Director gu jun's guidance

This is the first film in the history of the international Olympic movement to record the seven-year preparation process of the Olympic Games.

Gu Jun: Our entire film crew is also building their own dreams and making the best documentary.

For this film, she filmed 4 1 year old from the age of 34. What hardships did she go through during this period?

Gu Jun: He went home and cried for three hours that afternoon, which was very, very uncomfortable.

How did she record it for seven years? What does she want to tell people through this movie?

Gu Jun: If something goes wrong in Liu Xiang, how should we, the audience, face it? We have presented it to the audience in this film.

Face-to-face interview with Gu Jun, director of Building a Dream 2008, is being broadcast. Please read the commentary: This is a fragment of the documentary Dream 2008 produced by the Central News Documentary Studio and supervised by the Press and Publicity Department of the Beijing Olympic Organizing Committee. This is the first documentary in China that reflects the preparation process of the Beijing Olympic Games. It is also the first film in the history of the international Olympic movement to record the seven-year preparation process of the Olympic Games. In July, 200012000, shortly after Beijing's successful bid for the Olympic Games, the new studio began to shoot this film.

Reporter: At the beginning, there were several choices when the documentary Dreaming 2008 was named, including 200 1+7 and Running to 2008, but it was finally named Dreaming 2008. Why?

Gu Jun: At that time, I felt that hosting the Olympic Games in 2008 was still far away, and I would go there in 2002. Then after six years, that is to say, in 2007, when we accumulated certain materials, we felt that we had actually gone through these six or seven years and felt very heavy. So it was renamed "Building Dreams 2008".

Reporter: We have all studied Chinese. The word "architecture" is rarely used before "dream". Why did you choose this building at that time? Called "Building Dreams 2008"?

Gu Jun: Dreaming? Similarly, we emphasize an action. In other words, it is not enough to have a dream. We must realize this dream and make great efforts. Just like we build a bird's nest, each of us has to work hard and sweat to realize our dreams. This is the word "construction" that we emphasize.

Commentary: From July 2006 13 to May 2008 12, it took Gu Jun nearly seven years to direct. In order to truly record China people's Olympic dream, Gu Jun started filming 4 1 year-old at the age of 34.

Reporter: Did anyone say that I also want to make this movie?

Gu Jun: At that time, to be honest, there was no such thing. I don't know.

Reporter: Are you the only candidate?

Gu Jun: I don't know. Even at that time, the new film studio said at a creative meeting of the whole factory that we were going to do this, so everyone could report some other topics. I don't know if anyone has reported this subject, but I have.

Reporter: Then why did your eyes fall on the Olympic Games?

Gu Jun: I think this truth is actually very simple. In other words, on the day when I won the Olympic bid, I felt the same way as thousands of people in Qian Qian. I feel very excited and shocked. It really became true in front of me. So it is actually an impulse, which means that one of our dreams has come true. Then we still have seven years before the Olympic Games. How do we get there? I am very interested in this matter,

Commentary: The film Building Dreams 2008 takes the birth process of the Bird's Nest, the main venue of the 2008 Olympic Games, as a structural clue, interspersed with four groups of characters, namely an ordinary family in Wali Township of the Olympic Center, hurdler Liu Xiang, three young athletes of the China Women's Gymnastics Team and a group of special police soldiers. To everyone's surprise, the film is told in the first person.

Reporter: When this film was presented to people, you told it from the first-person perspective. So when shooting, do you regard yourself as a party or a bystander?

Gu Jun: Because I am the first witness, my voice and interview will always appear in this narrative process. Because I don't understand, I will ask. If it refers to the background that the picture itself does not explain, I will explain it through my voice. So that's all, but I never, from beginning to end, I didn't interfere with the incident itself.

Why did she record an ordinary family in Beijing? What happened to this family?

Gu Jun: When our editor was sorting out the materials, she was surprised and said, Is that Aunt Gao behind this? Still in the front?

Why did she choose three young gymnasts as the subjects? What new discoveries did she make during the recording?

