Chapter 62

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More albums were found by Haley from Jeff's bedroom. Some of the girls on them were tied up, some were confused, some collapsed on the ground. Although they were only photos, they could also make people understand. These girls did not have the ability to resist when they were shooting, they could only let people do whatever they wanted.

"Scum!" Daisy spat in a low voice.

Everything shows that Jeff is not only a pedophile, but also a very dangerous one.

Haley poured another glass of water into Jeff's mouth, and the picture turned black again.

When the screen lights up, Jeff lies on his back on his workbench, his lower body is not dressed, but covered with a large bag of ice at key positions.

The little girl is going to castrate this pedophile!

Daisy felt very happy, but the corner of her husband's mouth jumped.

At the end, I don't know when, Tony gusman moved forward two rows. He thought the film was more and more interesting.

Unlike other people, Jones Butler laughs. As a working woman, she has suffered some unfair treatment because of gender issues. When she sees Haley's upcoming castration drama, she feels happy.

Beck lassent is relatively calm because of his own relationship. He just looks at the play from a professional point of view.

The director, Murphy Stanton, used a down shot here to make a close-up of Jeff's tied hands. He moved the camera from top to bottom and scanned Jeff's body until his lower body was covered with ice. He clearly explained Jeff's state and foreshadowed the castration later.

Moreover, when Jeff was lying on the metal table, the glare reflected light from the light on the metal table was just captured by the overhead shot, which also made people feel the terrible cold tone, indicating that something bad and frightening was going to happen.

Then there is the dialogue between Haley and Jeff. The camera constantly switches between Haley and Jeff, and they all give close-up of their faces. This is a kind of psychological montage, which vividly shows the inner world of the characters, and makes the audience feel Haley's calm and Jeff's panic.

The director's 2-3 second shot change also speeds up the pace of the film and strengthens the psychological tension of the audience.

This part has been shot against the light. The bright background contrasts with the dark of the characters, which sets off a sense of gloom and mystery. It's easy to make people nervous about what's going to happen.

The director is unique in the use of photography, editing and lighting. He's not the guy who's been shooting all over Park City.

When he saw this, Tony gusman looked quickly among the few audiences in the cinema, trying to find the location of the director. This guy who has never heard of his name is a very thoughtful director. As long as he can maintain his standard, he will not be unknown in time.

This guy is quite experienced in the use of camera language, and he doesn't look like a novice at all.

When Jeff asked, "what is ice for?"

The camera immediately shows Haley pulling back the curtain, and the picture becomes clear immediately, indicating that the answer is about to be revealed. Then the camera takes a close-up of Jeff's face, and the light shines on his face. You can clearly see his twisted expression of tension and struggle. You can also realize that Jeff knows that something bad will happen to him, and switch to Jeff's perspective. By pushing the camera, you can zoom in Xiaojing farewell range, let people and Jeff see the expression of Hayley Desser and bring a scalpel.

The answer to the riddle is here, and this sense of synchronization can make people feel Jeff's mood at this time.

When Jeff knew that Haley was going to castrate him, he took another close-up of his face with panic expression. In contrast, Haley was sitting on the other side talking to him.

The techniques used by the director are quite ingenious. To Tony gusman's satisfaction, all the techniques are simple and easy to understand, which is very important, because the obscure lens is often a sharp tool to drive the audience away.

There are only three kinds of shots in this section: a close-up of Haley's face, a panoramic view of Haley and a long-range view of Jeff's half body.

It's easy to read through the information transmitted by the camera that Haley completely takes the initiative and remains calm and confident, while Jeff is the weak side under control. What's more interesting is that the background of Haley is blue wall when the camera appears, which is consistent with the hue of Haley's surgical suit. When the camera appears, the background is red wall, and the director obviously skillfully uses cool color The blue tone reflects Haley's calmness, and the warm red tone reflects Jeff's nervousness and panic.

These are very simple to say, but any director wants to do, must have considerable ability.

There is no doubt that the ability of Murphy Stanton, a new director, far exceeds his psychological expectations.

Tony gusman saw the director's ability to control the rhythm with the short shot of frequent beating, and he nodded constantly with the subsequent long shot. The new director's long shot narrative ability is also excellent.

When Haley leaves for a short time, the picture returns to Jeff and becomes a long shot. The shot moves back and forth between the frantically struggling Jeff and the mobile phone on the coffee table, deeply expressing Jeff's desire to escape.After Haili came back, Jeff told a story of memories. The whole memory used long lens again. The director showed Jeff who was telling the story of memories by shaking and moving the lens, and using close-up shot to highlight the sincerity and pity of Jeff. He wanted to impress Haili with his true feelings and make Haili let him go.

But the camera then turns to the photo frame nearby, and the figures of girls appear one after another. From the side, it shows that Jeff is just sophistry, and his words can't cover up what he has done.

At the same time, the weird background music starts. Haley walks up to Jeff. Jeff stops shouting. His eyes are full of despair. Castration is about to begin.

The voice in the hall became creepy. Jeff gasped, Haley breathed out, the knife slipped through the skin's unique tear, something suddenly burst

There is no direct picture of castration on the screen, but through these voices, it tells every audience clearly that an action to remove the source of Jeff's evil is in progress.

With the previous rendering, even if you don't look at the picture and just hear these sounds, you can make the viewer feel extremely painful and cruel.

Of course, it must be men who think so.

For a female audience like Daisy, there is only one word in her heart.

The little girl's action of punishing Jeff was so cool! All bastard men should be punished like this!

A stream of blood spewed out and splashed onto Haley's surgical suit. The little girl showed a calm and asymmetrical age. She just put away the scalpel and said, "OK!"

The music was immediately replaced by piano music, which made the audience feel relieved. It seems that castration has finally come to an end.