As a complete "newcomer" with no background or any established reputation, Eva knew that to capture people's attention, she had to impress everyone right from the start.
A film's opening is crucial as it directly determines its artistic level.
So Eva decided to start with a long take, shooting continuously until the final shot of the short film.
Five minutes, one continuous shot.
Because the only thing that could impress everyone right from the start was a long take.
However, a long take is a time-consuming and labor-intensive project that not only consumes a lot of manpower and material resources but also requires the director to have a genius mind.
High-level coordination, strict calculations, perfect control, and precise cooperation of the cinematography, art, lighting, actors, camera car, sliding tracks, and crane arms are all needed.
Every detail must be flawless; a single mistake could ruin the entire shot.
Because of the difficulty of long takes, any film with a superb long take can instantly elevate its director to legendary status.
Despite the challenges, countless directors worldwide are mysteriously obsessed with long takes.
This is because long takes have an unparalleled advantage—authenticity.
Eva's decision wasn't made recklessly. In fact, she had experience with long takes.
In her previous life, she used a 13-minute long take in the climax of her film, which was lauded by both audiences and critics.
She did have the talent and skill, though she discovered it late in her previous life.
To save costs now, she planned to have the actors start rehearsing until they were nearly perfect before beginning filming.
A five-minute long take, especially with a larger scene, would take at least three months to shoot; a smaller scene would take at least a month.
And since this was a musical short film, the dance team had to collaborate perfectly.
The music and dance were based on a segment from the Broadway musical "Spring Awakening." The dance team only needed to adapt it.
The choreography was done by Alisha, the lead actress chosen by Eva, who had a talent for it.
This reminded Eva of Catherine Zeta-Jones in "Chicago," where all the dances were choreographed by Catherine herself.
In the acting world, actors who can both sing and dance are geniuses.
Since Eva hadn't rented a commercial venue, the location was a small road in front of the school, usually not crowded, making it convenient to use.
Eva and the entire musical team rehearsed there from morning until night every day.
The short film "City of Angels" didn't have much content; it mainly opened from the perspective of Alisha's character.
She came down the stairs at home, walked out the door, and onto the street. Under Dublin's bright sunshine, she walked through winding streets, with people passing by her in the background and foreground.
Then she started dancing and singing, as if celebrating this beautiful metropolis.
Gradually, other dancers joined in, and they sang and danced together as they moved in different directions.
During this time, Eva's camera would shift from Alisha to other characters.
The focus kept changing.
Finally, a group of boys and girls danced and sang their way into the school.
Then there was a series of scenes inside the winding campus, climbing stairs, and moving through various classrooms.
As the bell rang, the short film gradually ended.
In this short film, Eva wanted to convey the vitality and youth of Dublin.
Corresponding to the theme of "City of Angels."
In these five minutes, the actors had to move through streets, up school stairs, and through classrooms.
The scenes changed frequently, with many actors and extras to manage.
To handle these scenes and characters seamlessly required a master's touch.
Evidently, some actors doubted whether Eva could accomplish such a challenging shoot.
Some actors privately asked Alisha, "We're acting students, we know this kind of shot is extremely difficult. Do you think a rookie director like Eva can really handle a five-minute continuous shot?"
Alisha shrugged, "I can't guarantee it, but since we've taken on this job, we should do our best and not overthink it."
"I feel like Eva is a bit unrealistic. There are so many actors, extras, and scene changes in this shot. It's very challenging."
At this moment, Eva called Alisha over, guiding her through a shot. She demonstrated and said, "Alisha, you're doing well, but your emotions need to be more expressive. However, you're not hitting your mark here."
Eva pointed to a spot, "You need to move around that column and pause behind it. You need to make a transitional move because the camera will switch to Jack next."
Alisha nodded, "Got it. I'll make the transition and the camera will switch to Jack."
Then Eva turned to Jack, "Jack, you'll be playing basketball while dancing. The camera will be on you, so watch your expressions. Your emotions aren't strong enough."
Through these interactions, Alisha began to understand Eva better.
First, Eva was highly focused.
Second, she wasn't domineering and was easy to talk to. Even when others had criticisms, she didn't get angry but reasoned with them calmly.
Moreover, she was very professional. Although a newcomer, Alisha found her calm and orderly.
Alisha had a high opinion of Eva.
Finally, after two weeks of rehearsals, the entire five-minute musical sequence was ready.
Then Eva brought in the studio she had previously arranged, finally making it seem like a proper production, with lighting technicians, makeup artists, art designers, cameramen, track operators, and more.
However, integrating these elements with the actors was a long and challenging process.
This was where the difficulty of long takes became evident.
Without strict control from the director, it would be impossible to complete.
Eva spent another three weeks integrating all the elements perfectly.
Others might find it hard to believe that it took Eva five weeks to shoot a five-minute short film.
But if they knew it was a continuous five-minute take, they might say, "Unbelievable, she managed it in just five weeks?"
When the film crew brought Eva's five-minute footage back to the studio for post-production, the special effects artists there were a bit gloating, "Wow, finished in five weeks? Looks like you really tricked that girl."
The cameraman came in with the equipment, put it down heavily, and gave the special effects artist a strange smile, "If you think that, you might be in for a surprise, Alan."
The special effects artist named Alan frowned, "What do you mean? Are you saying that rookie girl really pulled off a five-minute continuous shot?"
A five-minute continuous shot...
Every detail must be perfect, from lighting, art design, track transitions, the actors' every movement, even the extras on bikes in the background.
Even if an extra walked in the wrong direction, they would have to start over.
Moreover, the girl had hired so many actors... and chose such a winding location...
Managing so many actors while designing the space and camera angles.
Could an 18-year-old rookie do it?
No, absolutely not!
Alan thought the completion rate of this girl's short film could only be 50%, no more.
Then he opened the footage, planning to watch it first because Eva would come in tomorrow to work on the post-production.
The opening was an unremarkable over-the-shoulder shot.
The protagonist, Alisha, walked down the stairs at home, her blonde hair flowing, her green eyes shining.
She opened the door to the streets of Dublin.
Bright, serene, leisurely, tranquil.
A street as if angels had descended upon it.
The camera followed Alisha as she walked onto the street, with people passing by her.
Some walked in the opposite direction, some in the same direction.
Then, the protagonist suddenly started dancing. Even without post-production sound effects, it felt like she was dancing to the music.
And she was singing and dancing at the same time.
Initially, there was nothing special.
But by the second minute, Alan felt something was off.
Because the camera followed Alisha continuously, a complete one-take shot, with no flaws.
Then, at the two-minute mark, as the singing and dancing began, the backup dancers appeared one after another. The camera slid from Alisha to a boy playing basketball.
Then, after a while, there was a 180-degree turn, using tracks and a stabilizer, and the camera turned to another girl.
Many boys and girls appeared suddenly, some passing by, some moving together.
Alan began to feel breathless.
From the third minute, Alan's scalp started to tingle, feeling increasingly tense.
As more dancers joined, moving through increasingly complex and narrow spaces, the camera seemed to flow more smoothly.
Dancers coming out of classrooms, actors moving back and forth, the camera sliding through the tight spaces.
And always, it was one continuous shot!
By the fourth minute, Alan was almost in a state of mind blankness.
He forgot to think, all his focus on the unbelievable shot.
Could she really achieve such a high completion rate in a five-minute long take?
With this question and a critical mindset, he continued watching.
Until the fifth minute arrived, the shot ending crisply on Alisha's face in the last second.
A clean finish.
Alan had forgotten to breathe.
He had only one thought in his mind—
Goodness, where did this girl come from? How did she manage to shoot a five-minute continuous take?