Gu Jun: Apart from the expectation of the Olympic Games, I think it is more likely that I care about the growth of these children.

A face-to-face interview with Gu Jun, the director of Dong Qian's Dreaming 2008, is being broadcast, so please watch.

Commentary: In this documentary, the first protagonist is an ordinary Beijing citizen Gao Ayi. The demolition of Olympic venues changed the life track of her family. The film truly records the story that she left the old house where she lived for most of her life and started a new life with anxiety and expectation. But at the beginning of filming, in order to find such a theme, Gu Jun had a great effort.

Gu Jun: Just like filming this ordinary family, we also had several roles to choose Aunt Gao. Then these selected characters heard that we were going to shoot for seven years, and many people fled. We felt a little scared when we said that the director should not come to us. We will follow you for seven years, not us. So in fact, we finally chose, and we are very grateful to Aunt Gao's family for their cooperation in our filming.

Reporter: When you started shooting, it should be said that great changes have taken place since seven years ago. What impressed you that we couldn't see?

Gu Jun: I think the changes I feel are basically shown in my movies. Actually, I think Aunt Gao is a typical old Beijing. She has the enthusiasm, simplicity and openness of old Beijing, but she is very cheerful. In fact, Aunt Gao had very low requirements for our filming, and she decided to accept our filming at that time. Aunt Gao only made a very, very small request and said that she could give me some photos in the future. In fact, she doesn't know whether we are making a movie or a TV. She thinks we're taking pictures. So in fact, why do you say that Aunt Gao's family is particularly real and touching, just because she actually has no sense of lens, no sense of lens. In other words, in fact, we go to shoot every day, and after getting familiar with her, we are like friends. She seems to greet you like her neighbor and good friend.

Reporter: Do you go every day?

Gu Jun: For a while, we just went every day, that is, the year before the demolition, basically every three to five, and met every week. In fact, Aunt Gao cried when she left the movie, and she didn't want to open it. That young man is different. The young man, his son and daughter-in-law said that the demolition was an opportunity for us.

Reporter: When you capture and film the lives of these protagonists, can you feel it? Because as a documentary, you may pay more attention to every day and every detail, but through the accumulation of such details, can you feel that the whole society is moving forward? Another countdown to preparing for the Olympic Games is approaching day by day?

Gu Jun: I think the most shocking thing about this movie is that no matter how good the screenwriter is, you can't expect Aunt Gao to be like this. In fact, when you take the next step, you have many plans, many guesses and many expectations. But in fact, it often exceeds your expectations, which shocked me. Including in fact, when Aunt Gao visited her again in 2006, we found that Aunt Gao became younger, which was a great change in her appearance. Then when we were filming, when our editor was sorting out the material, she was surprised and said, is this behind Aunt Gao? Still in the front? Even she will have a little doubt.

Reporter: Then why is this?

Gu Jun: I think life may be better.

Commentary: This is Aunt Gao's grandson. When she was born, Gu Jun began to follow her. With the filming process, Tong Tong is also growing.

Gu Jun: Actually, I want this feeling. For example, there is a detail in our movie that we finally spent six years in Tong Tong. When Tong Tong was six years old, she had a birthday party, which was a family birthday party. At that time, they invited me to Tong Tong's birthday party. I thought, what could it be? In other words, Tong Tong sings a new children's song, the whole family has a meal, and then cuts a cake. The result once again surprised me, that is, in fact, you will find that every child and every school knows what the Olympic Games are like in China, and he knows the Fuwa. He can read these children's songs and say that the whole Beijing has become such an Olympic atmosphere. Then this is a historical mark, which you can't guess six years ago or seven years ago.

Reporter: It should be said that it is the embodiment of the times in a family.

Gu Jun: Yes, yes, actually this is a documentary, because it witnessed an era. In fact, crossing a family is not only a record of their lives, but also a witness of an era.

