The Best Actor in the Vase of Meiyu

Chapter 1771 The Beginning of the Frenzy
It's not a movie theater, not a stadium, not a concert venue, but a city—

A piece of land where you live, a space you pass through every day, a street that is as familiar and ordinary as can be, but after you stop and stop, you will see a completely different scene, as if you have discovered a secret realm in your daily life, mysterious, beautiful and colorful, and breathtaking.

Then, in this space, you feel emotional resonance and excitement. That wonderful feeling is private, yet it builds connections and bonds between strangers. The same streets, the same city, the same space, quietly transform into different fragrant memories, lingering under your nose.

Wonderful.

Looking around, the expressions on those faces were so similar; a single glance could evoke the same feelings. They didn't even need to introduce themselves or have any verbal conversation to form a tacit understanding. This was definitely a unique moment in modern daily life.

Finally, the crowd slowly recovered and regained their senses. Instead of cursing or confronting each other, they silently returned to their driver's seats, placed their hands on the steering wheel, took a deep breath, and waited for their surging, boiling blood to calm down and for the traffic that had been paused to resume.

Snapped.

The green light turned red again. This was the umpteenth time the traffic lights had changed, but this time, there was no need for horns or shouting. The traffic jam started moving naturally, the engine sounds returned, and the congested and paralyzed traffic flowed smoothly again. Everything returned to normal.

But is that really the case, and everything is as usual?
The surging emotions in my mind, heart, and blood seem to have quietly changed, and my seemingly normal life has been subtly altered.

Blair finally snapped out of his daze, turned to look at Karen, and the two stared at each other blankly for a moment before losing control of themselves.

"Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa!"

A vast, unending roar, they screamed face to face, recklessly and obliviously. Even without words, the emotions mingled in their eyes and screams sparked a powerful connection. The excitement and happiness, the madness and daze, surged through their minds.

"Music videotape!"

"Anson directed and acted in this himself!"

"Sailing!"

"A cappella!"

Keywords kept popping up, and people could understand them without even needing to hear the full story. Anson had actually made his first live-action appearance in a music video and even directed it himself, not to mention the spectacular live performance. Everything about it was challenging their rationality.

So, how many more surprises can the album "Dawn Breaks" bring?

Rushing and whispering, discussions and heated debates spread in the blink of an eye, completely out of control, and had already exploded before anyone could react.

So music videos can be filmed like this? A mini-movie transformed in just three minutes? What story does the "Sailing" music video tell? How are visuals and sound integrated into the story? How were these breathtakingly beautiful scenes filmed?
So, what other surprises is Anson hiding?
What about the subsequent performances? How was the transition from the music video to the small theater handled? And where did the idea for a cappella come from?
Of course, most importantly, how was the scene in the second half of the song, where Anson soars into the air and floats in mid-air, accomplished? How was the 360-degree camera movement achieved? How did the dazzling visual impact and the auditory energy released by a cappella collide?
It's so addictive!

The topics came one after another.

For the general public, movies have become a part of daily life, and the visual and auditory experiences they provide are commonplace; however, Anson is able to take this viewing experience to a whole new level with a music video, using music and live performance as a bridge to create an impact.

Startled!

It wasn't just the streets; even those who drove away were no exception. Even far from the scene, sitting at their desks, those images continued to surge through their minds. The overwhelming emotions simply wouldn't subside, and they couldn't wait to share them with someone. This included die-hard fans like Blair and Karen.

They looked at each other, still unable to understand how Anson had done it. They thought they knew Anson well enough, yet they were repeatedly impressed by the surprises he brought them.

Karen, "...How did Anson manage that?"

Blair opened his mouth and shook his head. "I don't understand."

Karen, “Wow, I mean… is this normal for directors? Or…”

Blair shrugged slightly. "I don't understand."

They knew nothing when asked, exchanged a glance, and burst into laughter.

Meanwhile, Century City in Los Angeles was in a completely different state of affairs, in utter chaos.

Gloria is witnessing the spectacle firsthand.

Those agents and film company professionals are not ordinary viewers; they have been in the industry for a long time. They know the director's skills and abilities, and they also know that film directors are different from other professions.

In Hollywood over the years, there have been quite a few directors who started by shooting music videos or commercials and then went on to achieve success in the film industry.

David Fincher of "Seven" and "Fight Club", Michael Bay of "Bad Boys" and "The Rock", Ridley Scott of "Alien", "Blade Runner" and "Gladiator", Spike Jones of "Becoming John Malkovich", and of course, Michel Gondry of "Eternal Sunshine of the Spotless Mind".

But they are ultimately only a small, very small minority.

More often than not, it's a disaster for directors who shoot music videos and commercials to switch to the film industry, because they are completely different media and art forms. Being able to shoot good music videos and commercials doesn't necessarily mean you can shoot good movies.

Strictly speaking, Hollywood discriminates against and is prejudiced against directors from music video and advertising backgrounds, and is often reluctant to give them jobs easily.

When David Fincher switched careers to Hollywood to direct "Alien 3," he was stripped of his post-production editing rights after filming was completed. He was essentially a puppet and a tool, and the film was edited beyond recognition, to the point that David Fincher refused to acknowledge it as his work throughout his career.

So why would professionals make such a fuss over a mere music video?
But from another perspective, it is precisely because they are professional enough that they can tell at a glance that there is something real in this "voyage" video.

From music video to live performance, it's all seamless and fluid. Anson completes two narratives entirely in the style of filmmaking. It's not just music, but also a form of imagery, using visuals to interpret the narrative. The visual and auditory elements evolve into melody, bringing a stunning effect.

Because of their expertise, they were astonished.

Because of our expertise, we are surging.

The entire Century City was bustling like never before. Gloria had never seen anything like it before; this tiny place seemed to have been hit by an earthquake.

(End of this chapter)