The reporter is a novel creature in Bai Xuejia's eyes. Whenever big news appears, it will flock to you, but you always hear only the sound and do not see anyone. Therefore, Bai Xuejia only has one impression of reporters, that is, those black, thick and long microphones with logos on them.

Bai Xuejia has seen many interviewees, but this is the first time today, facing those magical creatures, I feel very novel.

As the starring actor, he stood with Nishinoji. Bai Xuejia is an unknown pink and tender newcomer. He thought he had nothing to do, so he could just show his face. After all, most of the reporters came for Nishinoji and Kaedokane.

But soon he realized that he was wrong. The reporters put most of the firepower on him, and his eyes were as bright as seeing a naked woman. However, what Bai Xuejia said was correct. Although he was asking him, the questions basically revolved around Nishinoji.

Bai Xuejia is a newcomer with inexperienced experience. They seem to think Bai Xuejia is a breakthrough and hope to dig out valuable news from Bai Xuejia's mouth. However, to their disappointment, they are answered without any leakage, avoid the important points, change the topic, secretly go to Chen Cang, replace the pillars, and use the perfection of using the golden cicada to escape from the shell.

When I first heard it, I seemed to have said a lot of content, but after careful consideration, I found that what I said was nonsense... What they wanted was gossip and hot news, who would listen to the movies?

The scheming and calculations of both sides lasted for more than twenty minutes. After that, Bai Xuejia had only one word in his heart: tired.

Take a ten-minute break, enter the screening room, and prepare to play the video.

Bai Xuejia and the creative team sat in the first row, Dongcheng Yan, Dongcheng Wei and Yadou Mibo sat in the back.

Floating cherry blossoms, the tender voices of boys and girls, and the railroad tracks are facing each other.

"It's great that we can watch cherry blossoms together next year."

The video begins with the flag of Akiri and the train that drove through the two of them as predicted, separating them from each other.

The picture of the movie is beautiful, not the gorgeous and dazzling beauty, but a quiet beauty. The overall tone is plain and soft, accompanied by the inner monologue of Mingri and Kishu. In today's fast-paced life, it immediately gives people a relaxed and comfortable feeling, like a murmuring in a dream.

Bai Xuejia wants to play the role of Tsuki and understand Tsuki's heart, so he not only reads his own script, but also reads all the scripts played by Kirito. Only by understanding the complete life can he be more appropriately integrated into the inner world of this character.

Takaki and Akiri were attracted to each other because of the same loneliness and got together, but Akiri had to separate from Takaki because of moving. Akiri had made efforts, but her parents were just a child and her parents could not feel at ease. Akiri called and cried, helpless and at a loss, and told Takaki what to do. But Takaki did not comfort him. He was sad and helpless, and at the same time he said with a hint of depression and anger, "I understand, enough."

At that time, Guishu was quite self-centered. After all, it was just a child. How many questions could he consider?

His sorrow is because his only friend wants to leave him; his helplessness is because he is confused about the uncontrollable fate; his anger is not because of his feeling of Mingli's betrayal to himself. As mentioned earlier, he has moved many times because he always goes to a strange environment and can't stay for long. Subconsciously, he thinks that everyone is just passers-by, so he cannot integrate into the environment, resulting in loneliness. Mingli is his first time opening his heart, so his anger is an vent of this wandering fate that seems to be playing with his own wandering and uncertainty.

After he finished speaking, he realized how much harm this would cause to Akiri. The reflection at this moment also led to the "gentle" growth of Kishu's indiscriminate growth for everyone.

Bai Xuejia was a kind of feeling when he reads the script himself, and watching Kirito and Kaedo Kaede's performances was another feeling.

Both of them performed very well.

In the public telephone booth (the story was more than ten years ago when the public telephone booth was popular), there was never a shot of Kaedo-Kai's face.

A panoramic view, night, lonely public telephone booth, street lights swaying, and occasionally a car is speeding by. The contrast between movement and stillness immediately makes people feel a feeling of loneliness abandoned by the world.

