a certain basic force form in high-dimensional space."

"Interstellar's attempt to explain love in a concrete, physical way is groundbreaking and amazing."

"I have said so much because I actually want to recommend Liu Cixin's science fiction novels to Director Wang."

"I think with Director Wang's ability to shoot science fiction films, he is capable of bringing Liu Cixin's science fiction works to the big screen."

“Although Director Wang took on the Interstellar project, it was already a legacy project with an initial version.”

"But, with Director Wang's talent, I think there will be no problem in adapting Liu Cixin's science fiction works into films and TV series."

"I hope that in the near future, we will be able to see science fiction movies adapted from our domestic science fiction works in theaters."

"In fact, both the writing and production are done in our country!"

……

There are many comments left by netizens under this blog post.

A bowl of spicy noodles: "I couldn't wait to go to the cinema to watch "Interstellar" at midnight. I can only say that Director Wang is worthy of being Director Wang. I don't know how good he is at shooting other Raikage movies, but he is really good at shooting science fiction movies!"

"Honestly, after reading the teacher's film review, I am looking forward to Director Wang filming Liu Cixin's next film or TV series."

"With Director Wang's talent, I think he should be able to perfectly adapt Liu Cixin's science fiction works into a script and make it into a movie for the big screen."

"expect!"

Bubble Little Dot: "I am also looking forward to Director Wang making Liu Cixin's sci-fi works into a movie! @王树."

Maria Osawa: "@Wang Shu, I recommend The Three-Body Problem and Liu Cixin's sci-fi works."

……

Although there are quite a few comments about the movie "Interstellar" under this blog post, most of them are recommending Liu Cixin's science fiction works to Wang Shu.

at the same time.

Director Chen got up early in the morning, had breakfast, dressed up, looked at Chen Hong, and said, "Let's go to the cinema to watch Wang Shu's new film."

"Don't you want to watch his movies?" Chen Hong deliberately said in a teasing tone after hearing this.

Director Chen was indeed not willing to watch it, but he turned on his computer in the study room that morning and searched for film reviews of "Interstellar" after its release. Seeing the mention of multi-dimensional space, white holes, black holes, spaceships, space stations, etc., aroused his interest.

He knew very well that if he didn't go to see it, Chen Hong would go to the cinema to watch the movie and come back to tell him about it, and then he would be curious and go to the cinema to see what it was like.

In that case, why not just follow Chen Hong into the cinema.

Director Chen sneered and said, "I'm going to watch his movie? I'm going to watch the project Spielberg left behind at Paramount."

Chen Hong was amused when she heard this and continued to tease, "What about Spielberg's project?"

"Have you heard? Wang Shu's version is his own revision of the script, and it is already different from Spielberg's version."

Although he said this, he went to the cloakroom to change clothes.

When Director Chen heard this, he snorted coldly: "Even if it is different from the project Spielberg left behind at Paramount, it is also a modification based on the project Spielberg left behind at Paramount."

Chen Hong had already gone to the cloakroom. When she heard this, she was too lazy to respond.

After a while, he dressed neatly and went to the cinema with Director Chen.

Sitting in the car, Chen Hong couldn't help but deliberately asked, "What do you think...how much box office will Wang Shu's "Interstellar" eventually get?"

"How should I know if I haven't even seen the movie?" Director Chen replied unhappily.

Chen Hong smiled when she heard this and said, "I'm asking you this because I haven't watched the movie. If I had watched the movie, I wouldn't have asked you this." (End of this chapter)