Like past movies, in the early preparations, Duke also decided to take the audience as a member of the entire complex plan, and joining the movie was like turning them into criminal accomplices. In this way, he declared his ambitions in this type of film.∈♀,

A charming thing about this kind of stealing movie is also one of the reasons why Duke is used as a template, because in most movies, the form of explanation to the audience will be full of doubts, boring, cunning, and unbearable, but in the stealing movie, it is the flesh of the play, and it has become a part of the fun, which is an essential part of the stealing movie, and their discussions and their plans for things will also become the reason why the audience continues to watch the story.

Duke has studied in depth that one pattern of this type of film is that at a specific point, the audience begins to stop receiving information, and then experience it only as bystanders. Until the end of the action, they will remain fresh and be impressed by careful planning.

But he was not going to repeat this routine and wanted to make some subversive changes. Duke did not intend to keep the audience out, but decided to take them all the way.

This slight change can make the audience sweat whenever any accident occurs.

With such a wonderful world worth exploring, Duke will patiently think about what the film lacks to make it look more reasonable on an unreasonable basis.

That is the motivation of the male protagonist Cobb. What is he planning the whole action for? It’s not as simple as just getting financial rewards!

Although Duke is not a father, he knows very well that home and children are in the minds of most people in the world. This is a value that is common to the world. Cobb's biggest motivation is that he wants to go home and correct his life and return to his family.

This kind of emotion and motivation seems particularly vulgar, but it is the highest emotion of human beings.

One of the biggest difficulties faced by the dramas when writing about the emotions of the characters was that they needed to balance enough to maintain the boundary between the seriousness of the plot and the affinity of the audience. The plot of a film can often be summarized in one sentence and marked with a card, but the creation of the emotions of the characters needs to be found separately.

Unlike the past. In this movie, there are passages that have to sit down and let the emotions flow out of the writer's pen and let the actors speak out in a very emotional way, and then spend a lot of time to modify until they are real and believable.

In other words, there are several screenwriters who need to follow Leonardo in the early preparations to adjust Cobb's lines and even behaviors according to some of his own habits and traits. They need to analyze, deconstruct and reorganize these as part of the movie.

This is to make the situation of Cobb's character more realistic and make the audience feel more appropriate.

When watching some directors' movies, Duke, as a movie fan, should have gotten some emotion while watching the movie. However, he did not find that the author of the movie was sharing this emotion.

These directors just think that the audience will experience it, but in fact, what the audience can feel is often a kind of alienation.

So whenever Duke finds that he and the screenwriter have not responded to what the writer wrote, but is still saying to himself, "It doesn't matter, the audience will like it." He knows that he has gone astray and must abandon them.

In addition to emotions, there is also the setting of the video.

Even though an idea is implanted into the mind of an unprepared businessman involves some sensational technology. The work ultimately boils down to detecting the businessman's emotions and finding a way to push him against his original wishes.

This is the concept that Duke thought of when he looked at the script from the perspective of emotional projection.

It's more like a narrative adventure, a team of people making up a story, just as the movie-making people get together to work, perhaps just because people themselves are immersed in such things, feeling more similarity. This is not just relying on technology to plan their crimes, but more like an invasion of individuals.

In Duke's eyes, this should be a human experience. Not just a classic symbol related to a espionage.

Leonardo DiCaprio's cooperation also helped Duke a lot. During the rehearsal, he discussed his character scripts with Duke one by one to find out the emotional truth and motivation of the character.

"One of the things that forced me to do is to fully dramatize every rhythm of the commentary, and every character needs to get a message because he needs this message." Duke once said to Anna Prinz, "The movie will definitely have a rhythm when it shows an important issue, such as when you can't wake up in a dream. I used to arrange it as a neutral commentary link in a relatively passive place. But after repeated discussions with Leo, I concluded that dramatic conflicts should be adopted, which has produced some different effects from the past, making the commentary link indispensable to the characters."

When planning the specific shooting plan, perhaps because of the influence of the plot, Duke made the plan a bit complicated, and even he was a little dizzy.

He drew exaggerated charts and timelines on the drawing board, trying to mark where the transition occurred in the movie. For weeks, he felt like he was just slamming his head on the drawing board.

But when he turned around, Duke realized that he had actually solved some problems and made some important progress.

"You know, you're going to face new problems because you know you're really improving. In the end, you get, 'This thing is not perfect now, I still have a lot of things to do with it, but it's at least full, and I can show it to people."

This is a conclusion Duke came to.

Duke continued to modify the shooting and post-production plans countless times because he knew that when the plan was put into production, it had to be more organized.

In the film, many different characters are in different dangers at the same time, and the director, he must sit down and have a lot of conversations with the characters.

This is very difficult.

Duke believes that there is a limit, that is, as an independent individual, to make plans, there can only be so much. After that, others must be joined.

Fortunately, Duke spent nearly twenty years building a strong team.

He often felt that working with Charles Rowan or Anna Prince or other team members had great value. As the final result showed, their joining made the plan more reasonable, and with constant modifications, Duke finally found the perfect balance.

According to Leonardo's advice, Duke also fine-tuned the role and scenes.

The most important point is that Cobb summoned his squad to perform dangerous tasks. After he assigned all the work, he forgot to mention that he himself was the biggest uncertainty factor in this task.

In Leonardo's words, Cobb did not forget it, but kept the secret actively in his heart.

In this regard, when discussing with several major actors, Duke used Hitchcock's "**" as a reference. It allowed the audience to fully trust the protagonists of the movie out of the actors' likable performances and professional skills of the roles, but in fact they believed it wrongly.

The audience trusts them because they are confident, knowledgeable, experts... etc. However, in "The Legend of the Condor Heroes", it finally makes people understand that they were really deceived by this guy. He is not the person I thought. This is indeed a charming narrative method.

"Lawrence of Arabia" is another classic example Duke and others have discussed. Half of the film is such a successful halo protagonist, which always makes people forget how dark he will become in the second half, and it challenges the traditional wisdom of "protagonist resonance".

It is difficult to achieve such an effect, and there must be a really suitable actor. Fortunately, Duke has Leonardo DiCaprio.

Everyone who becomes a superstar always has his merits.

There is indeed no one in Hollywood that cannot be replaced, and the role is always a role to be a actor. However, Hollywood production companies are willing to pay a lot of money to invite superstars to play instead of just choosing a young actor who has no fame and appeal but is equally excellent in acting. There is always a reason.

These principles are also very simple and can be seen by everyone at a glance.

Duke invited Leonardo DiCaprio not only because he was the starring actor and was a very good friend. Warner Bros. eventually signed a contract with Leonardo with a base pay of $15 million plus an eight-percent profit share, but also because of Duke.

The value represented by Leonardo DiCaprio itself is precisely the normal manifestation of this contract.

Apart from all this, Duke is also very aware of another key to the success of this film!

That's right, it's just a mysterious thing.

Of course, you have to stop being mysterious. This is a commercial masterpiece, not a niche art film.

The success of this film was also the harmony between the rhythm of the story, the audience's understanding and the narrative structure of the film. In other words, it is not difficult to play against the timing and layered narrative. The difficulty is not to turn these elements into niche experimental movies. After the film is completed, the audience will not only be a confusing viewer, but will not completely lose interest in relieving the mystery. The film will definitely be a popular commercial film, which is the value of "Inception".

Duke's entire concept is very clear. This is a commercial film with big investments and big productions. The real core of the film is mainstream commercial elements such as science fiction action, and the rest are derived from this basis.

After more than four months of preliminary preparations, Duke officially started the filming of "Inception" in Los Angeles in mid-November. (To be continued.)
Chapter completed!