In the works of Ding Sheng, he always focuses on the struggles of the small potatoes. Thus there is a sense of authenticity in his films which is rarely seen elsewhere. This way of creation facilitates sympathy on the side of the audience who will project their own emotion and values onto the characters. He took time out of his busy schedule to meet us, driving his Jeep. He looked quite fit from years of workout and with closely cropped hair and a black T-shirt, he was a man of great vigor and vitality. WU, he has created many fine works one after another.
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In the works of Ding Sheng, he always focuses on the struggles of the small potatoes. Thus there is a sense of authenticity in his films which is rarely seen elsewhere.
This way of creation facilitates sympathy on the side of the audience who will project their own emotion and values onto the characters. He took time out of his busy schedule to meet us, driving his Jeep. He looked quite fit from years of workout and with closely cropped hair and a black T-shirt, he was a man of great vigor and vitality. WU, he has created many fine works one after another.
An upright character as he is, he refuses to conform to the conventions but dares to meet challenges. He has worked with a lot of film directors and most would heed his professional advice. He believes that Ding Sheng has secured his spot in the industry. The failures in the early times are unforgettable for him. He considered the film a total disaster.
He was slammed hard and lost confidence in himself. I made the investors, the audience and most importantly the film, disappointed. The feeling was so bad that I could never erase it from my memory. It was at that time that he became more determined to walk down his career path as a film director.
I had this very clear goal to shoot the next film and not fail again. After graduation, he stayed low profile, shooting advertisements while accumulating for his next film. After establishing himself in the advertisement industry, he went to see Jing Wong with three of his screenplays. Wong pointed out the weaknesses in storytelling and asked for a new story from him within 7 days.
His toughness permeates the whole film, from the highly stylized lens, fist-to-fist actions scenes to the subtle touch of brotherhood between men. In his camera, toughness is reflected not only in the simplicity and righteousness of the protagonist, but also in the impulsion and resolution of the unyielding antagonists. The leading actor, Liu Ye, thinks that he shares the simplicity and perseverance with the protagonist in the film, and so does Ding Sheng.
The crew spent the first day of shooting and finished with the main scene. We felt this is the way it should be. He allows for no slackness of the crew.
He set the same standards for himself. When it came to underwater shooting, he insisted that the crew go to a harbor in Qingdao, where there docked a lot of cargo ships. He also insisted that Photographer Ding Yu went underwater to shoot the scenes. With no previous underwater shooting experience, Ding Yu and others all thought it was too risky.
Ding Sheng put on his swimming goggles immediately and dived into the water to explore the underwater possibility. Ding Sheng was overloaded with work during the whole process of shooting.
He slept only two hours for several days in a row. The man was worn out by the high intensity of the production, and finally got sick. In order not to delay the shooting process, he showed up at the set with venereal injection. The last scene was when Lao San threw a water bottle into a dustbin.
They even tried to move the dustbin from the Qingdao Museum. The next day, the crew randomly chose one wharf in the city and Ding Sheng had to make do with a common dustbin. When they were to shoot the scene of Lao San throwing the water bottle, the rain began to pour. The crew went to find a shelter.
By then, Ding was still lamenting for not having the ideal dustbin. But when the rain stopped, they rainfall washed away the rubbish and revealed some bins that were covered underneath, and they turned out to be the same as the ideal dustbins of Ding Sheng. I turned around and said that was exactly the dustbin I wanted. There appeared at least five same dustbins and everyone was shocked.
You see things work out if only you have faith! It seems that he had god on his side that time. Maybe for the audience Lao San is an interesting character with guts and simplicity; yet for Ding Sheng, the character carries his own values of good and evil and his ideas of how to be a tough man. Many times I thought it was me up there.
The film, with strong personal style of Ding Sheng, breaks from the conventional image of a Chinese hero and delivers a different expression of toughness, making Ding Sheng a pioneer in presenting a new style of toughness in Chinese films. In his camera, Jackie Chan created completely different screen images, where he put off the laurels of a hero and played common people. The two began cooperation in the shooting of advertisements. At the shooting set, Jackie Chan observed how Ding manage and coordinate the shooting process.
His earnest attitude left a deep impression on Jackie Chan. Jackie Chan asked whether he was interested in filmmaking and gave him a simple story: in ancient time, two armies fight with each other and both were annihilated except for a soldier and a general of the opponent.
The soldier wants to claim awards by taking the enemy general back to his country. The two undergo innumerable trials and hardships and return to the country, only to find the country has been annihilated. However, after half a year, Ding Sheng went to see him with a complete screenplay, characters, style and environment. Jackie Chan was deeply moved by his hard work and rigorous attitude. Naturally, Ding Sheng requested to be the director.
However, it is by no means easy to shoot a Jackie Chan film. He must first be approved by Jackie Chan himself. As the most respected Kongfu star at home and abroad, Jackie Chan has accumulated decades of experience in action films.
