Chapter 672

Back in Los Angeles, Murphy only had a two-day break. Hans Zimmer, who played the soundtrack, called to tell him that some of the soundtracks had been completed.

An excellent film needs the same excellent soundtrack to set off the atmosphere. If the two can be perfectly combined, it will inevitably bring the effect of one plus one far greater than two. Many films have proved this for countless times, so Murphy immediately gave up his vacation and told Hans Zimmer to meet in the professional studio of fox building.

Both sides are experts in the industry, and there is no unnecessary nonsense when they meet. After a simple greeting, Murphy directly says to Hans Zimmer, "let's start now."

"Well." Hans Zimmer nodded and told his assistant, "Alex, play it."

The soundtrack is mainly divided into three aspects, involving the most important roles of magician, Jay Rachel and Chris Dann.

Murphy and the producers of Gail gado and Kara Firth pricked their ears and listened carefully to the first soundtrack played by Hans Zimmer's assistant.

First of all, the main score of the magician was played. Just like Hans Zimmer told Murphy, he used a lot of repressive sounds to highlight the restlessness and extreme evil brought by the magician.

Although he is totally layman in music, and doesn't know much about music composition and composition, Murphy has been in Hollywood for more than ten years and has made so many films, so he still has a certain understanding of the soundtrack.

Full of depression is the distinctive feature of this magician's theme score. It uses a kind of seemingly uncoordinated tone sandhi, combined with the special sound effect produced by the electronic synthesizer, to directly give people a strong auditory stimulation.

Hans Zimmer obviously uses a lot of cold timbres to create the dark atmosphere of the score, many discordant chords and almost crazy weird melody, plus extremely rich electronic elements, and even analog stopwatch countdown and explosion like sound effects into it - all kinds of timbres are mixed together, which not only makes the electronic sound effect describing the magician not obvious in hearing Thin, and can make the feelings more full and true.

After playing the magician's main score, followed by Chris Dann's background score, this score inherits the tone of "city of chaos", but it is more rich and gorgeous. The violin is playing with a 16 note Bow Jump, which is strong and powerful. With the sense of urgency created by percussion instruments, it also shows an unstable and uneasy mood It's like Chris Dann's idea that he could fall into the abyss at any time.

In addition, the extended long notes of string music are a kind of release of passion, with the accelerated theme of Chris Dann with a strong sense of rhythm, full of movement.

This soundtrack combines the effects of electronic music and orchestral music, which is full of commercial flavor and full of modern sense.

Murphy has cooperated with Hans Zimmer for many times. It is clear that this practice often appears in many Hans Zimmer's works. The soundtrack uses a lot of electronic sounds and the orchestral music transfers quickly. This kind of transfer is quite rapid and not easy to detect, which makes the music complete smoothly.

The last play is the background music of the heroine Jay Rachel. This soundtrack uses a lot of beautiful piano solo and a lot of theme variations, which is obviously divided into two parts, just like the ups and downs of Jay Rachel's life.

However, even in the first half full of light, the melody of the piano with music also uses a series of cool notes, the melody is quite divergent, it seems to tell a sad story.

When the room was quiet again, Duke turned to Gael gado and Carla Firth and asked, "how do you feel?"

"I think it's good." Gail gado, who now has considerable expertise, nodded and whispered, "Hans Zimmer has always been at a high level."

Carla Firth also showed a look of approval, "very brilliant!"

Hans Zimmer has a distance from them. When he looks at Murphy, he knows very well that Murphy is the one who really has the right to decide.

Murphy asked the assistant named Alex to play the three soundtracks again. After thinking about it for a while, Murphy said, "Hans, I'm very satisfied with the soundtrack. You can finish it as soon as possible, not later than the end of February next year."

"No problem." Hans Zimmer immediately stood up. "I'll finish it on time."

"Well, that's all for today."

Murphy stood up, shook hands with Hans Zimmer, and said, "I'll wait for your good news."

