An Analysis of the Movie Thirty-six Stories

The origins of Thirty-six Strategies and barter are almost impossible to verify. Xiao Yachuan said that he actually felt that there was nothing wrong with the money system. This is a norm. But what Xiaoyachuan wants to bring to you at the 36th floor 3E movie download station is something outside this system. In fact, there are many possibilities, which I am afraid are not available in the monetary system. If the monetary system is regarded as rational, then barter may be perceptual. But what is certain is that everyone has both rationality and sensibility, and there is a balance in people's hearts, but with the relationship between life experience, society and occupation, this balance will be unbalanced. So learn to remind yourself, and then try to adjust to a more balanced state. Like a flower in a movie, it feels more realistic at first, and then it is more emotional; But then it seems that you will see the opposite state. In fact, it is not a change, but an inner self is awakened. When using space in drama, people often think that' people are in front of people', which is easy to express the personality of the characters. Many spaces have their inherent characteristics and attributes. The living room is a typical front. Generally speaking, guests are treated in the living room. If you want to keep it down, pull it to the kitchen or balcony. Such a space will become a person's back relative to the living room. Or don't have to whisper to each other. It's the performance in the living room, it's the look in the eyes when you are with the guests. There is a scene where Xiao Yachuan shoots a man smoking on the balcony, and he will see the people behind him, and the character of the character will be constructed. The use of space in drama is very interesting. In movies, cameras can be everywhere, and you have the opportunity to see people's behavior before and after this. When imagining this scene, Xiao Yachuan thinks it is very important to have a ""-Shaped Bar ",in order to let the audience feel that the host likes to associate with people and get along with them. On the other hand, if the owner of a coffee shop is a very shy person, the design of the bar is likely to nest in a small corner, and he may hide behind the bar when delivering coffee to the guests. Because I want my master to be generous and enthusiastic, and like to associate with people, the pawnshop in Life with Chasing (the first feature film of Xiaoya Biography) is obviously not in this atmosphere. Dong Qing, the hero, has been behind bars to prevent robbery, and visually feels that his state is tied down. At that time, he really wanted to say that a person's heart wanted to fly, but it was tied up. In the design of space, story 36 hopes to convey the feeling that the character is willing to communicate and contact with people. In the film, Dora realized her dream in the first minute. She succeeded in opening a coffee shop, but at the last minute she changed. She wanted to realize her second dream. The process of this change is not her personal consciousness, but is influenced by people. Many people came and listened to many stories, and she changed. These influences or changes were brought to her by others, and she also benefited from them. This is a positive influence brought by people, so we should create a space suitable for people to communicate. The focus of this film is to praise people's communication. Insert several street interviews in the bizarre street interview film, so that people can look directly at the camera and talk about what they think is the most valuable, the dreams they pursue and so on. Xiao Ya's decision to include this passage in the film was based on intuition. I just wanted to open some topics to the general audience and let them participate or answer, and then I thought of walking around the streets and asking people on the street. However, the crew didn't arrest people casually on the road, but made an appointment with friends first, but they didn't know what to ask, and the answer was completely irregular. I hope they can speak intuitively. Xiao Yachuan wants to put this street interview into a movie and listen to the audience's reaction. Because of different opinions, some of our staff are very supportive and some are very opposed. Supporters find it interesting and have another sense of space. Opponents think it will destroy the story line, interrupt the story, or think that an abstract thing is too specific and explicit. Xiaoyachuan hesitated for a very, very long time and stuck here until the final version was finalized. They compared the two versions and finally decided to have a street visit. The reason for the decision is because it is interesting, curious about what the audience will think, and they will think it is to interrupt or enrich the film. The soundtrack of this film was written by Lei Guangxia and Zhijian Hou. Both of them have long-term cooperation with the director. Lei Guangxia's music has an indescribable sense of beauty and is very elegant. Zhijian Hou's music has always been flexible and can present many different emotions and emotions. Xiao Yachuan said that many years ago, he hoped that the two could work together and have a musical impact. A few years ago, they made a short film "Map" together, which was very funny, and they always hoped to cooperate again. The way to see their cooperation this time is that this person throws a melody, and the next person picks up the stick, throws it back, and then throws it back. The interaction between two people is very interesting. Before and during filming, the two have been coming to Dole Cafe to make music and collect some sounds, including the crew meeting actors and talking about scripts. They joined in, imagined the characters, and then started making music. In the process of shooting, both of them made some melodies, which will actually affect the director's execution, and both photographers and actors will feel the infection of music. The last quiet scene, story 36, Taipei, light, comfort, full of warm human feelings. At the end of the film, a scene during the Wan 'an exercise in Taipei was specially filmed. Overlooking Taipei City from the other side of Danshui River, the Xiao Zhong Bridge, which is usually busy, is suddenly empty, revealing a quiet, open or somewhat lonely meaning. For this shot, the director's explanation is: "Of course, there are some symbols in the picture, but you must watch it with that sentence. I like the line I wrote: the city is empty and the story is written by people. That's what I want to say. If we want to talk about Taipei, the most real Taipei is not these hardware buildings, but the people inside. Do you think this is Taipei if you take everyone away as shown in the picture? It's actually wrong. What is Taipei? If you describe it to others, you won't say that there are five bridges and four ferris wheels in Taipei, but that people in Taipei are describing people. These characters interact with the city and nourish each other, but if we want to tell a story, the story is about people, so "Empty City" actually wants to say that talent is the core of the city. "