What is the so-called director? What should a director do?

This view illustrates two points: first, directors should have the creative ability of film directors, and second, they should have judgment, especially the judgment of narration and modeling, which we can generally call artistic sensibility and intuition. However, Kubrick's judgment is still very vague and general.

1, narrative ability.

What I mean here is not the ability to tell stories, but the combination of the internal information of the lens and the relationship between the lenses to form the story information. This involves splicing thinking, which is the embodiment of a relatively large concept of splicing. This process is mainly reflected in the shooting stage, of course, it will also be used in the real shooting and later stage.

2, the ability to organize the plot.

Given the story in the script, different directors will have different plot organization rules. Of course, the screenwriter can also give a clear plot. Here I recommend an example of the story paragraph of the first worker (one-armed man) who was killed in Schindler's List. The story paragraph was divided into four plots by the director, interspersed with each other. I think this is the result of Spielberg's cooperation with the screenwriter in the camera stage, which shows the director's strong understanding and organization ability of the plot, which is amazing. How to organize the plot is a serious backward aspect of China's films. In China's films, we seldom see strict multi-level plot texture. Not much to say here, pulling this paragraph is more intuitive.

3, on-site ability.

Spielberg said that he is the most camera-conscious American director. For this, many low-level directors will think that photographers can help you and they will find better seats. The photographer may have a more reasonable and accurate sense of location, but he doesn't have your understanding of the whole play, so you can't expect the photographer to do more on these issues. However, many directors of China films work in this way. Xu, the so-called director, works with the help of photographers. They are not real directors, but film project managers. These people are not directors.

4, literary ability.

The literary ability here is neither narrative ability nor writing ability, but the ability to express poetry in film works (because in film works, this poetry is mostly expressed through lines, which is called literary ability, so there will be narrative prose and novel creation questions in the examination of the Film Academy). A film is produced because it mostly reflects memorable events in people and human life. These events express sadness or banter, and it is also the task of any work to praise personality. The author should have the ability to feel the poetry of personality and express it accurately. Possession of Dionysian spirit is the basic condition for a director. China's films are full of too much market temperament. Recommend Kennedy's court statement.

5. The combination of rationality and sensibility.

6. Modeling ability.

Photographers and artists work according to the director's requirements. Remember, these requirements must be specific and not identical-it feels better, and you can make this specious tone tougher. If this is the case, then the executor will not be able to implement it accurately, and your requirements will often be eliminated or even misinterpreted. However, because you don't have this ability, you feel uncomfortable, but you can't speak. This is the director's performance of losing control of the film. This is also the reason why many directors are engaged in painting.

7. Splicing ability.

This is the technical work of post-splicing, which can be said to be micro-aspect. It is embodied in many aspects, such as reasonable transition, action coordination and various collocation, expression of time concept, montage paragraph, rhythm, sense of speed and so on. I won't go into details one by one. Of course, there is a further editing technique-the dialectical relationship between shots, which is the performance of editing to strengthen the narrative depth. There are many examples, and many masters have handled them brilliantly. Antonioni, Si Tong, Shunji Iwai and Yang Dechang. There is a great dialectical relationship between lens processing.

These are the main tasks and work of the director. Due to the limitation of space and nature, there are still many aspects that have not been specified. I don't think director China has these abilities, which is mainly caused by film education in China. Without these abilities, even if you win the prize, you can't make a good movie. China's movies are probably like this. As professionals, I hope everyone can think calmly and independently, because if China's films continue to talk nonsense like this, it won't be long before they make any market efforts.

The problem of film directors in China

1 film director-the industry that intellectuals should be engaged in (Weber language) is becoming more and more popular in China. This wildness did not bring vitality to China's films, but brought confusion and inferiority. In this vulgar process, no one wants to sit down and solve problems in film production. Sophistication can only fuel eloquence, but it can't help you think.

A typical phenomenon in China's film absurdity —— Why can a person who doesn't even have the basic directing ability be a director in China? This is the tragedy of China's films and the reason why China's films are backward. Not just producers. It shows that the distribution of film resources in China is not defined by professional ability. Someone knows this and that, which means you can mix, so you get the money. You can make a movie if you can mix? Of course you will say, they are all like this. Yes, there are too many such strange things in China's films, but people in the industry, fans and people with resources should think about this question-what contributed to an investment decision? China culture is full of anti-intellectual elements, especially in China's films. From the cinema (with deletion and reorganization)