Chapter 10

In the evening, the crew had a dinner, which was considered a wrap party. All the staff were there, and the actors who remained in Jingcheng basically all came. Cao Yang was also quite happy and drank some wine.

After the meal, the rooms rented by the crew in the hotel hadn't been returned, and Cao Yang didn't want to go back to school, so he stayed in the hotel.

Not long after washing up, he heard a knock on the door outside.

Cao Yang opened the door, and outside was Li Xiaoran.

Before he could say anything, Li Xiaoran squeezed in very naturally.

Seeing Cao Yang still standing at the door in a daze, Li Xiaoran said somewhat nervously: "Close the door quickly, this is Jingcheng, don't let her find out."

"Hmm?"

Cao Yang was full of question marks. Is this still in the play, bringing the movie into reality?

"Xiaoran, listen to me..."

"Don't talk, I can distinguish. You are Cao Yang from the Beijing Film Academy... but you are also the Cao Yang I miss day and night."

Li Xiaoran hugged Cao Yang and looked at him with full tenderness.

"Cao Yang, in the days abroad, I missed you every day and every night. Why didn't you come to find me? Are you a coward? So what if you were banned? We could have lived very well in that small town, watching the sea together, strolling on the beach together, and growing old together slowly..."

After speaking, she opened her mouth and bit Cao Yang's shoulder hard, and it took more than twenty seconds to let go.

"I loved you so much, missed you so much, why didn't you come to find me? Do you know how difficult that time was for me abroad?"

Cao Yang was bitten and hissed, gasping for air. It is estimated that it will bleed.

But he didn't move, just sighed, stretched out his hands, paused for a moment, slowly hugged Li Xiaoran, and whispered: "It's all my fault, I was too cowardly. I'm sorry, I'm sorry, I'm just a person without the courage to face reality. I'm sorry."

Li Xiaoran heard Cao Yang's words, and the suppressed emotions in her heart seemed to find a breakthrough, and she cried out loud.

"You bastard, you bastard, you are just a coward without responsibility, woo woo woo..."

Cao Yang gently patted Li Xiaoran's back, "Yes, I am a bastard, I am a coward, I'm sorry, I'm sorry..."

"Woo woo woo..."

Li Xiaoran hugged Cao Yang and cried for a long time, until her voice slowly weakened, until there was no crying, leaving only occasional sobs.

Cao Yang hugged her, kept patting her back, until he found that she had fallen asleep like this.

He sighed softly. This damn Acting Experience is really harmful. It must never be used when people are mentally fragile in the future.

Cao Yang hesitated for a moment, then gently picked up Li Xiaoran, put her on the bed, and covered her with a quilt.

Just as he was about to leave, who knew that Li Xiaoran frowned in her dream, whispering softly, "Cao Yang, don't go, don't leave me..."

Damn dog-shit system!

Cao Yang squatted at the head of the bed and said in a very, very gentle voice: "I won't go, sleep, sleep well, I won't go."

Dawn broke, Li Xiaoran opened her eyes, and then saw Cao Yang sleeping at the head of the bed.

Her face first had a moment of confusion, then an expression of surprise, and then she frowned.

Hesitating for a moment, she gently pushed Cao Yang. When Cao Yang opened his eyes, Li Xiaoran whispered: "Thank you, Director Cao."

Before Cao Yang could answer, she continued: "I know I can't get out a bit. I have always been very suppressed in my heart, I need to vent... Thank you for last night." "It's all my fault, I didn't think..." Cao Yang thought for a moment and said: "I remember that there are teachers in the school who specialize in emotional guidance for entering the role. I will take you to find her later."

"No need, you contact me and I will go myself. I can't see you again during this time, I'm afraid I can't control..."

Cao Yang nodded and said: "I'll let Old Tian take you. He has more face than me, and it's better for him to come forward."

Returning to school, Cao Yang first went to Teacher Situ's office and told him about the completion of the filming. Teacher Situ was well-informed and asked him about the problem of entering the role.

Teacher Situ said that it is normal for actors to enter the role, especially those half-way actors who have not studied acting or methods, who are more likely to get stuck in the play and not be able to get out.

Emotions are difficult to control, and there is no particularly good or fast way to get out of the play. You can only relax, walk around more, try not to be touched by the scene, do happy things, and slowly recover.

Bidding farewell to Teacher Situ, Cao Yang went to the Youth Film Studio. The school had promised to provide all help except for film stock, so the post-production editing and scoring were placed in the Youth Film Studio.

Because most of this movie was shot in order, there were not many scenes, and there were a lot of long takes, so editing was very simple.

Especially with the blessing of Li Xiaoran's "Li One-Take," there were very few re-shot scenes, and the film loss ratio was as low as 3:1, which can be said to be quite economical.

You can tell by comparing it. The big names in the industry are generally around 4:1, most directors are around 6:1, Jiang Wen can basically reach 25:1 for every movie, and Wong Kar-wai can even make investors go bankrupt.

!

In terms of scoring, Cao Yang still decided to use Schubert's String Quintet in C Major, D. 956, Op. 163, second movement, Adagio.

This version of the performance is relatively soothing. This treatment makes the Adagio of this string quintet very warm, the picture looks very comfortable, and it can slightly alleviate the depression brought by the female lead in the play.

After making an appointment for the editing room, Cao Yang stationed himself there early in the morning, wanting to edit it quickly to see the effect.

He didn't find an editor from the Youth Film Studio. The school did force a few students from the editing major of the Directing Department to come over to help, mainly to complete teaching practice.

However, in this way, Cao Yang's work was much easier.

Some directors like to edit a four- or five-hour rough cut first, then talk to the editor about their ideas and the content they want to express, and then let the editor fine-cut.

Mainly because after the rough cut, the director is reluctant to cut it. This shot wants to be kept, that shot is very meaningful and also wants to be kept...

Directors treat every shot like a child. He will feel that every shot has a special meaning, is good, and doesn't want to cut it.

At this time, a trusted editor needs to come out, click click click, and keep a finished film of about 100 minutes.

Then find professionals, dubbing, scoring, coloring, and a movie is done.

Of course, the process will not be too smooth, and many editors will spend their time arguing with the director.

The most important part of this is to send it for review. If the review does not pass, you have to consider what the problem is, then find the problem, cut it, and perhaps find some from the waste shots to cut into the finished film so that the plot is coherent.

Cao Yang doesn't have these troubles for the time being, mainly because the plot of "On the Beach at Night Alone" is too simple, with few characters, few scenes, and even fewer shots. When filming, he knew what kind of shots he wanted, so the editing was exceptionally crisp and the efficiency was thief fast.

He didn't learn from other directors to make two versions, one for review and one for film festivals.

As far as this movie shot by Cao Yang is concerned, if you have to find the shot with the largest scale, it is the female lead smoking. There are no other shots that affect the review at all.

"Done, next, let's give the school teachers a small shock."

(End of chapter)