Chapter 669

The narrow studio is silent, and the shooting site in front of the camera lens is arranged into a ward. Margot Robbie with blonde hair is lying on the top of the hospital bed. The scattered blonde hair covers her half face, but her frown shows that she is not as relaxed as she looks.

The door of the ward was suddenly pushed open from the outside. A tall nurse came in, came to Margot Robbie's bedside, stared at her for a while, then pulled down the mask covering her face, revealing James Franco's strange face.

It seems that the magician's eyes are as sharp as the knife when he wakes up.

“Cut！”

Hearing the call to stop, Margot Robbie puts her scattered blonde hair behind her head, gets rid of the character and turns to look at Murphy. It's obvious that she made a mistake just now.

"Maggie." Murphy beckoned to Margot Robbie. "Come here."

Margot Robbie jumped out of bed and walked barefoot to Murphy's chair without shoes.

"I'm sorry." She scratched her blonde hair and said, "I've done it so many times."

This is one of the few long shots in the film, and it's the most crucial scene of Jay Rachel. In this kind of characterization play, Murphy will inevitably use long shots. Margot Robbie, who had the advantage in front of Henry Carvel before, is always weaker than James Franco, who is in the right state.

It seems that this has also affected Margot Robbie's state. The more she wants to perform well, the worse she performs, especially her facial expressions. The pictures taken through the camera always give people a deliberate feeling.

"You're a little bit too strong!"

Unlike the previous times when Margot Robbie was asked to adjust herself, Murphy saw that she had no effect and directly pointed out the problem. "Anger is a kind of emotion from the heart, either staring or anger."

Margot Robbie's performance of staring just now reminds Murphy of Leonardo DiCaprio. Exaggerated expression does not mean good acting.

"I Do you have any? "

Maybe ng is too many times, and Margot Robbie is not sure, "did I make such a basic mistake?"

Murphy shook his head slightly. Instead of answering Margot Robbie's question, he said to his assistant, "John, tell the crew to take a 20 minute break."

"Maggie." Murphy then said to Margot Robbie, "this long shot is the key part of Jay Rachel's transformation. What you need to do is not to make an expression, but to grasp the psychology and background of Jay Rachel."

Seeing that Margaret Robbie's thinking is a little unclear, Murphy decides to use this time to have a good chat with her. He can't tell and can't tell Margaret Robbie how to act, but he can analyze in detail some changes of Jay Rachel in the dark city, which should help Margaret Robbie.

"It seems heartbreaking that Jay Rachael has blackened out from the Knights of light in New York, but it's no accident."

This role is Murphy's most important consideration, and naturally has a clear control. "She vowed to eradicate the crime in New York, but turned a blind eye to the cooperation between her congressman father and Reiner. Her" zealous pursuit of justice "is just one side, and her other side has existed for a long time, and has always existed! The magician's logic "who doesn't want justice to be awe inspiring when there's no need" can be applied to her

Listening to Murphy's words, Margaret Robbie is also recalling the script and his own analysis of the role of Jay Rachel in the past.

It can be said that Jay Rachel in the script seems to be honest and kind, but as Murphy said, she always has another side. Jay Rachel is not pursuing "light", but she finds that she can pursue influence by pursuing light.

Jay Rachael knows very well that through the "zealous pursuit of justice", he can get the support of New York City citizens and the financial support from Chris Dann, which is a great benefit.

Originally, all this could go on. However, when her father died, Jay Rachel's logic of survival was overturned.

From this point of view, Jay Rachel and Chris Dann are not the same people at all, they are just "similar in shape but detached", that is to say, she looks very similar to Chris Dann, but there are fundamental differences in essence.

Inspired by Murphy's words, Margot Robbie immediately thought of the differences. Chris Dann was not interested in influence. He pursued justice and protected New York, and even made people think that he had broken the killing precepts. But he was willing to bear all this and let the people of New York meet the light. This is not a hero shown, but a real hero .