Commentary: While recording the changes of Aunt Gao's family, Gu Jun has been paying attention to the growth of three small gymnasts. Some people say that athletes' dreams only belong to the stadium, and only in the stadium can they be realized. However, behind the glory and dreams, there are many unknown stories. In 2002, hundreds of small gymnasts from all over the country gathered in Beijing as the Olympic reserve team to start unified training and selection. Gu Yun recorded the best dream-chasing years in her life with film.

Gu Jun: For example, in my movie, I chose three children with different personalities. A crying child, I said Lingling is a crying child. Her eyes and nose are always red. Because in my impression, that is to say, she cries when she doesn't practice well, when the coach says yes, and when she doesn't do well in the game. In a word, she always cries. There is another child who is lazy and naughty. As long as the coach doesn't pay attention to her, she is secretly lazy. Another child really likes gymnastics, and she will do it seriously no matter how much exercise she does.

Reporter: I really want to know, as the director of the documentary, you hide behind the camera, but what kind of eyes do you use to pay attention to the changes of these three children in the past seven years?

Gu Jun: Actually, I also have an expectation. My biggest expectation is whether these children can participate in the Olympic Games. This is my greatest expectation for them. We know that competitive sports are so cruel. Because there are only a few people at the top of the pyramid, only six players can play. Then most people will attend the meeting above 100, and most people will not reach the top of the pyramid. So you can imagine, not only in China, but all over the world.

Reporter: You want to record their seven-year process and show it to the audience. What do you want to convey to them after reading it?

Gu Jun: Actually, I am concerned about one person. For example, when I was filming Lingling's children, one day I didn't think it was necessary to film her. Then in Germany, in 2007, Yuanyuan received the notice, but if a fool was injured, Lingling didn't receive the notice at that time. In fact, Germany and Germany World Championships are the biggest trials before the Olympic Games. In fact, for her, her failure to be selected means that she will be farther and farther away from the list of athletes in the 2008 Olympic Games. Then such a big thing happened to her, and she didn't cry at that time. I don't think these seven years have been in vain. She has grown up. So in fact, I think, in addition to the expectation of the Olympic Games, I think more may be my concern for the growth of these children.

Reporter: All the clues selected for shooting such a film before the Olympic Games should be said to be related to the Olympic Games and the Beijing Olympic Games to some extent. So what kind of impression do you want these three little gymnasts to show in front of the audience after filming, and what kind of impression do you want the audience to have on the Olympics?

Gu Jun: Actually, I think what I want to express is that through this film, I want everyone to feel that the China Olympic Games is actually an Olympic Games for all the people of China. In fact, this not only means that BOCOG is preparing, but also athletes are preparing. In fact, it has penetrated into everyone's life. Every family and individual, including our creators, are actually realizing their dreams and are all participants.

The Beijing Olympic Games is coming. How does her film interpret Liu Xiang?

Gu Jun: If something goes wrong in Liu Xiang, how should we, the audience, face it? We have presented it to the audience in this film.

From what angle did she record the swat? What are some little-known stories?

Gu Jun: First of all, they are people, a living group.

What difficulties did she encounter in filming the Bird's Nest?

Gu Jun: In other words, I will repeat the same thing one hundred times and two hundred times.

Commentary: In this film, another athlete is Liu Xiang, who was included in Gu Jun's shooting plan only after the 2004 Athens Olympic Games. Liu Xiang once laughed and said, "This is my first time as a protagonist, and it is still a natural performance." Liu Xiang said it easily, but in order to film this famous athlete, Gu Jun made a lot of efforts.

Reporter: It may be relatively easy for documentary directors to shoot small people because there are not so many obstacles to face. Liu Xiang is different. Liu Xiang is a big star. I'm afraid he will encounter more difficulties than the first two films. What's the difficulty?

Gu Jun: Yes, I think Liu Xiang is what you can imagine. That is to say, because his projects are very intensive, he plays. His competition schedule is very tight, and he practices through competitions. He replaced training with competition. Then if he has some daily training every day when he is not playing, then this daily training is in the way of coach Sun. Because coach Sun has his own unique training methods. Then he felt that he didn't want to be disturbed by anything in order to ask for a high-quality training. What kind of signature or photo.

