Perspective of the first person". The content of the 10-episode first season of about 24 minutes completely locks Emily alone. SKIP AD If you do a storyboard analysis, you can find that every "scene" in the play has Emily. The narrative of the movie has been cut from Emily's point of view, and as a result, there is no "third-person" type of scene, that is, "no Emily exists". Make all the scenes like Emily's diary, let the audience follow Emily's eyes and see her life.
Usually in narrative, no matter what, it is inevitable that the bulk sms service narrative line of secondary characters will appear. Whether it is the secret life of the supporting characters returning home, or the protagonist not participating, but the content required by the plot, there will inevitably be moments when the protagonist is not present. But the design of each episode of only 24 minutes instead of 48 minutes is very important here. Because of the concentration of sitcoms in half-hour units, complex multi-line narratives can be omitted. As long as Emily isn't involved or something she doesn't know about, it doesn't appear on the show. This design method can make the audience more immersed in Emily's life, that is, the traditional intuitive reaction of "being the protagonist", and there is no sense of disobedience, nor does it make people feel that the heroine is overexposed. bored. In casting, the image of Lily
Collins is as lovable as Anne Hathaway, which makes people never get tired of watching. The smooth and simple plot does not talk about the dark side of Emily's heart, all kinds of trauma, and there is no complicated interpersonal calculation and accident, which makes the plot seem smooth and comfortable, which is pleasing to the eye. The strongest point of the director is that "Emily in Paris" follows the stereotypes in all aspects, and all the elements are the most popular and the most direct selling point of women's hearts: