The beginning of "The Pentium Age" made many viewers feel a little confused. People who are used to watching Hollywood's emphasis on causality and connection with movies are very confused about the appearance of several seemingly unrelated shots within a few minutes of the beginning of the movie.

George V and Malsklov couldn't sit still and asked me one after another, saying that I was so vague that I wouldn't tell them anything at all. I just smiled and pointed at the screen and asked them to continue watching.

On the screen, the scene of cowboy Smith racing on the prairie on a horse made many westerners excited. The west is the hometown of cowboys, and Westerners are very familiar with such scenes. Decades ago, people lived such days, on horseback. However, with the development of industry and the progress of society, the days of westerners being accompanied by horses, and the days of horse racing on the prairie have gradually become a distant dream in their hearts.

Nowadays, few people in the western world are riding horses on the grassland and on the Gobi. Their nostalgia for the past is concentrated in the fact that many people still like to wear cowboy hats, which is something that Westerners cannot give up at any time.

Although these days have passed, it does not mean that these westerners do not long for them. This kind of life is deeply buried in their blood and in their bones, and even the years cannot grind them away.

So, when Kava played the stray cowboy Smith, played by the prairie, was throwing the rope and horse around him, the atmosphere suddenly became warm.

The next few shots show Smith's life. This cowboy with a somewhat withdrawn personality seems to be very isolated from modern society. He rode his horse and wandered on the grassland, looking for wild horses during the day, and at night, a fire rose on the grassland, and then lay beside the fire and looked at the night sky above his head.

Such a man is so restrained, but so noticeable.

But the camera just stayed on Smith's body for a while and turned away immediately.

Medium-scene depth of field shot, a street in a small town, with pedestrians coming and going near the camera, and a bicycle repair shop in the distance. This is a small bicycle repair shop, but it is cleaned very well. You know it has just opened as soon as you open it.

Howard stood in the corridor in snow-white work clothes, with sleeves on his arms. He looked at the pedestrians passing by on the street with a little ambition and began to introduce his repair shop to the pedestrians, with a loud voice.

But the following several shots caused a burst of kind laughter in the square.

Howard changed from standing to sitting, and then to lying down. No one seemed to be interested in his bicycle repair shop, nor did he visit his business. Finally, the man who was still very enthusiastic at first lies in the chair and slept soundly.

In the mid-scene shot, a car parked in front of Howard, and a young man appeared in front of the car. The owner jumped out of the car. Howard's feet were raised, he looked up at the sign of the bicycle repair shop behind, and asked, "Car, can you repair it?"

Howard was awakened from his sleep. He had no business all day long, staring at the owner with fluffy eyes, and then looked at the Ford in front of him, and nodded subconsciously: "It can be repaired. I will specialize in repairing this."

Hahaha. From the premiere, a burst of laughter broke out in the square for the first time.

People were obviously amused by this shot.

"Mr. Corleon, I didn't expect that there were still humorous cells on you." George V smiled and turned to look at me and shook his head.

I looked at the screen innocently and shrugged my shoulders.

The movie continues. Howard takes over the task, but a bicycle beggar, whose helpless expression faces the car, makes many people laugh so hard that they wipe their tears.

He seemed to be wandering around the car, and had no idea how to start, so he had to remove the lid of the car, then remove the engine, and then have a shot. The repair shop was filled with car parts, and Howard with a messy and frowning face.

"This guy is in trouble and he will definitely have to pay for it." George V was very excited to see it. He held his chin and said something that everyone around him nodded.

The mid-scene shot, the door of the car repair shop. A pair of big hands pushed open the door, and the background music suddenly became nervous. The camera moved upwards, and the owner walked into the shop fiercely.

The audience began to worry about Howard's situation, and many people muttered: "This guy is going to be miserable."

Next, the camera turned around. Howard hugged the owner's shoulder and was introducing the car in front of him: "Your original car has been scrapped. After thinking about it, I remodeled it. Did you see it? I changed you an engine. This car can run 50 miles per hour."

"50 miles!? So fast!?" The owner was surprised and looked surprised.

"That's still conservative numbers. If you're not afraid of breaking your body apart, you'll have no problem driving to 60 miles..."

The lens slowly moved downward and aimed at the black hood of the car. When the lens rose again, everything in the lens changed.