Reporter: Including you?

Gu Jun: Of course, it also includes our documentary. So it's actually very difficult to get close to Liu Xiang. Then, of course, we will try our best to record this content in the shortest time. We show 10 minutes in the film, so it may take 10 minutes for us to shoot 10 minutes in the film. It is such a high standard that our photographer and our director need to make a lot of detailed preparations in the early stage. That is, we may include, that is, where Liu Xiang may start and end. We'll go to the scene and look at it several times. We will do many simulation exercises. We will also learn more from Liu Xiang's players, such as the people who practice with him, what kind of moves he will make and where his moves are. We will ask about it by innuendo. That's all. In addition to our routine preparation, we will also say that this preparation has further developed him to the extreme.

Reporter: With what purpose did you shoot Liu Xiang?

Gu Jun: I think he is a person who has to be recorded, because he has made great contributions, that is, he created miracles during the Athens Olympic Games. Because at that time, our expectation for the 1 10 column was that it would be good to be in the top three. Unexpectedly, he created a miracle and won a championship. We should remember that he has such a character in this period of history.

Reporter: In the process of shooting, how did you pay attention when preparing to shoot him?

Gu Jun: Because Liu Xiang was under great pressure after he became famous, we hope our audience can give him more understanding and care. From this point of view, it has certain recording significance.

Reporter: You pay attention to him because he has a brilliant starting point, that is, the track and field gold medal in 2004. But after seven years' attention, I'm afraid what he has achieved from 2008 to this year's Olympic Games is a big question mark in people's minds. Do you have this?

Gu Jun: We pay attention to it in the film, but it is actually shown in our film. What would happen if Liu Xiang didn't win the gold medal? In fact, we still say that the Olympic Games is more important to participate, which is a kind of participation. We want to say 1 100 meter hurdles, but in fact he can't make any mistakes. The distance between him and his opponent is not calculated by one second, but by a few tenths of a second. It's still a few tenths of a second, which means that the distance between him and his opponent is very tight. This is a very important test. So if Liu Xiang has a little mistake, how should we the audience face it? We have presented it to the audience in this film.

Reporter: You want to explain a truth through Liu Xiang. The competition is not just about winning or losing.

Gu Jun: Because I think it may be the most exciting, that is to say, why do people love to watch this project, why do people pay attention to Liu Xiang, because he is fierce? If Liu Xiang is the champion forever, I don't think anyone will watch this project. It is precisely because he always has a question mark and suspense in it that he will attract the audience.

Reporter: This may also be a sports event, including the charm of the Olympic Games.

Gu Jun: Right.

Commentary: They are all special police soldiers. In this film of Gu Jun, they are also the key recording objects. These special police soldiers will undertake the security work of the Beijing Olympic Games. This solemn and serious theme has become the most vivid fragment in Building a Dream 2008. In the film, Gu Yun did not deliberately mythologize the Olympic special police as a hero of 007 style. On the contrary, every mistake in their training was truly captured in the camera.

Reporter: There is another group. You're paying attention to the swat team. How did this group enter your field of vision?

Gu Jun: First of all, we say that security is very important, because judging from our Olympic history, we had a big security incident, that is, the Munich Olympics. Because Munich is going to present the most detailed and peaceful Olympic Games in history, he didn't have any security force when the Olympic Games were held. When the hostage kidnapping was discovered, all the hostages were shot because we didn't have emergency measures. This is what we don't want to happen. During the 2008 Beijing Olympic Games, our security work began from the first day of preparations for the Olympic Games after the successful bid. So I think we should remember them in this history.

Reporter: During the filming process, will you pay attention to them like shooting these personalities?

Gu Jun: I think it actually touched the audience. If this movie touches today's audience, the most important thing is that we regard him as a person, not a symbol, a policeman, but a very conceptual group. This is one of the film's responses to the police, and I think it is a great breakthrough, a breakthrough in concept.

