Chapter 385

For the post-production editing of "Manchester by the Sea," Cao Yang still found Yang Qian from the Qingying Factory.

Yang Qian, if you want to say he is a very creative editor, that's pure nonsense; he is just a "skilled worker" who has been working in the editor's position for many years.

The reason Cao Yang still uses him is mainly because he is obedient and skilled; Cao Yang wants him to edit how, he edits how, and even if he doesn't understand, he will do it according to the requirements.

This reduces a lot of disputes, and Cao Yang doesn't have to convince him why he should edit like this.

"This movie uses two lines of narrative, revolving around the male lead and his brother's family respectively."

Cao Yang said to Yang Qian: "I plan to let these two lines intertwine, not using a simple linear time order in the narrative, but using a large number of flashback shots.

I want to use multiple sudden flashbacks to interrupt the ongoing narrative, and through the interweaving of reality and the past, gradually reveal the life journey of the male lead and his brother's family."

"Flashback? Flashback?"

Yang Qian touched his chin, and the first thing he thought of was the dissolve effect, shadow color difference, or guiding memories with related objects, which is also the conventional method used by movies that use flashbacks.

However, thinking that this is Cao Dao's movie, Yang Qian estimated that Cao Dao shouldn't be so "popular," right?

"How do you want to do it?"

Yang Qian didn't make suggestions, nor did he say much nonsense, and asked directly.

He actually has a clear understanding of himself, otherwise Cao Yang wouldn't use him, and wouldn't promote him to be the editor of "The Fault in Our Stars."

"I don't have outstanding abilities, nor am I one of those so-called geniuses, but as long as I recognize one thing, Cao Dao lets me do how, I will do how."

This is what he often says to himself, and it is also to remind himself at any time that he must not float.

"In the first half of the movie, use flashback narrative to create suspense and attract the audience, so that the audience will have double curiosity from the beginning: what did the male lead experience to make him so depressed, irritable, and unhappy?

Why did his brother die suddenly, who will take care of the son left behind, use sections of flashbacks to gradually solve the doubts, adding a bit of tension to the originally plain plot.

Avoid the boredom of the plain narrative of general family life films, making the audience have a strong enthusiasm for watching."

Yang Qian nodded, indicating he understood, and praised: "Doing this can indeed add suspense to the plain story, making people want to watch it."

Cao Yang continued: "The flashback shots in the film don't need to be realized by traditional methods; just cut them cleanly and neatly, let the past and the present connect seamlessly, shock the audience with the most direct contrast, making the film full of tension.

In the narrative where memories and reality go hand in hand, the happiness of the male lead in the past and the pain in front of his eyes form a sharp contrast, which not only explains the reasons for the male lead's series of cold behaviors but also highlights his sadness and despair after the fire accident."

Yang Qian slapped his thigh.

"The movie narrative's frequent interweaving of the past and the present perfectly echoes the male lead's emotional ups and downs.

The trauma is revealed again and again; the flashback is not just a narrative means to interrupt linear time, but rises to a way of expressing the character's tragic emotions, too wonderful!"

After finishing, he also specially extended his thumb.

Cao Yang smiled; although Yang Qian had the suspicion of flattering, he could say the latter part of the words, proving that he understood his meaning.

It's fine if he can understand the meaning, so as not to pretend to understand, and then edit it messily.

The post-production work of the movie had only been carried out for two days, and Cao Yang finally waited for the phone call he wanted.

"Dieter, you should be quite busy recently, there are so many art films in the world waiting for you to screen, why did you think of calling me?"

After Cao Yang connected the phone, he said jokingly with a smile.

Dieter Kosslick, Chairman of the Berlin Film Festival, Artistic Director, Chairman of the Selection Committee, and also serving as the Business Director of the Berlin Film Festival.

Such a long list of titles all indicates that he is the most powerful person in the Berlin Film Festival.

The biggest difference between the Berlin Film Festival and the Cannes Film Festival and the Venice Film Festival is that their chairmen and artistic directors are almost "life-long"—they generally serve for twenty years or so.

The chairman of the Venice Film Festival has a term of four years, and individuals cannot serve more than two consecutive terms.

The 08 Berlin Film Festival was still held in February, and now it was November, so Dieter Kosslick must be busy selecting nominated movies, which is why Cao Yang said so.

"Cao, I heard you filmed a new movie? Is it an art film?"

Dieter Kosslick didn't talk nonsense and asked directly.

"Yes, after finishing 'Pirates of the Caribbean,' I originally wanted to rest in the country for half a year or a year, but who knew that I suddenly had a good idea, so I filmed it."

Cao Yang said.

"Cao, I heard from colleagues who select films in China that you are currently making post-production for your new movie. Have you ever thought about bringing this movie to Berlin?"

Dieter Kosslick asked.

He actually heard about Cao Yang filming a new movie long ago, and had been hesitating before whether to personally invite him to participate in the film festival in Berlin.

However, this active opening is actually not so easy to open.

With Cao Yang's status and influence, he definitely hoped very much that Cao Yang could come to the Berlin Film Festival.

But opening his mouth actively means owing a favor again, plus the previous invitation for Cao Yang to come to Berlin as the chairman of the jury, this owes two favors.

If it were an ordinary director, what favor or not, it's your honor that I can actively invite you, okay?

Actually, Dieter Kosslick's idea is good; if an ordinary director really received his personal invitation to participate in the Berlin Film Festival, they would indeed feel honored.

But Cao Yang is different; no matter which of the European Big Three film festivals he goes to, he will receive the greatest goodwill and welcome.

Big directors are scarce resources all over the world.

Especially now that the influence of the European Big Three is declining day by day, it is something they can't ask for if big directors can come.

So if Dieter opens his mouth to invite Cao Yang, it counts as him owing Cao Yang a favor, which is also the reason why he has been hesitating whether to open his mouth to invite him.

However, as Dieter got more and more news: international action superstar Cheng Long is the lead actor of the movie, Venice Best Actress Yu Feihong seems to be the female lead of the movie, Cheng Long seems to be immersed in the role and was hyped up by the Xiangjiang media...

Cao Yang + Cheng Long + Yu Feihong, this influence is too great.

Dieter Kosslick couldn't sit still.

He started to inquire when Cao Yang's new movie would be finished and if it was possible to catch up with the Berlin Film Festival.

When Dieter learned through the film selector who came to China that the movie had wrapped and held a wrap party, he really couldn't sit still.

It's only November now, and there are still three months until the opening of the Berlin Film Festival; is it possible that post-production can't be completed in three months?

Consequently, he called Cao Yang.

Cao Yang didn't answer immediately, but said somewhat irrelevantly: "Dieter, you know, I have already won two Venice Golden Lions..."

Dieter Kosslick frowned; Cao Yang's words made him have to think more.