They're right there, in that... that thing.
Well, let me put it this way—I just want one thing.
It's not that cliché thing a film crew and film would do—I don't want that.
So I'm making this thing; it's an arrival.
And it truly contains many possibilities.
So it can't be shot with a script, using that method.
You can have a script, but it doesn't matter.
It's up to the director, up to all of us.
Any script will do.
But not just any script I'm acting in.
Not[unclear], I think this script is great.
It actually talks about this thing, reason and logic.
Is that Vern A? Vern A.
Yeah.
You're Vern A, then see if you want to write it yourself.
So I'll schedule some time to talk with you soon.
Also, about the Free Wind character?
Forget Free Wind, forget Free Wind.
Do you think Free Wind's bad?
How do you feel about Free Wind?
You'll think of Free Wind because of Free Wind—I think that's it.
When it appears, it already exists.
Saying it doesn't exist is impossible.
What it's called doesn't matter at all.
Free Wind then.
It's not the second time it's had this event.
Should it have eaten its life or something?
That's really weird, not specifically coming back, but also inviting me to eat.
This weirdness is.
There's nothing, it doesn't connect with me.
This weirdness is the weirdness we know.
No, Free Wind hasn't come back, it hasn't contacted me either.
It just doesn't happen, it's a really weird thing.
It's a woman, really a woman, in her forties.
I know, but this weirdness, it still has to be visualized.
It won't be sewn up unless you keep using it.
I'll keep using it.
I might not call it Free Wind, but I think that Ning View is always there.
And that Ning View is what finally does this.
Ning View doesn't necessarily have to be called Ning View, it's just a monitor, or an unseen perspective.
No photographer's viewpoint lens, that's Ning View.
Yeah, then why not call it Free Wind?
So you'd name the monitor Free Wind?
No monitor, no monitor, just a camera.
But it's live-streaming, external-facing, an external-facing camera.
That's not not naming it, just placing it right there.
Or saying it, it's watching, it, Free Wind suddenly feels really awkward to me,
It's a bit awkward, I feel a bit awkward.
That person, that person.
Yes, that person.
If the brother wants to step back, the brother can be that person.
Anyway, anyway, whoever people say is watching, that's the one, whoever is watching behind, say that person.
Never mind, does he know what that person is? We know which that person, yes, yes.
And that's definitely a person, a future person.
Yes.
What do you think?
Yes.
I think it's okay.
I feel like it's either effortless or I can't do it.
No problem.
Can't do it is fine.
I know.
None of this is a problem, I can handle all of this.
Just relax.
Actually, what am I now certain of?
I'm certain that this is a good documentary.
That's also true.
A turn, A turn, I can definitely say it's a good documentary.
Or no matter what, I can edit it into a good documentary.
That's enough.
It's like whether the movie comes out or not, that's one thing, I want to take a surprise.
That, for me, [unclear]?
I want the movie.
Okay.
This is what we shot this year.
After this is done, we'll write another script and shoot again.
Yes, yes, yes.
No, no, no, I mean A's part is finished.
We wrote a script based on this documentary and then made the movie.
Once this part is done, we'll try the locations we mentioned.
Okay.
We'll write a script.
We'll find actors to perform.
Nothing said.
We won't do it.
No, no.
Okay.
We'll write a long script.
Okay.
Just come and act.
Okay.
Okay?
Okay.
OK
I'm taking over the universe, right?
This isn't called
Yes
But still
But I still think there should be a movie
You know what I mean?