So that means there will be such a situation now. Many viewers, especially young girls, have fallen in love with these special police officers. They are handsome, tall and mighty, because they are first and foremost a group of living people. That's why they have so many fans chasing our captain Zhu as soon as they appear on the screen. I think this is also the success of this film.

Reporter: If the film is a whole and every clue wants to contribute to this theme, what is the contribution of such a special police group to him in 2008?

Gu Jun: I think it's the same sentence, that is to say, we should remember this history, because we have had many Olympic movies, official movies and other themes. I don't think their image has ever appeared, but as such a big event, their contribution is too important, they are too important. We should remember them. In fact, they are also a group of very lovely people, and we must remember them very much. We should respect them.

Commentary: There are so many preparations for the Olympic Games that a 90-minute documentary cannot reflect all the events. Besides focusing on the above four groups of characters, Gu Jun also used her camera to record "a building"-the Bird's Nest, the main stadium of the Beijing Olympic Games.

Reporter: You also pay attention to an object, that is, the Bird's Nest. This object has great symbolic significance, because if you dream, the process of dreaming is like the process of a bird grasping branches bit by bit and building its own bird's nest, and the bird's nest can reflect such a thing. It should be said that the process of shooting the bird's nest is also the longest process in your movie. What difficulties have you encountered?

Gu Jun: In such a long shooting process from 2002 to 2008, it should be a record of the National Stadium incident. Because there was no bird's nest when I recorded it,

We are facing all the design institutes in the world. The whole world is paying attention to Beijing and this important landmark building, and our records began at that time. As you can imagine, I began to contact the first planning commission. They are the source, then the equipment company, and the design company. We are facing 13 design companies, and then the judges decide how the Bird's Nest appears, which is another company. Later, we locked in the company of Hall Group De Mellon and the company of China Architectural Design and Research Institute, which is a joint group. After that, we are in the process of building.

Reporter: You just want to change people and start from scratch.

Gu Jun: In other words, I will repeat the same thing one hundred times and two hundred times.

Reporter: In the whole film, you want to record the whole national stadium, from the beginning to choose the drawings until it becomes a living thing there. What do you want to show through this process?

Gu Jun: Actually, I have always said that documentaries are post-writers. I just want to record this process. What is it? What should I explain? That was after I finished recording. I mean, first of all, I'm recording the previous stage, when this building was born. Actually, I want to say it's amazing. In fact, when the government made up its mind to choose the Bird's Nest project, it was actually encouraging cultural innovation, because the Bird's Nest is not only controversial, but of course the controversy about architecture is an eternal topic. There will be controversy in a hundred years. Some people will say I like it, others will say it looks like Aunt Gao. I don't think the Bird's Nest is good, just like a cage for people, but young people like it very much, and so do many people. It's spectacular. This steel structure is very shocking.

film clips

What efforts has she made in seven years?

Gu Jun: He went home and cried for three hours that afternoon, which was very, very uncomfortable.

How does she evaluate her seven-year-old movies?

Gu Jun: I really can't believe it if it's not done by recording. You really mean that you can't form such a shock.

A face-to-face interview with Gu Jun, the director of Dong Qian's Dreaming 2008, is being broadcast, so please watch.

Commentary: Building Dreams 2008 not only shows the process of people realizing their dreams and building China people's Olympic dreams, but also bears the dreams of all the film crew members, making the best documentary about the preparation process of the Olympic Games in the history of China and even the world.

Reporter: Some people say that when we bid for the 2008 Olympic Games, many people thought that 2008 was a distant concept. But after seven years, people feel particularly fast. ////As a director who shoots and prepares Olympic documentaries, is this process fast or slow for you?

Gu Jun: Actually, a lot of people have asked me this question just now, saying, director, you have been making this film for seven years, and you really haven't done anything? I said I didn't do anything else. I said I didn't have time to do anything else.