"What matters is not form, but soul!" Murphy then said, "this is what magicians and Chris Dann have in common!"

Margot Robbie nodded. "I see. It's the soul that matters!"She smiles at Murphy and says, "there's still time. I'll go back to the dressing room myself and be quiet for a while."

Murphy waved his hand and said, "go ahead. I'll have someone call you when it's time."

Murphy took a sip from the water glass beside him, and used this time to manage his thoughts. It's not only the characters but also the movies that need soul!

There is no doubt that the soul of the film "dark city" is not the hero Chris Dann, nor the heroine Jay Rachel, nor the detective Lynch who upgraded from deputy chief to police chief, but the magician of James Franco!

Some bandits once robbed their precious stones, but they threw them away everywhere. In fact, they were not interested in them. They did it just because they thought it was interesting. They will not be bought, they will not be intimidated, they will not reason, they will not accept negotiations, some people just want to see the world burn.

The magician is such a person. He removes everything. The chaos he represents is the soul of the city of darkness.

Any good movie has a soul!

In more than ten years of Murphy's career as a Hollywood director, there are many people who recommend themselves to the audience, but the most common problem in their scripts is the lack of emotional core, that is, "soul".

Murphy defines "soul" as the emotion that the audience gains from the script and touches their heart. When creating a script, the plot should not be taken as the core of the story, but the theme should be taken as the core of the story. This is the universal emotional experience that can touch all people. Take the loss of a loved one as an example. In every city in the world, from the largest city to the smallest village, everyone is happy It's a common emotion and a common experience of human beings.

As human beings, audiences have experienced the loss of loved ones in one form or another, which is part of the collective consciousness. This universal emotional experience transcends the cultural barriers and can touch most people.

Research shows that people perceive things consciously or unconsciously by watching movies, which is why TV series and movies can last forever, because they have the ability to touch the audience.

People want to get emotional experience, whether it's joy, anger, sadness, or joy

Great screenwriters and directors all know that people are often instinctively connected to emotions. This is the inner influence of the theme of the story to the audience, so that the audience can feel it. It is the audience's experience through watching movies or TV, and it is the emotional impact of the story experience.

To find the center of your story, all you have to do is shape the main characters of the story. The center of the story is usually the growth of the protagonist, or lack of growth.

Growth, defined by Murphy himself as the inner change of the character in the narrative process, is the personal dilemma that the character experiences. In this process, they struggle with the dilemma, or like Chris Dann and overcome the difficulties, or like Jay Rachel, they lose.

These can be presented in a large number of different forms or mixtures, which can be emotional, intellectual, psychological, mental, deficiency, or urgent internal trauma.

Think about the movies that touch the audience the most, the enduring movies, and the movies that people keep looking back on. Basically, they are all about the central theme that human beings have the courage to overcome or be defeated by their own weaknesses, which is why those classic characters are so charming.

The theme of the story that they struggle in the journey of life and finally grow up is what attracts and impresses the audience.

Character growth can be Chris Dann like positive change, the ending is usually exciting; or Jay Rachel like negative change, the ending is usually sad.

At the same time, the growth of the role can be a huge change or a subtle change; for example, Schindler in Schindler's list has changed from a profiteering and profiteering profiteer to saving thousands of Jews and risking his life. This is a huge change.

Jay Rachel falls into this category.

However, whether it's a huge or a small change, Murphy always adheres to a principle that the growth of characters usually leads people to the core of the script. This well-known emotional adhesive is precisely the reason why the audience can't forget the story.

Twenty minutes passed quickly. Without waiting for Murphy to call, Margot Robbie went back to the set by himself. After the make-up artist made up a little, the shooting began again.

With Murphy's guidance, Margot Robbie's performance improved greatly. Although he made two NG's because of his mistakes, he became more and more confident, and finally passed the third shooting.

The crew's shooting in the studio has come to an end. Murphy is going to New York to shoot location.