Zell looked at me and was still a little disbelief. Griffith came over and patted her and said happily: "Bizel, you can do whatever the boss asks you to do, don't worry, there will be no problem."

Bizer looked at Griffith, looked at me again, and said nothing, nodded to me and went out.

"This Bizer, you have too little confidence in the boss." Looking at Bizer's back, Griffith smiled like a flower bud, with his face full of wrinkles.

I grinned: "It makes you understand me so much. Bizer's worries make sense. I am not sure that I can write such a difficult article in one night."

"Then do you agree to him?" Griffith bitched.

I shrugged my shoulders and said helplessly: "What else can I do? Time is tight and the task is heavy. As a boss, I can only have high requirements for myself. It seems that I have to do all night this night."

Griffith waved to Jimmy outside the door: "Jimmy, come here for me!"

"Mr. Griffith, what are you doing?" Jimmy was sweeping the floor outside. When he saw Griffith calling him, he hurried in.

"You go to the cafeteria to remind them to make more delicious food at night. The boss wants to open it all night. He will definitely be hungry in the middle of the night. If he can't write any good articles because he is hungry, it will be a huge loss for our DreamWorks. You kid also work hard at night. Take care of the boss, do you know?"

"I understand. Mr. Griffith, don't worry." Jimmy agreed and went downstairs.

"This kid has fast legs!" I smiled.

Griffith picked up his coat, slapped it, and smiled.

"Boss, I'm leaving too, I won't disturb you from writing articles." Griffith shrugged at me and walked out and brought the door with me.

At this time, I was the only one left in the office, very quiet. I let out a long breath and called Jimmy over.

"Boss, what's the matter with me?" Jimmy was still holding a chicken leg in her hand when she came over.

"Stand guard for me outside the door. Don't let anyone in if there is no special emergency." I moved the typewriter in the office and grinned at Jimmy in an old age.

Jimmy has been following me for a long time. Seeing that I was just in a position, I immediately understood what I was going to do and ran out in a flash.

Sitting on the chair and adjusting my position, I stabilized my mind and typed a line of words on the typewriter: "Long-lens theory"

In fact, Bazan's theory is very complicated. It is somewhat biased to summarize his theory by this name, but I have my reasons for doing this. That is to emphasize the role of "long lens" to correct some unnecessary problems that arise in the use of "Montage Theory" by many directors.

Unlike Eisenstein, the core of the ontology of photography advocated by Bazin is the theory of truth, which is the cornerstone of his entire theory. What I want to do is to start from this cornerstone and trigger the relevant theories I want to talk about.

First of all, there is the "mummy complex". At the beginning of "Theory of Long Lens", I pointed out that behind all art is religious impulses. People use realistic simulations to replace the psychological desire of the external world, which is the instinct of human beings to preserve life. This psychological desire. I attribute it to the "mummy complex". The ancient Egyptians made mummies in order to make people fight against time. This is to use form eternity to overcome the irrepressible need of the passage of time. The most prominent feature of movies is to capture and preserve life movements through the influence of activities. Therefore, it can be said that the emergence of movies is the most important event in the history of the development of all plastic arts and visual arts.

The second is "reproducing the integrity of the world". The psychological root of the "mummy complex" is "preserving the truth". The so-called preserving the truth is reproducing the integrity of the world, and long shots are the most perfect form that can reflect the integrity. You must know that human memory is a continuous process from the past to the present, and human understanding of the world is also a continuous process. When the world displayed in the picture contains multiple meanings, completely preserving this ambiguity is to preserve the authenticity of the world. The problem of montage is to cut off this integrity, destroying the fluency of events and space, and breaking a whole world, which will destroy the authenticity of the world.

Third, the objectivity of the camera. Before the movie, all art was based on human participation. Only in photography, we have the privilege of not intervening. The emergence of the movie has the privilege of not participating. The most real thing in the movie is not necessarily the realization of the subject matter or expression, but the reality of time and space. The depth of field lens reports the reality of theoretical space, while the long lens maintains the continuity of the film in time.

These three points are the first theoretical focus of "Long Lens Theory", and then I listed my thinking on film language as the second major theoretical focus of this article: the evolutionary view of film language.

I analyzed the current situation in Hollywood and the entire world in detail, pointing out that the differences between different film aesthetics propositions are irrelevant to the film industry revolution caused by the emergence of audio films. In other words, the use of sound does not damage the art of film. On the contrary, the addition of sound makes it more perfect. In response to Chaplin's view that sound changes the essence of film, I think this is completely unnecessary. The introduction of sound, like the evolution of species, is inevitable.