Reporter: You have no time for seven years?

Gu Jun: Yes, I said it was for this movie. If I mean that you are really moved by this movie today, I mean that I am doing this movie with 100% heart. I said I was dreaming, too. Just like the protagonist in this movie, our entire film crew is also building our own dreams, and we want to make the best documentary.

Commentary: In the past seven years, Gu Yun's documentary shooting was full of difficulties. But Gu Jun defined this as painful and happy persistence.

Reporter: I find that when you are interviewed by many media, others will ask you a question repeatedly. Do you have any regrets about watching this movie? You always say no regrets. This is almost beyond many people's expectations. Why dare you clap your chest and say categorically that this movie has no regrets?

Gu Jun: Because when I shot in the early stage, I left myself enough thought for every detail. Maybe sometimes I shoot 10 minutes. For this 10 minute, I will spend two or three months thinking. Not to mention the post-editing, it took me nearly a year, so I'll tell you this. As an editor, I actually cut down a lot of materials to five hours.

Reporter: How long did it take?

Gu Jun: About 50 hours. Then it is relatively easy to cut it from 50 hours to 5 hours. From 5 hours to 3 hours is ok, but from 3 hours to 2 hours, it is actually more difficult than before. Sometimes we do it repeatedly 1 minute, 2 minutes. So it took us three months from two hours to 1 half an hour. In other words, we gave ourselves enough thought in this process, so my shearers were almost driven crazy by me. Because at that time, he said, I was always guided by these pictures, I was eaten by these pictures, I fell asleep and dreamed by these pictures. He said he was haunting me like a devil, and he said I was going crazy. At that time, I said, we still have to think about it. I'm serious. It's impossible. You have a good sleep, but we still have to grind it. We can't give up. In this way, in fact, this person has really reached a state of collapse. Finally, I said, you don't have to cut it that day. Well, that's it. I replied categorically, well, don't cut it again, that's all. He went home and cried for three hours that afternoon, which was very, very uncomfortable. (crying)

Reporter: In the process of shooting, because this film has been presented now, it is a successful film. So now that we are talking about it, I am afraid that the tears now are more about how much we have paid. We can take it as a relief, but did you cry during the whole shooting and editing process?

Gu Jun: Actually, I seldom talk about crying during filming, as if I didn't, because I think as a director, he should refer to the emotional side, and more importantly, his rational side. Because he is a role model for the whole film crew, he wants to give the whole film crew confidence, so I think I will pay great attention to this image. In other words, no matter how hard it is, I won't cry in front of the film crew. Maybe when I get home, even when I'm alone, I'll say it myself. Regardless of these sad feelings or good feelings, I will make a aftertaste by myself and slowly digest these things, but I feel that I have never shed tears at the scene.

Reporter: My last question is that after seven years of filming, we have experienced many changes. Documentaries often start with such tiny details, but after accumulation, you will find that after these seven years, our country and society have undergone great changes. What do you realize when you look at this change from a higher angle?

Gu Jun: My last shot was from Tong Tong's home to the Bird's Nest. Then I rose from the whole bird's nest to the whole China. In fact, I want to say that rising to the whole sky is the concept of all China, or the concept of all mankind. Actually, as I said just now, in fact, you will find that this dream is not aunt Gao's dream, not a child's dream, but a foolish dream, which is the dream of thousands of people in Qian Qian. So in these seven years, if it is not done by recording, I really can't believe it. What you really mean is that you can't create such a shock. Our society and China will undergo such great changes, that is, we have made such great things, that is, our Olympic Games is getting closer and closer to us. We can hear the sound of the Olympic Games, we can feel it, and we can feel its heartbeat. From 34 to 4 1 year old, we only did one thing in seven years. In today's tempting society, we really admire Gu Yun's perseverance. Gu Yun is still the official director of the Beijing Olympic Games, and she is still recording this very important Olympic Games for China people with her lens. Gu Yun's life has condensed into history, which is probably her greatest wealth.