Then the camera pulled closer, and the side face was invisible. She only saw her holding the phone in her left hand and holding the phone line in her right hand. Because of the force, her knuckles were a little white.

Then the camera turned to the ground, and suddenly, a tear fell on the shoes, and a ripples gradually appeared in the hearts of the audience.

The three shots are not very strong, explosive and exciting emotions. However, in this quiet atmosphere, the lonely, helpless, painful and confused mood deeply penetrates the hearts of the audience.

Kirito, holding the phone, sat in the corner of the wall, lowering his head. After listening to Akiri's words, he did not let Akiri continue to speak. He spoke in a very heavy tone, hugging his knees and burying his head deeply in his arms, as if he was a compromise with fate. He could only hold his right elbow with his left hand, unwilling and angry.

Makoto Shinkai likes to use long lenses very much. Long lenses do not refer to the length or focal length of the physical lens, nor the distance of the photographic lens from the object. As the name suggests, they are lenses that are continuously taken over a period of time and occupy a longer film. Over a longer period of time, a scene and a scene are continuously shot to form a relatively complete lens passage.

There is no clear and unified regulation on its length. It is relative to the "short lens".

The time and space recorded by long shots are continuous, and the progress of the situation represented is continuous.

These are all told by Tatsumi when Bai Xuejia and Tatsumi were chatting. Bai Xuejia couldn't understand these professional statements, but after seeing the complete video, Bai Xuejia seemed to understand something in his heart.

Makoto Shinkai's movie is like an essay.

The shape is dispersed and the spirit is gathered - a large number of long shots make the rhythm very relaxed and seem loose, but every second and every frame can touch people's hearts.

His movies are extremely beautiful. Bai Xuejia didn't feel anything at the scene, but ordinary pictures seemed to have a different taste when they were reflected in his shots.

At the same time, it also has a profound artistic conception.

For example, Mingri was holding the phone number and crying silently, Kiki buried his head in his arms and holding his elbow, for example, after Kiki finally met Mingri again, he walked on a snowy night...

The two walked side by side on the road covered with silver. In the camera, the university of goose feathers slowly fell, and the telephone poles on both sides of the road stretched out to the distance.

The two walked slowly, and there was pitch black in front of them, leaving two rows of clear footprints behind them, which were soon covered by heavy snow.

The darkness is the unknown future, the footprints left behind are traces of the past, and heavy snow is time. One day, time will dust the past until it will never be seen again.

And at this moment, they were walking side by side, half an arm apart, not far from each other, just like the fate of the two of them being parallel to the same fate. Although they were heading towards the same one, no one knew whether they would be entangled in the end or continued parallel to each other.

For example, under the cherry blossom tree, the bare branches and goose feathers are like falling cherry blossoms, making them feel like they were back when they watched the cherry blossoms together.

The tone of the picture suddenly changed from cold to warm, the bare cherry blossom trees were full of cherry blossoms, and pink petals were falling one after another.

The camera moved away, under the cherry blossom tree, two young black shadows slowly approached, and finally seemed to merge into one.

Immediately afterwards, the tone of the picture changed from warm to cold, the trees were still bare, and the cold snowflakes were still falling in the sky.

Cherry blossoms are the past, the dream, and the warmth; the bare cherry blossom trees are the present, the reality, and the coldness.

If "5 cm in seconds" is an essay, then the actor is the text in it. The theme of the prose is Makoto Shinkai's thoughts, but whether the thoughts can be expressed depends on whether the actor's words are beautiful.

The performance of Kaeda and Kirito is undoubtedly "beautiful". They give real tension to this gentle story, driving the audience's soul to follow the story of Takaki and Akiri up and down.

Dongcheng Yan, Dongcheng Wei, Yado Mibo is immersed in this poetic story. Under the bare cherry blossom trees, there is a very intriguing detail.

When changing from warm to cold, switching from dream to reality, and switching from cherry blossoms to snowflakes.

Qishu's hands were tighter.

Akiri's hand was gently stretched out as if he had put it down.
Chapter completed!