Then I made a complete summary of the development of silent films over the past few decades, believing that films have always been divided into two opposing tendencies, that is, one group of directors believe in the filming style of the picture, and the other group of directors believe in the real filming style.

The so-called graphic school can be divided into two categories: one is montage method and the other is the German school that is currently popular in Europe that pays attention to the shape of movie pictures.

As for the so-called real school, I highly praised Flahad, calling his movie a "documentary", believing that this is the most extreme representative of the real school.

In the movie, the camera maintains the integrity of the space-time relationship of the action, which is a prominent manifestation of the "long lens theory". It affects the relationship between the audience and the picture, makes the audience closer to the picture, requires the audience to think more actively when watching the movie, and fully retains the integrity of the picture meaning.

I highly commented on Flahadi, believing that he created a new film language calligraphy, and this new film technique is somewhat different from the "montage" theory I mentioned before.

At the end of the article, I discussed in detail the relationship between "montage theory" and "long lens theory". In reality, many directors criticized "montage theory" as a biblical approach, and criticized those who dogmaticize montage theory. I spent a lot of effort to tell the filmmakers that "montage theory" and "long lens theory" are just two theoretical forms, and no one is right or wrong. They just observe the two major directions of the development of the film. In the process of filming, they must use their souls and not take the path of extreme and dogmatic.

This article took me one night. At around 8 o'clock in the morning, when I finished typing the last word, I almost fainted on the table.

"Boss, what's wrong with you?" Jimmy came in with snacks and milk and found that I was so tired. She quickly put the things down and twisted a hot towel for me.

I smiled, took the towel and wiped my face. Then I sorted out the manuscript and put it in the drawer, finished breakfast, and then stood up from the seat.

"Jimmy, I'll go inside and have a sleep first. When Bizer comes, you wake me up." I rubbed my eyes and said to Jimmy.

"Boss, go to bed quickly. I will notify you when Mr. Bizer comes." Jimmy smiled at me and walked out the door.

I returned to the bedroom, and before I even took off my clothes, I fell on the bed and fell asleep.

I don’t know how long it took, but when I heard someone moving next to me, I sat up yawning.

When I opened my eyes, I found that it was Jiabao sitting next to me. I looked at myself and covered with a quilt. Needless to say, it must have been her who covered me.

"Jiabao, why are you here? When is it? You still have to film!" When I saw Jiabao, I suddenly remembered that I would continue to start filming today, so I got up from the bed.

Seeing my messy hair and disheveled clothes, Jiabao burst into laughter: "It's past 11 o'clock now, why are you filming? Stenberg and David told everyone that the show was filmed in the afternoon, and they asked everyone to take a break. I guessed that it must be something wrong with you. As expected, I saw you lying on the bed and sleeping soundly, and didn't even take off your clothes. Are you sleeping like this, aren't you afraid of a cold?"

I got up and walked to the bathroom to wash up. Then I came out and said to Jiabao, "I was busy all night last night, and I was so tired that I almost broke up. Where can I take off my clothes?"

"What has to be done all night? How many days can you finish it?" Jiabao saw that although I washed my face, he was still sleepy and curled his lips.

I had no choice but to spread my hands: "You said I don't want to, but there is no way. Time is tight and the task is heavy, so I can only stay up all night."

Jiabao didn't talk to me either, but just shook his head and sighed.

After coming out of the bedroom, I found that people were surging inside, and almost all of the guys ran to me.

"Boss, thank you for your hard work!" As soon as I stepped into the threshold, everyone said hello to me in unison.

"Boss, you have written all night long, so you should have written enough of this issue, right?" Bizer was most concerned about the progress of this article. Before I sat down, he rushed to my desk.

I smiled, then pulled open the drawer and threw the thick stack of documents inside to him.

"The Long Lens Theory!? Why is this topic so familiar?" Bizer murmured while flipping through the manuscript.

"You guy is stupid! Isn't the boss's previous big article "The Montage"? Boss, you won't write another epoch-making monograph on film theory this time, right?" Griffith and Stenberg surrounded Bizer's left and right, stretched their heads and stared at the manuscript and read it quickly.

The others rushed over and the office immediately fell over.

"Okay OK, stop squeezing, Bizel, read, everyone else honestly do it for me in the seat and listen!" I said, rubbing my temples and frowning.

Seeing that I was like this, these guys didn't dare to argue, so they went back to their seats honestly. Bizer stood in the middle and started reading the manuscript.

This manuscript is not long or short, and it is not short. It is 70,000 words, so it takes Bizer a lot of time to read. Moreover, when reading, Bizer is often interrupted and asked to repeat the words just now, so the time will take longer.

While reading, these guys frowned on the sofa one by one and were extremely happy. Some scratched their ears and faces, some closed their eyes and smiled, and some looked enjoyable.

