Chapter 34

Chen Tiandu held the "Sixth Sense" storyboard script and explained to the cinematographer, Emmanuel Lubezki, how the first set of shots should be filmed.

Emmanuel Lubezki was chosen by Chen Tiandu from a list of cinematographers provided by Katzenberg. Born in Mexico City, he is a Jewish Mexican cinematographer. Although he has not yet made a name for himself, his innovative and distinctive style is already evident. If things don't change, he will win the Oscar for Best Cinematography for "Gravity."

Chen Tiandu, a new director, does not need to display a "trembling tiger body" or "majestic" demeanor in the crew. Filming in the United States is different from that in China, where a strict hierarchy is observed. Unless you are a superstar, everyone must respect the director, who has the final say in the crew. If the director is unhappy, he can fire anyone without a second thought.

In Hong Kong, which is just across the river, the director's power is not as significant due to the presence of producers, lighting technicians, and cinematographers. Producers are usually representatives sent by film companies and investors, and they cannot be offended. Lighting technicians are often referred to as "Lighting Lords," and if they are offended, they can cause significant damage by messing up the lighting, leading to the need to reshoot scenes. Similarly, if the cinematographer is not cooperative, even the best acting and direction will be in vain.

This is a unique cultural phenomenon, with the core members being those who came up during the golden age of Hong Kong cinema, mostly from humble backgrounds with low cultural literacy. Profanity is common. If a director is too refined and cannot control the situation, he might be overpowered in just a few words.

Hollywood is different, with high professional standards. The crew members he has assembled are also young. In this crew, Katzenberg, the producer, is the most influential. With his presence, even the most rebellious individuals cannot cause trouble.

Hollywood crews emphasize human rights and freedom, with each person specializing in their field. Whether you are a director or a producer, if they think something is right or wrong, they will debate and argue with you. If you cannot convince them, you should listen to their opinions, as it might lead to unexpected results.

A director not only needs directing skills but also the ability to manage the crew. Everyone in the crew, from the lowest assistant to the biggest star, is under the director's control. Only by having everything under control can a director gather the strength to make a good film.

However, a director's ability is easy to see. How a scene is shot, how the camera and positions are arranged, how actors' emotions are adjusted, and how the scene is managed—all these are crucial. On-set filming is like an exam; if the director lacks real talent, he will be looked down upon, affecting the entire crew's confidence.

If the director is already like that, how can the film be good?

Since it's a bad film, why not just go through the motions?

Fortunately, Chen Tiandu has real talent. His instructions for the shots are precise and efficient. He can answer any questions, and the rest can be left to the professionals.

Seeing the cinematographer and actors in their positions, waiting for his orders, Chen Tiandu felt an indescribable excitement. Thinking back to his past as a struggling extra and part-time worker, silently following one crew after another, all he wanted was to one day hold the director's baton.

Now, he could finally stand behind the monitor, controlling everything. As long as he made a good film, he wouldn't need to wait for others to give him opportunities; his future would be in his own hands.

What a wonderful feeling!

Charlize Theron, Kate Belsek, Vin Diesel, Jeffrey Katzenberg, the cinematographer, the lighting technician, the sound technician... everyone on set focused on him. Chen Tiandu took a deep breath and said calmly, "Let's start."

"The first shot of the first scene of 'Sixth Sense,' Action!" the script supervisor called out, and the filming began.

The lights dimmed, and the first shot started with a dim tungsten light gradually brightening in the darkness.

This was an underground wine cellar. Charlize Theron, wearing a long dress and high heels, walked down the wooden stairs to fetch a bottle of wine. It was still cold in Philadelphia in winter. After selecting for a while, she shivered and quickly grabbed a bottle, running up the stairs.

Two shots were set up, one behind the wooden rack and one in the dark doorway, perfectly capturing Charlize's shadow on the mottled wall.

After two takes, Emmanuel Lubezki handled it with ease.

"Good, prepare for the next scene!" Chen Tiandu called out.

Such a simple shot, with clear instructions, did not need a second take. Chen Tiandu passed it after one take.

"A good start, isn't it?"

The crew relaxed a bit.

They immediately got busy again, as the second shot was crucial, with Chen Tiandu's character, Dr. Malcolm, appearing.

Chen Tiandu was made up to look more mature.

He chose the makeup artist, Greg Cannom, because he would later win the Oscar for Best Makeup for "The Curious Case of Benjamin Button" with his outstanding makeup skills.

Although Greg Cannom was not yet experienced, he could handle such a simple makeup task.

Chen Tiandu had spent the summer on an Irish island, making his skin somewhat tanned. After Greg Cannom's makeup, he looked even older.

He styled his hair in a slicked-back look, making him appear more mature.

Speaking of this slicked-back look, Chen Tiandu blushed. He had referenced Tony Leung's appearance in "In the Mood for Love." Since "In the Mood for Love" had not been released yet, Chen Tiandu had only seen the trailers and stills.

He chose this look because he thought his eyes resembled Tony Leung's, and his mixed heritage made his eyes even deeper. This hairstyle gave him the look of a successful middle-aged man.

Wearing a shirt, suit pants, and a vest, holding a glass of red wine, Chen Tiandu composed himself and gave a thumbs-up to the assistant director, Hankow.

"Alright, the second scene, Action!"

The camera started, and Chen Tiandu's expression quickly changed to a warm one. He casually hooked the frame with his finger.

Charlize walked into the frame and threw him a sweater, "The weather is getting colder."

Chen Tiandu caught it casually, put down the wine glass, and looked melancholic, "This frame is 'really nice,' 'really' a nice frame, how much do you think it costs..." He asked while putting on the sweater, falling onto the sofa as he put it on, "How much is this high-end frame worth?"

His varied tone and pace, especially the subtle changes in the pitch of key words, were particularly novel. Even Katzenberg, watching from the sidelines, was impressed and watched with interest.

Kate's eyes sparkled. This was a British accent with a slight lisp unique to Chen Tiandu.

When it was fast, it was very fast, and when it was slow, it was distinctive. Chen Tiandu had practiced this many times. This was his first time using it in a formal performance, and it seemed to work well.

—This was partly due to her efforts.