The bicycle shop has become a huge and luxurious car shop with all kinds of cars parked inside. Howard, who was originally wearing a rustic white work clothes, is now wearing a suit and tidy combed his hair neatly behind his head, and a huge gold ring on his fingers. He talks endlessly about the car in front of his customers, knowing that the customer laughs and takes out the checkbook from his pocket.

Wow! There was suddenly applause behind me. Looking back, almost all Hollywood filmmakers applauded. Obviously, they were very impressed by such a shot edit.

Howard obviously found gold in the west, and went from a small bicycle repair shop owner to a big car dealer. He summoned reporters to introduce the latest model to the public: "Four cylinders, 42 horsepower, driving such a car will feel like you are flying! A car is much better than a horse, at least you don't have to pay attention to it, just give it some oil, and now you won't ride a horse to a grand party! For me, I would rather spend $1,000 on a regular bike than spend $5 on the best American landlord!"

When Howard said these words, there were many people around him, including journalists and ordinary people. The camera passed through these people and finally focused on a lonely figure in the distance.

It was Smith. He was wearing a worn-out denim suit, holding a horse and listening to Howard's passionate eyes, listening to the cheers coming from the people, and his head lowered with a sad expression.

At this moment, the audience who had just looked at the screen with a smile on their faces and turned silent.

Such silence may have changed to another place. For example, New York or London will never appear.

Only Westerners, real Westerners, will experience Smith's mood at this time.

Because of Smith's mood, many people have ever experienced it.

It seemed that overnight, the Westerners found that their lives had changed. Monsters with four wheels rumbled into their lives, and the horses that accompanied the Westerners day and night lost their function. For them, it not only meant transportation, but also a lifestyle that had lasted for hundreds of years.

Overnight, life changed. Westerners welcomed cars and liked cars, but they missed horses and the kind of life they had before.

Only they know the melancholy feeling when saying goodbye to the lifestyle that they have already been accustomed to. Now Smith's sad and bowed his head on the screen resonates deeply with the audience.

"When I owned my first car, I didn't touch it for a whole month, so I still rode my horse. But later, I had to say goodbye to my horse reluctantly." As a man who has always claimed to be an old man in the west, Marscrov breathed a long sigh at the screen, and his words were filled with nostalgia.

Howard's house, a grand villa. At the door of the horse house, Howard directed the servants with a smile on his face. The servants pulled out the horses in the horse house one by one, and then pushed in a brand new Ford car of various models.

The whole process was accompanied by relaxed and cheerful trumpet music and Howard's smiling face made the picture very relaxed.

But few viewers laughed.

A medium-scene depth of field shot. Inside the horse house, cars are quietly placed in the horse grid, shining by the sun.

This meaningful shot immediately caused deep thoughts from many people.

However, the camera quickly became relaxed. Howard got married and had children. The happy look of the family of three was eating together, which made the atmosphere in the square relaxed.

Spacious houses, rich life, happy family... The movies are undoubtedly a psychological placebo for the many viewers in the square. Among these viewers, many of them had a life like Howard a few months ago, and most of them had at least a happy family, but now, the economic crisis has turned everything into void.

Howard's life on the screen is nostalgic, but also makes people feel warm inside.

Just like a man trembling in the cold wind, seeing a warm fireplace painted with charcoal burning, even if it would be of no use to his situation. But at least it would comfort their hearts for a while.

Close-up. The sign of a horse farm. Inside the horse farm, an untamed horse struggles wildly in the field, and no one can bring a bridle to it.

The horse was completely crazy and completely lost its mind. It kicked its hooves and hit its body and bit it with its mouth, so that no one could get close to it.

The people on the horse farm had no choice but to use the horse, so they stood aside and shook their heads.

Suddenly, the group of horses stopped. It opened its big eyes, gasped, and looked at the distance without moving.

The camera pushed away, and Smith with a cowboy hat stood beside the fence.

He walked over and walked through the staff of the horse farm, as if he hadn't seen these people at all. He stared at the horses, muttering to himself as if he was saying something, but no one could hear it clearly.

The horse calmed down, raised its head, pricked its ears, and stared at Smith, as if it had seen an acquaintance.

Smith was walking forward while making gestures, his hands, as if they were with magic, immediately recovered from the madness.

Smith walked to the horse and brought it a bridle, and the crazy and irritable horse turned out to be as docile as a sheep.

"Master, he is really a master!" Marskolov and Adolf Chuk shouted at the same time.

Not only them, but also the westerners in the square were all fascinated by Smith's superb equestrianism, and there was a burst of marvel at the scene.

