Chapter 311

Like his previous habit, Murphy started shooting from the scenes in the studio, but different from before, he was more demanding on shooting.

“cut！ Jim, you don't have the right expression. "

"Sally, your smile is not pure enough. Do it again!"

"The light just shook. David, don't have another one! "

From the beginning of shooting, everyone in the crew felt a different atmosphere from the previous shooting. Murphy almost became a perfectionist. Some of the scenes that could not be passed in the shooting of "dead man" or "Sin City" were rejected by him and had to be filmed again.

James Franco and Charlize Theron's first shot, shot six times in a row, Murphy is still not satisfied.

It's just a seemingly simple scene of Nick and Amy meeting at a party and chatting together.

It's really not difficult to play. Murphy keeps calling a halt. On the one hand, he wants to get the best shooting effect. On the other hand, he wants to establish a different shooting atmosphere from the previous shooting, so that everyone can understand that the shooting effect he wants is more perfect.

“cut！”

Once again, Murphy took off his baseball cap, threw it on the director's monitor, crossed the camera track and entered the set. He stood opposite James Franco and Charlize Theron. "Jim, Sally, you two have problems with that one."

James Franco pinches his eyebrows and takes the lead in getting rid of the role. Charlize Theron walks two steps back and forth and plays.

"What's wrong with me?" James Franco wondered, "isn't nick from munna?"

"We don't need Muna now." Murphy shook his head and turned around James Franco. "Nick's munna was born with laziness. Now he just met Amy and was attracted by Amy..."

He turned his head and looked at Charlize Theron, who was listening.

"Nick needs to attract Amy, not expose his nature." Murphy said, "he has tested Amy and has a general understanding of Amy. Now he is what Amy wants to see."

When a director tells a play to an actor, he should never tell the actor directly what kind of specific expression you should use and how you should act. That is a very amateur practice, which will make the actor's performance rigid and patterned.

In a film that doesn't need acting skills very much, it can be done properly, but in the shooting of the lost lover, it's a disaster. Murphy needs James Franco to show his best, not be limited by him.

Therefore, he can analyze the character's current state for James Franco, but he won't say how to do it.

Anyway, when it comes to acting, James Franco doesn't know how many streets to dump him.

"I see." James Franco nodded. "Give me a few minutes. I need to feel."

Murphy waved to him and looked at Charlize Theron. "Sally, you have the same problem."

"Well." Charlize Theron nodded gently.

"Just now you are really beautiful, and you look pure enough, very attractive." Murphy looked at the hairline of her wig and raised her voice, "Jack! Readjust Sally's wig

He turned the subject back. "Nick Dunn likes not only beautiful, but also cool. His favorite is cool girls."

Charlize Theron instantly understood, "so I'm going to give Nick Dunn a cool girl."

"That's it." Murphy put up a finger. "Show your cool side."

With these words, Murphy quits the set. Like James Franco, Charlize Theron needs to find a new feeling, and as the leading actor and heroine, they also need to communicate again.

Back behind the director's monitor, he looked at the previous shots one by one, and then called in the director of photography, Philip Raschel.

"The range of motion is still a little large." Murphy pointed to the monitor screen and said, "in this way, the next shooting will make the camera as quiet as possible, cancel all the mobile shooting, and put the No.2 Machine on the tripod, and don't move."

Philip Raschel nodded. "I'll make the adjustment."

He understood what Murphy meant. In the previous preparatory work, they had enough communication. This shooting of "lost lover" is completely different from the previous shooting of "dead man". It basically doesn't need violent sports lens, and it needs to make the scene displayed quiet.

That's what Murphy means. The language of this film's lens is typical. It's better to be quiet than to move.

Nowadays, the mainstream commercial films in Hollywood are all about heroes saving the world or fighting monsters. When it comes to the use of lens, the audience's mind is full of cool shots or special effects that make people blind, which directly leads to the popularity of photographers who are good at shooting crazy sports lens.

Among other things, the last time Murphy shot "the dead man", he used a lot of operational lens.However, these shooting methods will make the most basic mistakes when they are used in the film "lost lover", which is totally inappropriate.

The content, theme and emotional expression of the film decide that it is best not to use violent exercise scenes.

It can even be said that for the lost lover, other shooting methods are wrong.

It seems that this is different from Murphy's style in the past, but it's not something to do.

In fact, people with a little film culture will understand that the director is not conventional. The highlight of the film lies in the fact that 100 people have 100 ways to tell stories, that is, to see who is more brilliant.

There is an interesting phenomenon among filmmakers. The more scenes they direct, the easier it is for them to control the details of the story scene. Many people think that the power of directors lies in how they shoot magnificent scenes, crazy scenes or images with strong personal style.

Often these classic scenes or shots will be imitated as soon as they come out, and these classics do have a strong visual impact. Many directors think it's these that let the audience understand the thoughts of the characters in their films.

But different types of films have different requirements. Compared with the lens with strong visual impact, Murphy is more concerned about the information that the lens can convey to the audience. Many other directors like to create suspense when telling stories, but he wants to control the drama brought by suspense when the characters get new information.

For example, in the scene where Nick and Amy meet for the first time, they seem to be attracted to each other and fall in love at first sight. It seems that they are a natural couple. But is this the real situation?

Do they really have what they can interest each other?

Murphy needs to extend this information by shooting the lens. When the audience sees the plot behind, they will find that it's just what the other party wants and what they want to show.

Hollywood can shoot everything possible and impossible. The problem faced by a mature director like Murphy is actually "what you don't shoot", not what you shoot.

Therefore, according to the theme and emotional needs of the film, Murphy has long defined what not to shoot.

Murphy is the kind of director who likes to put the camera on the tripod. He hates the hand-held lens. Even if he needs to be followed by others, he also needs stannikon, which is used to stabilize the lens, rather than the violent shaking hand-held shooting. This film needs more stable lenses. Most of the lenses he wants to shoot are as solid as a rock, just like the damn tripod.

The second is that at present, many directors like to add some camera shaking and some suggestive actions. In this film, Murphy demands that this situation be completely eliminated, and the audience must not be aware that a breathing human is controlling the camera.

His camera needs to appear here peacefully and without any flaw, and then move there. Everything needs to be as perfect as possible without being noticed. It needs to be calm and objective to show what is happening now and what will happen soon.

Another thing is that the close-up of this film must attract people's attention. For example, Charlize Theron of this film will give people an amazing feeling as soon as she appears, making the audience feel that she is as cool as Murphy requires. The illusion brought by this close-up should be extended to the middle of the film, so as to achieve the dramatic effect when the second half of the film is reversed.

At the same time, Murphy also has to control the number of close-up, unless it is really necessary, the close-up will appear.

This is a film with a strong color of suspense. Every time the director cuts a close-up, the audience will immediately make up for it by themselves. Look, the truth is like this.

So he decided to be very careful when shooting close ups.

What Murphy wants is to skillfully switch the lens of different angles to show a dramatic moment with great weight, instead of using close-up, so as to try to show what is happening and what the characters see under objective conditions.

In this shooting, Murphy set a lot of strict requirements for himself and the whole crew: no hand-held, no traces of human operation of the camera, no unnecessary close-up, no camera movement without motivation?

the shooting started again soon, abandoned stanicon, and completely fixed the camera. Murphy needed to readjust the operation of the camera, Two more shots were taken in a row. James Franco and Charlize Theron in front of the camera also found their state. Everything seems to be back on the track of the previous smooth shooting.

"So..." Charlize Theron leaned against the wall with a bottle in his hand and asked coolly, "who are you?"

"I'm the one who saved you." James Franco, holding the wall behind Charlize Theron with one hand, "keeps you away from all terrible things."

At the end of the scene, Murphy stands up and yells, "stop!"

Everyone breathed a sigh of relief, waiting for the director to pass, but it was Murphy who yelled to Philip Raschel, "shoot again, Philip, two cameras capture sally at 45 degrees left and right!"

This sentence is like an order. Everyone in the crew is busy, except for one person, who is the representative of AIA, the third-party guarantor. (to be continued). )