Director Phi Tien Son on the set of Peach, Pho and Piano - Photo: NVCC
Watching Dao, Pho and Piano , besides the compliments, there were many criticisms about the setting. There was a comment that it was "fake".
Wanting to create the old scene is impossible
In the special topic "From Hanoi in the winter of 1946 to Peach, Pho and Piano " (morning of March 3 in Hanoi), director Phi Tien Son said someone pointed out that the tank in the film was not the type of tank from that time.
Hearing that, he felt very happy because "as long as the audience is still interested and "watching", then those who make films about historical themes still have hope".
Director Dao, Pho and Piano also shared that in our country, making films about this topic faces many difficulties and challenges.
In other countries, when making historical films, most of the settings are rebuilt, except for the very special settings. Only by rebuilding everything can we rotate the camera angle and get the frames we want.
But in our country, filmmakers don't have much money, and even if they do have money, they don't have enough staff. Not to mention Vietnam doesn't have specialized materials. Filmmakers mostly have to find, repair, borrow... a lot.
The film Southern Forest Land is said to have done well in terms of setting - Photo: Producer
Peach, Pho and Piano is set in Hanoi in late 1946 and early 1947. At that time, many neighborhoods were devastated.
According to Phi Tien Son, creating an old scene is impossible. In Hanoi today, it is not easy to find three old houses standing next to each other. The film crew had to borrow a plot of land in a military barracks to build the scene. The artists had to design everything, from building roads, sidewalks, to ordering tanks...
Mr. Phi Tien Son said that the audience always looks for grandeur and meticulousness; and the film crew, in the midst of such difficulties and expenses, was lucky to be able to do so.
Not to mention, because this is a state-owned film, when reviewing the financial part related to setting up the scene, not every producer understands and approves.
Fear of touching, fear of getting entangled in historical truth...
Artist Pham Quoc Trung - Photo: DAU DUNG
Artist Pham Quoc Trung - art designer for the film Hanoi Winter 1946 (director Dang Nhat Minh, 1997) - once visited a film set in China.
They have a huge system of film studios and many private companies that do production related to the scene. They have it for any period of time.
Props and costumes, as many as you want. They liquidate, rent and reuse from one film crew to another.
Therefore, the budget of historical films compared to films on contemporary topics is not much different.
In the movie Hanoi Winter 1946 , the costumes had to be made entirely by hand.
Mr. Phi Tien Son pointed out the "increasingly widening" gap between state-owned and private films in the story of films about historical themes. For a long time, commercial filmmakers have been shy about this topic because they are afraid of touching on it, afraid of being entangled with historical truths...
Citing the case of Southern Forest Land , artist Pham Quoc Trung said that it was a good film in terms of setting, but because of very small details and negative effects from social networks, the film's revenue was affected.
"If not investing money, the State should also have support policies and create favorable conditions for private filmmakers to dare to make films on historical topics," he said.
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