Chapter 598

Los Angeles is dry and rainy, with plenty of sunshine, and the sun is shining in the sky almost every day. For most of the cast, this is an ideal location shooting condition.

But for Murphy's crew, there is no sunlight at all in his whole location play. The lens tone is mainly dark. Sufficient sunlight will only bring trouble. Instead, the crew needs to block light everywhere in shooting. Otherwise, if the film is overexposed, even with the current technology, the later color matching will be very difficult.

"David, the light is too bright, too soft!"

In almost every scene, Murphy can be heard shouting, "the light should be hard, the tone should be dark!"

This film is different from the previous "city of chaos". The whole story is full of gloomy atmosphere and despair and absurdity. It belongs to a relatively rare black and completely desperate biography in Hollywood.

Murphy has never thought about what kind of profit this film will produce. Instead, the first consideration is whether it will make more achievements in the award season. The nature of the film determines that it can't make too many achievements in business, so it can't be widely spread, which is contrary to Rose's idea.

Now that Murphy has agreed with his friends, he naturally wants to do better. If a niche theme like this really wants to be famous and become a world-famous film, Oscar is the best way and platform to spread.

In the past, the typical Oscar movies with black style were not without harvest in the award season.

For example, "Chicago" in 2003, "million dollar baby" in 2005, "the wanderer" in 2006, and "no country for old people" in 2008

Of course, these films are not as black and complete as Murphy's style. They are still the mainstream of Hollywood films, and they are not as commercialized as Murphy's films.

Several of Murphy's masterpieces are black from the surface to the inside, and the value orientation makes the Taoists scoff.

Although he has been frustrated by the Oscars because of style problems, Murphy is not prepared to make fundamental changes in this film.

Is the black film a high praise of cynicism or a courage to face the darkness of human nature? Is it identified by visual style orientation? Or is it determined according to the main idea and the overall tone of the story? Is its visual style just "gloomy and terrifying", or does it have a deeper theme?

For these, Murphy has his own understanding.

It must be admitted that the black film is a very artistic phenomenon with the characteristics of film art, and it is also a very complex film phenomenon. The black film is not derived from a theoretical concept, but a description and induction of a certain established phenomenon in the production of film industry.

No matter in the studio or in the location, Murphy's scene construction and shooting set four basic principles for the crew.

Most of the scenes are set according to the night scene; composition prefer to use oblique lines and vertical lines rather than horizontal lines; use lighting treatment to make actors often hide in the city night scene, when actors speak, their faces are always covered by shadows or segmented by light and shadow on their faces; the tension of photography organization is better than the actors' body movements.

In addition to these four basic principles, Murphy used more techniques in field shooting.

After the shooting a few days ago, Murphy communicated with Philip Raschel and adjusted the shooting method appropriately. In the later shooting, they preferred low angle lighting, high light ratio, and very strong photography tone.

In this way, they generally use a more solid focus, generally do not use a soft mirror, fog mirror to make the picture soft.

For example, Philip Raschel often uses wide-angle lens and small aperture to get a larger depth of field, which can easily cause depression to people.

Then, in some scenes, Murphy asked Helena espora to add some props with typical black flavor, such as the fallen angel. In the subsequent shooting, he asked Philip Raschel to use unstable lens composition to create strange light areas, lines and objects, such as blinds, doors, windows, stairs, etc Metal frame and so on, forming the separation and extrusion of people.

Especially in the use of high angle and low angle photography.

In almost all the shooting, Murphy requires Philip Raschel to use diagonal and vertical lines instead of horizontal lines to compose the picture. The split diagonal lens can make the world of black movies appear restless and unstable.

In the black film, the light enters the room in a strange shape, and the audience can see the uneven quadrilateral, acute triangle and vertical slit.

Murphy's treatment of the black elements in the film also has a strong visual element, that is, the use of bloody pictures.

Needless to say, from the initial film to now, he is good at it.

From expressionism painting to black film, this kind of visual image has been created and watched repeatedly by human beings, which has developed such a complex, rich and self-contained visual map of black film. It has the meaning of aestheticism in the sense of Oscar Wilde.

However, even if a film creates a typical black film visual style, it is not necessarily a black film. The decisive factor is the overall tendency of the film narrative, which is the endless gloom and darkness of the main control ideology."Wet city streets, dramatic stairs, dark railway station, slanting shooting angle, melancholy shadow and dreamy light effect..."

During the break, Seth Logan looks at Murphy's shot and sees many typical dark elements.

"It's true that black movies have some commonly used identifying elements, but these are not decisive factors."

"The decisive feature of the movie is that it stands behind a cup of coffee, not a cup of despair," he said

After a cup of coffee, he continued, "in our movie, the theme is not tragedy, but a kind of bewilderment and despair."

Seth Logan immediately thought of a movie he had seen and said, "in the end of Godfather 3, Al Pacino's heartrending cry in front of his daughter's corpse is extremely tragic, but it's a tragedy brought about by violence, not the complete destruction of the world in the black film."

Murphy nodded and said, "this kind of movie is full of dark night, violence, guilt and illegal passion. No type is more attractive than her.".

In fact, Seth Logan's "the end of the world" is also influenced by his style, in which there are many black elements.

"The concept of black film, which is so broad and unusual, is to a large extent elaborately created after the film itself has been produced."

Robert Downey's voice rang out, and the guy came over with his make-up still on. He said, "black movies may be the most creative period in Hollywood history, even if measured not by its peak works but by its average works. You can choose any black film, and it will be better than any silent film, comedy, song and dance film, western film and so on It seems that black films can bring out the expertise of every profession, such as director, photographer, screenwriter or actor. It's not uncommon for a black film to be the highest point on the curve of an artist's career. "

Murphy and Seth Logan both looked at the guy, and even Gail gado, who was behind the assistant, looked up.

Robert Downey, Jr. walks up to Murphy and laughs. "It's not what I said. It's what Paul Schrader wrote in his notes on the dark movies."

"That makes a lot of sense." Murphy shrugged and said, "there is a very strong sense of value in the black film, and its narrative and dominating ideas have a fundamental view of the world. The narrative mode of the black film is very invasive and corrosive. It is like a highly infectious virus. When it encounters other bright, rational and warm humanitarianism types, it will immediately occupy them and rewrite this type into a subordinate type of the black film category. "

Murphy opened his hand and said, "so it's a good thing to recognize the evil in human nature, and it's also a good thing to create and watch black movies."

Hearing this, others seemed to be frightened, showing a look of thinking. Only Robert Downey, Jr. scoffed and said, "you like to put gold on your face so much."

His words immediately reminded Seth Logan and Gail gado that they could not help shaking their heads and laughing.

Murphy looked at the time and reminded, "OK, get ready to shoot."

With his command, the originally quiet bar was immediately busy. Tiris Gibson and Robert Downey sat in front of the bar. They had a simple exchange to prepare for the upcoming shooting.

This is the bar where Murphy and rose often meet. The owner of the bar is also rose's friend and is willing to provide shooting space for the crew for free.

What will be shot here is the scene after Ross becomes a leader of the drug trafficking gang, which is also a very important scene at the end of the film.

In the bar, Murphy asked Philip Raschel to set up several cameras, ready to use multi lens coverage to shoot.

In general, a camera can capture all the pictures of a specific scene.

However, in Murphy's shooting, unless there are some special scenes, one camera is rarely used for shooting, and a second or even a third slot will be added.

These auxiliary stations mainly capture the whole scene from different angles. The auxiliary picture and the main picture together form a complete shot. Then when editing, Murphy can select materials from different angles for composite editing.

All the shots are the result of Murphy's careful consideration. (to be continued). )