In the evening, at the Beijing Film Academy, in a corner of the classroom, four or five people gathered, with some manuscript paper on the table, and they were discussing something.
This situation is very common in film schools, where students who study art are passionate and not the type to bury their heads in hard work.
They debate a movie or an idea, in classrooms, libraries, and dorms.
These people are the film group composed of Lin Xiaoling and Jia Zhangke, and a month has passed since the conversation between Lin Xiaoling and Lin Zixuan.
After having an idea, Lin Xiaoling told the group members about the idea of photographing an old lady in Beijing and girls from other places.
Everyone pondered it for a while and thought it should be interesting, and the story of connecting two strangers through renting a house, and the story between the landlord and the tenant living under the same roof is also a true portrayal of this era.
In the 90s, it became a trend to go out to work, and the floating population increased significantly year by year.
In the past, everyone longed for the coastal area, Huacheng was their first choice, so there were foreign girls, 92 years later, Shanghai entered the Pudong development period, and the migrant workers had one more choice.
In the capital, there are also migrant workers in the city, and these people come to unfamiliar places, and renting a house is a top priority.
Whether it is a part-time job or studying, away from home, and integrating into a new environment, it is inevitable that there will be conflicts and stumbles in life.
They felt that it was not necessary to follow the model of old ladies and girls, but to tell the conflict between outsiders and locals from a broader perspective, and renting a house was a good place to start.
Students in schools tend to point out and talk big, and they want to describe the whole era of change.
This is just a preliminary discussion, and everyone has a direction to collect materials, which is also called experiencing life.
Screenwriting is not done behind closed doors, it is necessary to go deep into life, it is not enough to have a synopsis of the story, but also to fill in the details, which come from real life, not out of thin air.
Some movies look fake and empty at first glance, because the actions and dialogues of the characters in them do not conform to life, and the audience has no sense of identity.
Even those scripts adapted from novels have to have a life, and the screenwriter has to walk around and see the real situation.
Good film and television dramas all come from life, and they are slightly higher than life.
A few people used their spare time to wander around the capital, Lin Xiaoling is from the capital and is responsible for dealing with people like landlords, Jia Zhangke and others are from other places, so they communicate with their fellow villagers from other places.
They came into contact with many people and talked about the hardships and difficulties of coming to the capital to work, and at the same time, they were happy.
Due to the different living habits, there are naturally a lot of conflicts with the local landlords in the capital, often some trivial things in life, such as using a few more kilowatt-hours of electricity, too noisy, and the garbage is not cleaned up.
When you go out, you generally endure if you can, and you value harmony and tolerate each other.
Life is not a script, there are not so many contradictions and conflicts, more about compromise and forbearance.
However, there are also some migrant workers who cannot adapt to the life of the big city, and are more confused, not knowing where the way out is.
These people have become marginalized people in society, and the ups and downs of life are known only to everyone.
After a month of visits and experiences, they sorted out the material and prepared to write the script.
That's when the divergence arises.
From a woman's perspective, Lin Xiaoling felt that she should shoot the story between a lonely old lady and a girl studying in school, which is relatively clean and warm, and can reflect the care between people.
Jia Zhangke felt that more realistic stories should be filmed, and his focus was on those who were marginalized.
He believes that the rapid development of society has created many problems, and these marginalized groups are the product of this, they live at the bottom of the society, they are insecure, and they are engaged in the lowest-wage jobs.
Once you lose your job, you will live on the streets, lose hope in life, and even steal and rob, this is the real life.
Women and perspectives are not the same as men's perspectives.
Lin Xiaoling does not have the experience of living on the streets, has hope for life, and pays more attention to the warmth in life, Jia Zhangke is more willing to tear apart the warmth on the surface and show the cruel truth inside.
This also has something to do with the life experiences of the two.
As a native of Beijing, Lin Xiaoling lives here, and it is difficult for her to understand the feelings of outsiders in Beijing, and she feels that people in Beijing should welcome outsiders with an open and tolerant attitude.
In the past few years in the capital, Jia Zhangke can feel that the city is xenophobic, and this feeling can only be understood by outsiders.
The difference between them in their creation is actually the difference in the angle from which they stand, and it is also the difference in the understanding of things between women and men.
This is the same as the fact that girls like to read romance novels, and boys like to read martial arts novels.
The story of the old lady and the girl is not real, it must be true, it happened in a corner of the capital, and the marginalized groups mentioned by Jia Zhangke are also real.
Life is a prism that reflects everyone's different lives.
Big money has a big life, ordinary people have ordinary people's lives, this is all real, it can't be said that the cruel life is real, and the life of big money is not real.
The question is, whose position are you on, whose life do you want to photograph.
For these reasons, it is difficult for them to convince each other.
"That's it, let's write our own, write two books, and then show Professor Zheng whose book has passed, and we will shoot which one we will shoot when we get the shooting funds."
Lin Xiaoling suggested.
"It's good to do this, double insurance, save the frustration."
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Jia Zhangke agreed.
This disagreement is a creative disagreement, which is common in film schools and does not affect the friendship between each other.
Lin Xiaoling returned to the dormitory with the materials and began to write her own script, thinking about how to advance the plot, and the dialogue should be in line with the identity of the character.
After some thought, she wrote the name of the script on the manuscript paper, the two of us.
Jia Zhangke imagined how to unfold the story with the mind of a foreigner, how to write about the life of a foreigner in the capital, and he felt incompatible with the city.
Especially in winter, this feeling is especially strong when you are alone in the dormitory looking out the window at the snowflakes.
Jia Zhangke's mind gradually had some images, in the capital at the end of the year, an unemployed migrant worker walking on the cold streets, looking at this bustling metropolis, dazed and helpless.
He didn't know whether to stay here or return to his familiar hometown.
In his eyes, the city is so indifferent, the people around him are so indifferent, the society is developing, but the relationship between people is becoming more and more indifferent.
Jia Zhangke decided that this is the story he wanted to film. t1706231537: