Chapter 428

In a studio of montage studio in the suburb of Paris, countless people are quiet after busy, and their eyes are all turned to the camera lens.

The camera is aimed at a film set which is decorated as a farmhouse. A dialogue is being staged between a man dressed as a SS officer and a farmer.

Two cameras shoot from different angles, and the assistant with stannikon squatting in the pre reserved photo space, waiting for Murphy's order to take photos at any time.

"If you want to compare the Jews to an animal, it's a mouse." The SS officer opened his hand. "The propaganda of the Fuehrer and Goebbels is similar, but our conclusions are different. I think this comparison is disrespectful."

He pointed to the set window. "Let's look at the world as a mouse. It's really a hostile world."

It's a long shot play that relies on excellent personal acting skills. Although it's a trial shot, Christopher Waltz's performance is extremely wonderful up to now. He looks at the farmer and says, "if a mouse runs away from your front door in a panic, are you hostile to him?"

The No.2 camera of the farmer actor immediately changed to a close-up. The farmer hesitated for a moment and said, "I think it will."

"What has the mouse done?" Christopher Waltz asked with a smile, "have you provoked any hostility?"

The farmer grabbed his pipe and said, "rats spread diseases and bite people."

"If a mouse comes in from the outside now..." Christopher Waltz pointed to the set door. The smile on his face was put away and his grim expression flashed away. "Will you still let your beautiful daughter pour him milk?"

Although Christopher Waltz's grim appearance only stayed on his face for less than a second, the reaction was very clear in the camera lens. Murphy raised his hand and cried out, "stop!"

It's not just Christopher waltz, but there's something wrong with the lighting, but this is a trial shoot. Murphy didn't interrupt Christopher Waltz until the Austrian actor made a mistake.

Murphy didn't talk nonsense either. He said, "Chris, I just tried too hard."

Christopher Waltz nodded, and Murphy stressed, "remember, in this play, you always have to show grace and grace."

Although he is also a Nazi killer, Col. Hans Landa is quite different from Amun in the list of sindera. He is definitely a man who looks elegant and elegant.

Even, he can be said to be the hero of the film, showing the appearance, is simply synonymous with elegance.

Elegant appearance and the devil's inner, this strong conflict, will make the role full of charm.

In the film, the more elegant Christopher Waltz's performance is, the suspense behind whether he will force the farmer to tell the truth and the fate of the Jews under the floor will also make the audience feel more intense.

If a fierce Nazi officer pressed the farmer, the scene would feel completely different. Although too fierce performance can lead to more dramatic tension, sometimes tension is harmful to the atmosphere of the story.

The endless feeling of pain, panic and conflict will suffocate the audience. Only by contrast can we feel the sense of suspense, the cohesion of pressure, the release of energy, the re cohesion of pressure and the re release of energy. This is the rhythm of the film.

Pressure creates conflict. After the problem is solved, energy is released, and new problems appear again. Think about diediele. When you draw the building blocks, you will be very nervous. If the tower is not collapsed, you will be relieved.

The rhythm of this movie is tension, relief, tension, relief.

In addition to the actor's performance, there was a problem with the lighting just now. Murphy called David Robbie over.

"David, it's a long shot." Murphy said to David Robbie seriously, "I can't set aside time for you to adjust the lighting during the shooting. You need to set it in place at one time."

Long shot often brings interesting real-time scenes, so that the audience can fully immerse in the drama, but the shooting of long shot is also very challenging, especially the lighting problem.

Although he doesn't have any interest in the so-called one shot, and he doesn't use this kind of intercom story, which has no essential improvement in dazzling technology, it doesn't prevent Murphy from shooting some long shots for several minutes, especially in the dialogue between Colonel Hans Landa and the farmer. A long shot can undoubtedly condense the needed tension.

It's really troublesome to shoot with long lens. It's a big test for photography, performance and lighting.

In terms of performance, farmer is a veteran from France. With the shooting of several plays, Christopher waltz has gradually found his state and showed his excellent acting skills. In terms of photography, Murphy and Philip Raschel have made enough plans, which is not a problem

Different shooting angles need different light, which has become a relatively difficult problem.

If there is a problem, it has to be solved, and Murphy is not in a hurry. Anyway, the film won't be released until next award season. He has enough time to shoot and make it.Murphy called Philip Raschel and David Robby together to experiment with various effective solutions.

Within a certain shooting length, Murphy can make David Robbie prepare for the setting and hiding of lighting equipment according to the actor's position and scene layout on the shooting site. However, when shooting a long shot, careful preparation should be made in advance, because the actor may move to many positions in the continuous long shot, so it is difficult to set and hide the photo at one time It's time for the equipment.

These are in Murphy's hands, not without solutions.

He asked Philip Raschel to pay attention to the camera frame of the crew. The photographers need to know where the shot ends, and also pay attention to the movement of the camera and the main vision.

At Murphy's request, all the photographers take notes of the shooting scene, the lens frame, the moving track of the whole lens, and plan, drill, and walk in advance until everything is ready.

Then set up the lighting.

Among all the lighting equipment used by the lighting group, the first thing to deal with is the mobile light source. Murphy asked David Robbie to convey that the light can be moved in time.

In the case of safety, if the lens moves, David Robbie can move the main light source of the set, he must do so. Sometimes, what he needs to do is to shift or tilt the main light source of the film set. Of course, sometimes he can also move the main light source by using portable or portable led.

Meanwhile, Murphy asked David Robbie to hide the lighting in the frame of the lens.

This is the most commonly used technique in long shot shooting. In the shooting scene, looking for a barrier to hide the lighting equipment can reasonably improve the space utilization of the shooting site, especially in the case of limited shooting space in this kind of farmhouse setting, this technique is more useful.

Among them, the lighting equipment on the ground is a very practical method, because in the actual shooting, you don't have to shoot to the ground, but if you have to shoot to the ground, you can hide the lighting equipment through chairs, cabinets or other furniture.

In addition to professional lighting, Murphy also asked to use all available light sources when shooting.

In his shooting scene, there is a real light source, an electric lamp hanging on the top of the farmhouse, which can also become a small skill to make the shooting light source.

During the shooting, Murphy asked the staff to place reflectors, and at the same time, let the staff around wear white shirts, so that they can make perfect use of the light source of the shooting scene.

In this way, the lighting equipment of the shooting scene can be reduced, and the lighting effect can be achieved even without lighting.

Murphy also appropriately adjusted the sitting position of farmer and Christopher waltz, as well as the moving route, so as to make better use of the floor and the corner to lay out the light source. This skill requires the director to first clarify the scene layout and the actor's position.

If there are floors, corners and so on, the director can let the lighting team use the blind area in the lens to hide the lighting equipment. Of course, the same is also applicable to curtains, false walls and other on-site settings. Any on-site items that can block the lighting equipment can be used.

In addition, it's a good way to hide the light in the darkness of the farmhouse. In order to prevent the light frame from reflecting, Murphy asked people to use dark textiles to coat the light frame.

In this scene, Murphy's design relied on several long shots, which took five days to shoot. Especially in the shooting, Murphy added a daughter for the farmer to arrange for an actress to be put in by the investor.

A French film fund sponsored the film for as much as 3 million euros. An actress named Leia Saidu was attached with conditions.

No one will refuse such a large sum of money, and Murphy is no exception. However, he will not break the balance of the crew. He will also find an important role for the other party, just one of the farmer's daughters who serves as the background painting, with only one front shot and not a single line.

As the crew came to the open-air set, more actors including Margot Robbie joined in the shooting.

Someone asked Murphy what he expected of actors, and his answer was simple: "I expect them to do well!"

When filming, Murphy would rather not talk to them more, but some people need to talk to them Some people need what people call "motivation.".

What is the greatest motivation of actors? Murphy's answer is also very simple, their motivation is to become famous and reward.

In Hollywood, there is nothing more motivating than these two things, even Murphy.

The crew went to the open-air set to shoot, and it was also media day, which was part of the routine propaganda. Anyway, the next film was just the farmer cutting firewood, and Murphy didn't mind letting the reporter contacted by Fox in the 20th century watch it. (to be continued). )