Gus was slightly surprised because contemporary film titles were becoming increasingly straightforward to adapt to the faster pace of life, trying to avoid making the audience think. Only a very small portion of films still put effort into their titles, directly resulting in:
Since the film's inception, this was the first time someone had asked Gus about the meaning of the film's title.
Although it was absurd, it was the truth.
Gus couldn't help but take another look at Anson, his thoughts pulled back. "Alan Clarke, do you know this director?"
Anson shook his head. "Sorry, it seems I still have a lot to catch up on."
Gus waved his hands repeatedly. "No, no, it's completely normal that you don't know him. This British director isn't widely known, and his works have low exposure."
"You mentioned Wong Kar-wai last time. In 'Fallen Angels,' there's a scene where a killer goes on a rampage in a mahjong parlor. That sequence is impressive, the shots filled with a sense of impending violence and blood."
"That sequence was inspired by this Alan Clarke."
Anson slightly raised his chin, a bit surprised because he really had never heard of Alan Clarke, let alone that his directorial style had influenced many later directors.
Gus could sense the focus in Anson's eyes and couldn't help but become excited himself.
"In 1989, Alan Clarke made a 37-minute short film, 'Elephant,' which can be considered groundbreaking in its exploration and use of the Steadicam."
"In his films, the camera often closely follows the protagonist, who could be anyone. In the short film 'Elephant,' the protagonist is a murderer."
"In the opening, the camera follows a man breaking into a building. As the audience follows his hurried and hasty footsteps, they slowly realize he's probably looking for someone. But after searching almost the entire building, they don't see anyone until he finds his target in a utility room. He pulls out a gun, decisively shoots the person, and then turns to flee."
"The camera then cuts back to the crime scene. The silent畫面maintains a calm, observational perspective. We know it's a homicide, but we don't know the relationship between the killer and the victim, nor the context of the events."
"Violence is often impactful, and violence without reason is even more so."
Words were just words, but imagination could create images.
Anson looked up at Gus, whose eyes sparkled with excitement. "Director, this shot... is 'The Bourne Identity' also of this style?"
Gus: ? "I haven't seen the film you're talking about."
"The Bourne Identity" was released this summer. The camera that closely followed the protagonist throughout the film was generally described as "handheld tracking," but now it seemed to be a typical Steadicam shot, sticking close to the protagonist's back and the back of their head in a handheld, tracking manner, creating a sense of dislocation and first-person perspective, producing an immersive and thrilling viewing experience.
After its release, the film received critical acclaim and became a unique series in the wave of spy films that swept the globe since the millennium.
The visual style and camera language undoubtedly played a significant role.
With "Fallen Angels" as an example of a film with pervasive emotions and "The Bourne Identity" as an example of a film filled with tension, it seemed this director did have a considerable influence. Fresh chapters posted on novel·fire·net
Anson didn't continue to interrupt Gus and gestured for him to continue.
Gus didn't ask further questions either. He was on a roll, and the words kept flowing.
"The next thirty minutes of the short film are all spliced together with the same type of segment. The camera keeps following the killer, walking between different buildings and streets, finally committing the next crime."
"We can sense the impending violence but don't know when, how, or at whom it will be directed."
"This short film sparked a lot of controversy at the time. Was such a pure display of violence really necessary? Wasn't it another kind of shock to morality?"
"In fact, that was the director's purpose."
Gus glanced at Anson. He could notice the concentration and enthusiasm in Anson's eyes. Without words, it made Gus excited, speaking more and more energetically.
This was the first time he had seen Gus .
"Showing violence is essentially opposing violence."
"We need to understand the background of this film and the director's source material - The Northern Ireland conflict."
"Violence under ethnic integration, all this violence is without reason, without interpersonal relationships or cause and effect, a pure opposition of stances, venting that grand hatred onto helpless individuals, a pure hatred."
"The eighteen cases in the short film all come from real events that happened in Belfast. The director adapted and artistically created them based on police reports, using a tragic way to make people look at the elephant in the room."
"It's always been there, but everyone pretends not to see or hear it. Crimes keep happening, hatred keeps spreading, destroying the social structure in a devastating way, but no one cares."
"Rather than saying it's using a calm and objective approach to reproduce crimes, it's more like using a brand new approach to question the destruction that violence brings to us and society, destroying everything in an unpredictable and unreasonable way."
"It can create a powerful destructive force, both in terms of audiovisual senses and morality. In essence, this is a work that opposes and condemns violence. The director deeply abhors violence."
"We need to pay attention, we need to listen."
"Otherwise, this violence won't stop."
"Heh. Those people say a film that promotes violence may incite more crimes. But the reality is, violence is already happening without films. If more people don't see and hear it, if the system doesn't face the problem and provide solutions, violence will continue to destroy the foundation of society."
Towards the end, Gus couldn't stop himself. At this point, it was clear that Gus had put a lot of thought into making this film, contemplating death, violence, and life.
Anson's eyes showed a hint of understanding.
"So, the director's work is also called 'Elephant,' and the inspiration comes from this director Alan Clarke?"
Gus nodded. "Alan Clarke passed away regrettably shortly after filming that short film, so he couldn't defend his work. But we should look at Northern Ireland in the past few years, and everything proves his foresight."
In fact, not only Anson, but Gus was also surprised by his own behavior.
Gus liked to discuss films and often did so with Matt Damon and Ben Affleck, but he rarely lost his composure, unable to stop once the floodgates of words opened.
So, what was the reason?
Involuntarily, Gus looked at Anson again.
When the other person spoke, he always maintained focused eye contact, not only listening attentively but also often showing contemplation. The depths of those blue eyes seemed to be exploring and extending. Unconsciously, the words continued to flow endlessly.
Thus, the conversation became a pleasure.