Westerners have always admired people with skills, among which, those who have one hand at the horse training and one hand at the gun playing are particularly favored and respected.

When the movie came here, the audience's confusion about the movie's beating between different scenes at the beginning was gradually eliminated, and as the story deepened, people slowly walked into the hearts of the two characters Howard and Smith. Although no one has seen any connection between the two characters so far, almost everyone knows that these two people will definitely meet a little in the end.

However, just as the audience felt that they were gradually seeing the name, the next shot made many people open their eyes again.

A huge horse farm appeared on the screen, and a child of seventeen or eighteen years old was riding a horse racing in the horse farm. The subtitles below show that this is New York State.

A middle-aged couple leaned against the fence and looked at the child inside the runway, with happiness and pride on their faces.

The wife blamed her husband for buying horses for the child. The husband laughed and told his wife that his son was very talented in the race.

His wife looked at the children in the horse farm and laughed: "Pollard is already eighteen years old, and he should make money to buy a horse by himself."

The wife's words made the audience smile knowingly.

But Marskolov stabbed me secretly, and the old man looked eager and depressed: "Andre, how many such dazzling branches do you want to create?! It hasn't been 20 minutes. There are three people who have no connection with each other."

Before Marskolov could finish his words, Adolf Chuk next to him was happy.

"Old Ma, you can tell at a glance that you have not carefully studied Andre's movie. In this movie, aren't there three protagonists! Now they are all out." Adolf Chuk patted Marskolov's shoulder hard and burst into laughter.

"Look at my acuteness!" Marskolov immediately made a sudden realization and smashed his head hard.

"Andre, I understand. You are three branches moving at the same time and then joining at the right time! Awesome! It's really amazing!" Marskolov gave me a thumbs up.

Looking at Malskolov's excited expression, I not only shook my head. This kind of splitting technique is a very common method in later generations, but in Hollywood today, not many people use it. It is not that no one in Hollywood directors thought of this, but that these people are afraid that the audience will not be able to accept it by using this technique.

Since the audience is used to the single-line method that emphasizes causes and consequences, and likes it very much, why take the risk of the movie being rejected by the audience and the box office plummeted?

Hollywood is such a place. For directors, if you make money for a film company and the audience responds well to your film, the road ahead will be wider and wider. The film company can meet any conditions you have. But for most teammates, if they spend a lot of money to invest in you, the movie will lose a lot of money after the movie comes back, and the audience has a lot of opinions about your film, then when you apply for filming the film next time, the boss of the film company will involuntarily consider your investment plan carefully.

For this reason, Hollywood directors generally do not take risks to open up new principles, and they would rather show their talents under the existing framework.

This method undoubtedly brings a kind of laziness to the audience's appreciation.

Of course, in Hollywood, there are many people who dare to break through these rules and regulations to create new film shooting methods. However, relatively speaking, there are generally two types of people like this. One is the top Hollywood directors. These directors have achieved success and the film company supports them 100% support for their shooting. The quality of a movie will not have any fundamental impact on them. When viewing the works of these directors, the audience often has special expectations. However, when seeing some innovative methods appearing in the movie, the audience will not only not be rejected, but will think that the director is very skilled.

Another type of director is completely opposite. These directors are directors of some small film companies, and many of them are newcomers. For them, they don’t need to worry about their reputation or status. These newcomers bet on their movies with innovative techniques emerging one after another. Perhaps the box office of the movie may be bad, but as long as they can attract the attention and favor of large film companies, it means they have achieved success.

Relatively speaking, among Hollywood film directors, these tepid centrists account for the vast majority of the total number, and are somewhat conservative on this issue. They are more willing to follow the innovators honestly and wait until they are sure that there is no problem with other people's innovation before they adopt it.

Such a wind is one of the shortcomings of Hollywood now. Fortunately, in recent years, a group of filmmakers who dare to fight and fight have emerged in Hollywood, and under their leadership, Hollywood's innovative consciousness has been greatly enhanced.

Some people have seen this technique I used in the movie, and those who saw it were extremely happy and admired You Jiao.

"There's a look below." Marskolov said a moment and turned his eyes on the huge screen with great enthusiasm.

The appearance of Pollard made all the three protagonists of the whole movie come together, and the movie begins to merge from the beginning.

Playing Pollard is not someone else, it is House. In this role, no one is more suitable than this kid, both in terms of age and skills.

The movie continues.
To be continued...