Seeing off Hans Zimmer, Murphy is not going to leave. In the editing studio next to him, Jodie Griffith and several assistant editors are watching all the shots. He specially went to have a look.

After discussing the editing with Jodie Griffith, Murphy left fox building. In the following days, he would come to the editing room on time to deal with the preparations before the formal editing. Because more than 80% of the special effects in the film were shot live, there were fewer scenes to be processed by CGI. When the colorist was asked to color the lens, the editing was also done by him Put on the agenda.In November, Murphy and Jodie Griffith began to rough cut the film to turn the total length of more than 1850 minutes into a coherent action crime film.

Although some special effects scenes that need to be synthesized by CGI have not been added, the shots that only need to adjust the background and light have been basically completed. After the rough cut style fully meets Murphy's requirements, how to make the whole story more compact on the basis of maintaining the overall style is what he and Jodie Griffith need to do most.

The theme of the film is dark and heavy. If it drags on as slowly as "stealing the line of fire", Murphy believes that "dark city" will surely make twentieth century fox vomit blood.

"My request is very simple, with simple and sharp editing to form a strong narrative tension, set off the dark and heavy theme of the film!"

With the efforts of Murphy, the dark style of commercial production, starting from "body of steel", has finally become a type of mainstream film in North America. At present, it is absolutely a new thing. In the last ten years, it should not be out of date, but there are not too many stories that can carry the dark style, and based on the existing content framework and style restrictions It is unrealistic to turn all commercial films into the dark wind, and to completely eliminate the dark wind from the large-scale commercial films.

However, to a certain extent, the dark style, visual effect is easy to make people tired.

In fact, what makes people more tired is the process of watching the film. It is precisely because of the dark outlook on life, the back and forth and repeated competition between the pros and cons, and the agitation and gyration of human nature in it, which makes people feel "tired".

This kind of movie is not like the commercial movies with light comedy features of Disney and marvel, which makes people feel "crispy eating popcorn". However, the dark movies like Murphy also have their own advantages. It will not be as monotonous as popcorn and forget the taste after eating, but can continue to attract the moving nerves.

Of course, from another point of view, Diablo is not a universal style, nor is it an element that every director can play with. The former "Dark Knight" is certainly the peak of the Diablo style, but in the "rise of the Dark Knight", the style of Diablo is reduced to the point where it is better than nothing.

Of course, there are commercial considerations, but the style itself is also a huge factor in limiting the film, story and characters.

There are also some people who think that Diablo is a movie style with high quality and high standard, which can not be compared with commercial movies in the general sense - especially those movies that are full of superheroes fighting in groups.

In fact, even in Murphy's own eyes, whether it's a dark style or not has nothing to do with biggie. It's only related to the personal choice of the studio and the director.

For example, it's not difficult for some of Marvel's superheroes to be adapted in a dark way, but once Marvel didn't do it because the style of this movie is quite different from that of Marvel's comics and the whole series.

More importantly, not everyone will like movies with dark style. For most audiences, movies are just a way of entertainment. Therefore, generally speaking, shooting seemingly profound and unique movies can not satisfy the mainstream audience, especially the minors who occupy a considerable share of the market.

Nowadays, in the increasingly important overseas film market, the audience's cognition of commercial films is "high-tech special effects blockbusters".

Therefore, when the dark knight was released, the audience preferred to see it as an independent movie rather than a superhero movie.

Kevin Fitch, the leader of Marvel pictures, once said that the movie "Dark Knight" really shows the difference between a comic book and a movie, as well as the potential of the movie. But I don't think the audience will blindly love this kind of dark, rough film. Therefore, we did not make Thor and Captain America such dark films as dark knight.

These words, even in the eyes of Murphy, may not be unreasonable.

Movies are always diversified. Disney and marvel are sticking to their own styles, and Murphy is also sticking to their own styles. Unless the road of inherent style is blocked, they will not easily change.

As the head of the post production company of "dark house" and "Pygmalion", we should pay more attention to the overall situation.

And after Murphy gave an outline of Gray's fifty shadows, she was still thinking about how to run the project.