Seeking, a synopsis of the story with the title of one step away.

In the 80s and 90s, these directors broke free from the so-called system and relied on their personalities. But there are too many personalities, and if they are above the movie, they will be complacent, careless, and hypocritical, but any director who makes a bad trembling film has this problem. Your sharpness back then is long gone.

In addition, in recent years, it is more common for directors to marry actresses as wives, which is no problem, personal preference. But don't always treat your wife as a baby in the movie? Confucius said:

Ancient gentlemen treated beautiful jade and hid it. Right? The baby party, when did you ever have an IQ?

Or, either you are like Maggie Cheung's ex-husband and simply make a movie "CLEAN" for your lover with herself as the protagonist, which is not impossible. In most cases, Chinese directors treat their wives as a dispensable doll that has to be posed, rather than a real filmmaker. (Sunning, usually is to erase the true value of the person being sunburned.)

If you don't have literary ability, you don't want to engage in literary creation, which is a kind of blindness. Put the appreciation of his wife and personal interest in his work, and show it in front of the camera without deep thought, which is also indulging his self-requirements. The public is public, the private is private, and artistic creation should follow the principles of art.

Film is an industry, and Chinese films that are entangled in too many selfish desires, personal tastes, nepotism, and showing affection cannot progress. Of course, Jiang Wen is not subjectively so philistine, after all, he is also a man with backbone, but great artists must be more self-disciplined, and it is not wrong to be ruthless to themselves. <>

In the end, Na Ying and Hong Huang, who made amateur cameos, were quite outstanding, and they played better than the two professional heroines. Not pretentious, the characters live. It's not that Second Sister Hong has professional acting ability, nor is it that the two heroines are of low level.

The problem still lies in the director's control - he has no literary creation ability and no mature literary background, but he insists on shaping the character image out of thin air, but the character is blunt and artificial. On the contrary, if you don't focus on the characters with Dongdan, the two Hong are particularly vivid. Jiang Wen is talented.

Jiang Wen's only way to continue his talent in film creation is only one - to cooperate with mature writers and find more mature literary works to adapt. Just like "Animal Ferocious" back then, with a good story, Jiang Wen has an outstanding talent for lens language conversion, and can make a movie that surpasses the original work and is his own work. However, don't include "large" lines that you are used to in your language.

There can be short and concise, clever strokes, and large paragraphs of lyricism, narration, and argumentation must be restrained.

The strength of filmmakers is the language of the lens, not the language of literature.