After reading, the office was silent.

"Okay! OK! OK!" Griffith said three good things in one breath.

"Boss, this article is good! Good!" Stenberg counted his thumbs at me.

"Boss, the ideas in this article are too profound. If the previous "Montage" was the foundational work of film theory, then this "Long Lens Theory" is definitely a tsunami. I dare not imagine how much impact it will have if it is published!" Bizer has worked in "Princes Christian Truth" for so long and is very proficient in film theory, so he understands the significance of this article to the film industry.

"How about Bizer? Is this article worth enough for the boss?" Griffith patted Bizer's shoulder proudly and laughed.

"More than enough?! Boss, with this article, our "First Movie Book" will not only be launched in one go, but I dare to

He will definitely leave his name to future generations!" Bizer was so happy that he was happy. If "" could be really passed down to future generations, as the editor-in-chief, he would naturally become famous.

"Okay, okay, since you have this article, the first issue of "Movie Manual" can be started to plan and publish it. Thank you and Gans this week." I smiled.

Bizer said to me with confidence: "Boss, this matter is for both of us. We will definitely create a first issue that shocked the whole of Hollywood!"

After saying that, Bizer took the manuscript and went out happily with Gans.

"Look at these two guys, they were still frowning yesterday, but today their tails were raised to the sky." Jassel looked at Bizer and Gans, laughing while shook his head.

"Stenborg, David, what time will this afternoon start?" I asked Jimmy to make me an espresso, drank half a cup, and cheered up, looking at Stenborg and Griffith and asked.

"Boss, it depends on how tired you are, otherwise you won't shoot today's scene." Stenberg whispered.

"That's not OK. When will it take you to shoot the movie for three days and two days? Besides, it's the Christmas schedule soon, and he can't ask for this movie." I looked at him.

"Boss, then that's it. Stenborough and I will take people to film. You can take a break. Anyway, we have discussed today's drama, and we also know your intention to film. Is it OK?" Griffith saw that I was determined to film. He could only save the country in a curve.

"It's okay, I've been sleeping for several hours. It's okay, 2 pm officially starts." I smiled.

After a quick dinner, I took a short rest, and then I stopped the crew and went to the outdoor location of Harvey Street.

This exterior site is located behind Harvey Street and was just built last month. A considerable part of the content of "Hollywood Story" must be completed here.

Originally, there was a branch of a small street. It was only 200 meters long. The buildings on both sides had been renovated and repaired and had fully met the shooting requirements. In the middle of the street, a large courtyard was built with a magnificent gate with an elk factory logo hanging on it. The factory logo was placed on it "Elk Film Company". This film company is the film company where the protagonist Brad is located in "Hollywood Story". Diagonally opposite the yard, located at the foot of the street, it is a small and elegant flower shop, which is also a place where stories happen more frequently in the movie.

These have been arranged for a long time by DreamWorks props, so I am very satisfied.

The crew drove into the yard in a mighty manner, and I took people to decorate the interior, while Stenberg took people outside to take a few environmental shots of the "Elk Film Company".

In the afternoon, the main filming of the movie starring Brad and Lucy was successful. After the film company's boss called them to his office and told them that the company was going to shoot another new movie. Brad and Lucy were naturally very happy, and then Brad's best friend Irving proposed to hold a cocktail party in the evening to celebrate. The boss agreed.

In this scene, Gary Grant, Julie, Humphrey Bogart acted in the opponent for the first time, while the boss of the film company was played by Demont Moubeni, who played the long-legged Edward in "Brave Heart".

Griffith directed the lighting group and arranged the interior of the prop group. The scene was busy, and the fat man and I walked to the yard outside the door with our hands on our backs to take a breath.

As soon as I arrived in the yard, I heard Stenborough cursing.

"I'm a bitch, what kind of broken camera is this? Why do you always have problems?" Stenberg was so angry that he shook his head with the camera. The photographer next to him was so scared that he looked as if he was ashen.

"Stenborg. What's going on?" When I saw Stenborg was so angry that I smoked my teeth. I walked over with a smile. The fat man followed closely behind me.

"Boss, this broken camera is almost annoyed me!" Stenberg saw me coming and cursed at the camera.

"What's wrong with this camera?" I held the camera in my hand and found no problems.

Stenborough gasped and said, "That's right. Didn't you ask me to take a few shots just now? After taking this camera, it always stuck. Look, the film was broken." Stenborough said while pulling out the film that had been broken.

The fat man standing beside him laughed: "Stenborg, you are too stupid. This is not a problem with the camera, but you made a mistake in operating it."

The fat man walked over and fiddled for a while, then took a shot, and it was indeed working well.
To be continued...