I know
It's a script that's also a movie
You know what you mean by movie
Movie language
I, I'll say this to Qingshan tomorrow
It's a film with movie language
It's not a commercial film
Commercial films lack movie language
Why
I, I, I'll give an example
I thought of an outside
Just rehearsing makes it hard to detect
It's also possible to detect
Just as we were filming the actors
We split up to shoot
They left this room
I I was the day before
I'm inside the big one
What I want to say is
The last film you came up with is an image
It should be very simple
It it can't be that you still need to like you do
Or like Cao Jiansong
About his thing you still need to think about for half a day
To make people understand
First add a bit
Our budget is almost zero
So this thing needs to be even simpler
Like those low-budget
We've seen new things
Like we previously showed you
Like some things
Han Jia
And Erbo Tesala
And like the one mentioned earlier
And André's Golden Dinner
Those things also have very low costs
Then what they're doing
Can be explained in one sentence
Han Jia just gathered a group of people
A numb, mimicking performance stance
Writing one is also simple
A small script with a hint of [unclear]
His script isn't actually that important
Then Brecht's [unclear]
He just randomly picked an amateur
Let him act casually
Follow [unclear]
But he wasn't based on a story
He had that person in a performance state
To act as [unclear] once
Then they recorded 100 hours
Edited it down to two hours
Then Andrei's 'Common Dinner' as well
He found two people willing to speak
People who actually had a lot to say
He just let them speak
Had them write down what they said
Write it down into a script and perform it again
And that was it
First, I think art
Art is like a power game
It's the audience that can articulate
What they've understood
That's the part the audience gets
If we're to create something like that
Like Mr. Cao
Or I'm going to dig into real film language now
I want the real thing
You dig for a lifetime
You dig up that thing
If you still can't dig it up
Of course I'd succeed if I did
The way it succeeds is actually
It moves you personally
It's successful to you personally
Yeah
All these things I'm thinking about I feel they can move me
Right, right
So I think what you were saying about anti
Director-centered stuff
To a large extent causes many misunderstandings
You don't need to oppose director-centric
I think what you need to do fastest now
What you need to do now is
Be a dictatorial director
Push what you want directly
Hire hired hands to do those things
Including the documentary he wants to make
Isn't it from the perspective of a documentary director
He films things like 510
Actually the real director
Is a dictatorial creator
He only understands this
Can he do it
Otherwise what you want—equal co-creation
Can only be a bunch of people endlessly arguing
But maybe they reach consensus
But it's still a dictatorial consensus
Then they recruit hired hands
To make what they thought of
If they keep being
A conflict-driven creative approach
They can't create what they want
The things they create will be difficult
Like your Fourth Day documentary
It's really just a dictatorial camera
Just one eye's perspective
Standing there recording whatever material movement happens
His work is in him
What you say about his value is the meaning you assign to it
His own meaning doesn't matter
And he doesn't need any meaning
He is simply what he is
Only when you humans
Experience these things
The meaning you understand
The meaning you produce
Is what he means to you
You often oppose
Including watching you chatting in the Cartel group
Honestly it's completely off the same channel
Your kind of exchange will just have them repeating themselves for a lifetime
Everyone is just saying what they want to say
His exchange really meant nothing
Oh right, so what do we do
If you want to make this
You have to act dictatorial
Because what you create is very dictatorial
Because you still want some kind of film about film
This thing is very dictatorial
You only have to do this
You can only make it this dictatorial way
Because what you're making is dictatorial
Right, so you're saying besides dictatorship
No [unclear]
No, no
Other things you make are also dictatorial
So everything is dictatorial
No non-dictatorial
You need to see my dictatorship as an unorganized field I haven't organized
You need to make this
Whether you use time
Or any action
This process
This I think needs to be done by you alone
You've already started acting
So you're asking Ammon
I've also acted
You're already acting
But I also feel I need you
You understand this dictatorship of mine
That's fine to say
I'm dictatorial
I need you
I know you've been acting too
But your action is just recruiting people
To seize one thing
This isn't film
This is why what you did before
You also think it's not film
We also think it's not film
Now you want to make film
You need to make a film
You just do it simply
That's why I'm asking you what film is
I came to ask you
I'm struggling too
I'm also struggling
I've been doing it for so long
I'm not capable enough to make it
So I'm asking you
Ask everyone with all your ideas
Tell me what film is
But what I can hold onto is
I think it can't be that kind of film
I want a new film
What kind of film
Exactly, exactly, exactly, exactly written and fixed
Exactly, exactly, you keep denying me
I come from this denial
Through you, tell me what
No, no, no
Finally, I got what
I eventually got this thing
Of course, it has to be through you telling me
No, no, no
You get that thing
You get that movie
It's still just a moving image with sound
Yes, yes, that's it
No matter what the content of this thing is
It's still the same as the movies you oppose
They're all still the same kind of thing
What we need to do now is
Make that image and sound
Just do this simple thing
You don't need to pursue that 'real' thing you're after
If you don't shoot it
You can keep talking
Keep opposing
Right, so I need to make it
Actually, actually, like
Like the way we're shooting today
So I say you oppose that traditional movie method
It's mostly found
The most efficient way to make movies
I'm saying this to you
I get it, I understand
I get this
But my point is I want to say
That thing can't be told with that efficient method
Like those reverse shots, right?
We must think about it
Think from that approach
No matter how you think
The images you end up shooting
They're still just one
Yes, yes, yes, yes, yes
For example,
I'll just use that example
Do you think 'Ice Fire Dragon Sword' counts as new?
I think it's new
And it tells something completely different
It also updates cinema
What I'm saying is,
You think it's new,
Find a kid to watch 'Ice Fire Dragon Sword' movie
They don't get it
Or, think about when you were a kid,
Movies you couldn't understand
You'll understand them when you grow up
Right, you need to wait until you grow up to understand it
The moment you understand it
You then create its meaning
Otherwise, right now,
What kind of movie should I make,
A movie that you can only understand when you grow up
You just need to make a movie you can understand now
I'm going to make something like that
I can't make it for [unclear]
I absolutely won't make something kids can understand
No, no
What I mean is,
Even if you made this now
To a 12- or 13-year-old
To that stuff
Would it make sense to them
Absolutely not
I want something
That they absolutely wouldn't get