The Best Actor in the Vase of Meiyu

Chapter 1499 Top Configuration
Yes, a hundred percent yes.

Alfonso did not hesitate at all. To be more precise, was there any need for him to hesitate?

Firstly, someone was finally willing to invest in the filming of "Children of Men", digging out his work that he had spent countless efforts on from the dark corners, and helping him get rid of his unemployment dilemma. Most importantly, he was able to make movies again.

Secondly, they were discussing Anson Wood, the famous Anson Wood, the top star that everyone in Hollywood wanted to work with.

Thirdly, and most importantly, Alfonso never thought that Anson was just a pretty face. So far, he has read all of Anson's works by chance. And just now, Anson casually mentioned the original setting and character positioning, which once again proved his judgment.

In addition, the icing on the cake was that Anson came to visit in person with such sincerity, who could refuse?
Anyway, he can't do it and doesn't want to.

Without any hesitation or delay, Alfonso nodded in agreement.

On the contrary, now Alfonso is thinking about how to convince Anson.

"Accent." Yes, there is this thing, "I believe you can prepare it. The French in the game of cat and mouse is really charming."

Anson was directly amused by Alfonso, "It seems that the director has seen all my works. This is something I didn't expect."

Alfonso said honestly, "I didn't expect that myself."

Anson laughed heartily, "But I have some doubts."

Alfonso took a deep breath and said, "Please go ahead."

Anson, "Aren't you surprised?"

Alfonso, “No. If not, this project would not have been lying in Warner Bros. without any response. Obviously, it is in doubt.”

"And, to be honest, I expect you to have doubts, because it means you have carefully read the original book and the script, and then thought about it."

"I'm glad you have doubts, even though I'm still uncontrollably nervous right now."

Haha, hahaha.

Anson laughed out loud, "Now I'm not sure if I should continue talking, but don't be nervous, I have no plans to attack."

"So, are you more inclined towards business or art?"

Alfonso blinked and gave an awkward smile, "The first question stumped me."

Anson's smile spread out. "No, no, no, you misunderstood me. I don't want to simply and crudely divide works into commercial films and art films. It's like saying that the general public cannot appreciate the depth and thinking of the works. This is obviously wrong."

“I mean, in our creative process, do we tend to focus on experience or on thinking?”

“Because the way the film’s lens language is presented may be different.”

Alfonso took a deep breath, his expression remained there, and finally turned into a long sigh, "Sorry, I don't have a clear answer at the moment."

"I mean, I thought I knew myself."

“I am not a director who is good at philosophical thinking. I know that I will never be able to become Bergman, and I may not be able to become Kubrick. I have some thoughts, but they are not so complicated or profound. I am willing to entertain the audience, so I should be a director who focuses on experience.”

"But 'Harry Potter and the Prisoner of Azkaban' didn't seem to work that well."

Anson understood that Alfonso was in a stage of exploration and growth, which was normal, as almost every director needed to go through such a process and develop his own unique style through exploration and adventure.

Among the current batch of young directors, Alfonso is very, very rare who can make progress in every work, step by step.

Anson, "I like 'Prisoner of Azkaban.'

This simple sentence made Alfonso's eyes light up, but then his expression became lonely again, "But the audience..."

Anson, "I think you should stick to this path and continue exploring. The box office of 'Prisoner of Azkaban' was lower than expected, which was more a problem of the market positioning of the work, and had nothing to do with the director's work. So, what we need to discuss now is the positioning of 'Children of Men'."

"If I'm not mistaken, the director is planning to film 'Children of Men' as 'Exodus', right?"

scare!
Alfonso stood up suddenly, staring at Anson in amazement, his mind buzzing, his eyes revealing a determination that "a gentleman will die for his friend".

In his previous life, when he watched "Children of Men", Anson had no such thoughts at all, because he had not read the original work and knew nothing about the "Bible", so he would not have such an association in his mind; but later, when he watched "Gravity" and "Roma" and other later works of Alfonso, he knew:

Although Alfonso is not a devout Christian and has no intention of exploring faith like Bergman, the details that permeate life are still integrated into his creative ideas.

In "Children of Men", the long shot of Theo protecting the girl and the newborn baby from the ruins of the battlefield can be completely understood as the scene in "Exodus" where Moses opens a passage to the Red Sea, pointing out the way forward in this way.

So, Anson asked tentatively.

Sure enough, as expected, Alfonso's reaction confirmed his guess.

"But you are not going to deliberately exaggerate violence, blood, and disasters to provoke the audience like in 'The Passion of the Christ'?"

Alfonso shook his head and waved his hands repeatedly.

"Despite this, there is still something worth learning from 'The Passion of the Christ': the viewing experience, which increases the audience's sense of reality from the visual and auditory levels."

“We need the audience to feel the impact through the lens.”

Alfonso frowned, "What do you mean?"

After talking with Jeff Robinov, Anson kept thinking, if he were the producer, what kind of energy would he inject into "Children of Men" to change the dilemma of the film being well-received but not popular?

This is a difficult problem because the film itself is already very good and Alfonso has done an excellent job. In addition to market positioning and publicity strategies, how can we inject more possibilities into the film without changing Alfonso's creative ideas and artistic style?
In the end, Anson’s answer was the movie-watching experience.

The photography and scheduling of "Children of Men" are top-notch, and the photographer Emmanuel-Lubezki is a hall of fame figure.

Emmanuel Lubezki is the fourth level besides the "Mexican Three". As early as 1995, when he was just starting out and was only years old, he was nominated for an Oscar for Best Cinematography with "A Little Princess". He is one of the few top talents in Hollywood who has overall control, handheld tracking, and clever use of natural light and industrial light.

Generally speaking, top photographers tend to only have one specialty; but Emmanuel has all of them, and he is definitely not biting off more than he can chew, he is truly proficient in everything.

After losing all five Oscar nominations, Emmanuel won three consecutive Oscars for Best Cinematography with "Gravity," "Birdman" and "The Revenant."

"Tech geek" Alfonso and "genius photographer" Emmanuel designed a stunning lens language for "Children of Men", and now Anson believes that they can further push their strengths to the extreme, bringing the audience a thrilling viewing experience and showing the unique charm of the film.

What the movie needs is not excavation and exploration at the artistic level, nor is it to flatter the aesthetics of the awards season, but to add popcorn effect to the movie with excellent visual effects, to explore at the commercial and genre levels, and to make the audience truly fascinated by the movie and unable to extricate themselves.

(End of this chapter)