Can a Film Be Made Without Someone Taking Control? | Human Surrender

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.

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.

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.

Okay.

OK

I'm taking over the universe, right?

This isn't called

Yes

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

That they absolutely wouldn't get