He has kept a set of high standards for his films. Hearing this, Ding felt great pressure thus talked with Jackie Chan every evening since shooting about the scenes next day and solicit his suggestions.
In the daytime, Jackie Chan always observed him working. You have passed the test of Jackie Chan. He knows full well how to manage the set and what the producer wants.
To be honest, I seek nothing from him. I am so content with making films with him. It also brought more opportunities for him to work with Jackie Chan. At the time, he lived together with the officers, even participated in the detection and arrest of kidnappers. In this way, he had a thorough picture on how a case was solved and how a suspect was interrogated.
Meanwhile, it guaranteed the authenticity of the details in the film. He told Ding that the case which left the most profound impression over his decades of experience of crime fighting was the kidnapping of Wu Ruofu the actor. I interviewed some policemen who participated in the case. They even showed me the details and internal videos of that case. On one hand, the topic can arouse the curiosity of the audience.
If the story gets over-dramatized, it loses its credibility. If it is too faithful to the reality, the story loses its tension and suspense. Such dilemma made the shooting more difficult and Ding Sheng was faced with a new challenge.
He became stubborn again in the making of the film. WU, I used to draw storyboard and take camera into consideration from very early stage. I told myself this time I would not draw any storyboard.
Together with his team, they set the tone for the whole film: a sense of participation. Thus he gave his DP Ding Yi more freedom in creativity and broke all their previous working patterns. He needed not consider the line or the movement or the angles. I want your lighting to look like without any lighting. It is better that your camera is not steady so that the audience has the feeling of gasping. At the set, Ding Sheng would show video of the actual kidnapping case to them and asked them to find their own place.
Moreover, he set some hidden cameras to catch the most spontaneous reactions of them. All these created an immersive atmosphere throughout the shooting.
WU its own kind. Ding Yu believes that these techniques only fit few films. The documentary style and variable tempo, the freedom of acting left for the actors and actresses, as well as the confrontation between the police and suspects in a narrow space, make the audience hold their breath while watching the film.
The success of the film with unique techniques testifies the ability of Ding Sheng in making crime film. WU helps Ding Sheng outrun himself. With the market recognition of his previous way of filmmaking, Ding Sheng chose a new way of artistic expression with the tone of authenticity. WU took the whole Chinese film market.
It is this film that won him the Golden Rooster Award for Best Editing this year and made him one of the best directors of crime films. It ushered in the era of gang hero films.
L’équipe de Police Story 2013 au Festival du Film de Pékin
Découvrez les meilleurs films de contamination et de pandémie d'après une sélection de la rédaction. Pour les gens pressés! Tarzan, l'homme singe est un frais cinématographique avec un bon connaissance de relation, dubiety, la sérénité et le but. AfricaShows: 1ère chaîne de divertissement en Afrique , views Histoire. Bébés lapins nuage. Robbie, a singer, and Julia, a waitress, are both engaged, but to the wrong people. Le chiot a été attaqué par un chien errant.
THE UNDERDOG KNIGHT (Ying Han) - Ye Liu, Anthony Wong Chau Sang (DVD)
En faisant appel à son imparable savoir-faire au sein de l'industrie cinématographique HK en rameutant une équipe technique d'habitués du genre de l'action et en puisant dans le sac à talents de l'ancien archipel britannique Anthony Wong quand même , il n'oublie pas non plus de se référer à c equi marche au Mainland, à savoir des comédies foldingues tournant autour de la récupération d'un objet précieux. Un véritable sous-genre au sein de la cinématographie chinoise actuelle depuis l'incroyable succès surprise du "Crazy Stone" de Ning Hao et qui a donné naissance à une ribambelle de copies plus ou moins réussies, dont "I am Liu Yuejin" de Ma Liwen ou encore "Set off" parmi les exemples les plus récents. Le manque d'expérience de Liu Ye vaut également un désagréable sur-découpage, au moins en chaque fin de mouvement… L'autre marotte du moment, c'est de faire d'handicapes physiques ou mentaux les héros du film. Après l'autiste dans le thaï "Chocolate" et l'attardé mental dans le vietnamien "Legend is alive", c'est donc Liu Ye, qui interprète un soldat, légèrement retardé depuis une insuffisance d'apport en oxygène lors d'une action de sauvetage sous-marine. Pas que ça ait la moindre incidence sur le scénario, si ce n'est que d'attendrir le spectateur, notamment féminin au cours de scènes de romances platoniques avec l'ex -fiancée du soldat. Je dois avouer toujours éprouver un léger malaise devant ce véritable "gimmick" scénaristique, surtout que je suis en lien avec des autistes de par le travail de ma femme. L'interprétation ne me convainc en général qu'à moitié et la représentation qu'on en fait est trop "fictionnalisée" pour pouvoir faire abstraction de la réalité; surtout que ce "handicap" ne sert finalement absolument pas le propos par ailleurs du film.
BLU-RAY neuf sous blister,"THE UNDERDOG KNIGHT"
The Underdog Knight
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