Chapter 574： clue splicing

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"Paul, do you have any ideas on how to shoot?" Evan Bell and Paul Haggis sat side by side.

In front of me is an ordinary street in Los Angeles, with small shiny light bulbs hanging on the branches of the street, glistening, but at this time the street is empty. When you walk to the trees at the intersection of the street, you can see a notice that reads "From 8:00 pm on July 2 to 4:00 am on July 3, the street will be closed for filming. 'Crash'." This is a letter Street announcements are normal in cities like New York and Los Angeles.

When a film crew needs to close the street for filming, it will submit an application to the city government in advance. After approval, the notice will be printed out and posted to the location of the closed street in advance to ensure that pedestrians can predict in advance when the filming starts. Around 7:30 p.m., the crew arrived on both sides of the street and started placing barricades and pulling seals to block off the street. Of course, according to the needs of the plot, some people can be appropriately put into the street, or the audience can be invited to become extras, or the entire street can be completely emptied.

At this time, there were still many customers in the restaurants on both sides of the street, and the pedestrians on the street were still coming and going. However, everyone obviously didn't get too excited. They just heard the news that Evan Bell would appear. In addition to Huang Sè's seal, at least three or four hundred onlookers gathered.

This is the first street closure since Evan Bell made a movie. The last time the "Sniper Phone Booth" was filmed was also in the city center, but at that time Joe Schumacher wanted to capture the real expressions of the audience on the street, so there was no street closure at all, and passersby were not even notified that a movie was being filmed here. So, Evan Bell is the first time he sees the clearing scene during the filming of the film.

but. Now Evan Bell has no time to observe the lively scene when the streets are closed, and he has no time to greet the audience on both sides who are eagerly looking forward to seeing him, because this is not a movie meeting, but a filming scene.

As a producer, Evan Bell knew it well in "Deadly Identity." If you don't understand, don't pretend to understand. You must trust the director and let the director let go. This time. Although Paul Haggis is the first time to hold the position of director, Evan Bell believes in Paul Haggis' ideas and will not intervene. but. Evan Bell has always been interested in the director's perspective. And he is now involved in the field of screenwriting, so Evan Bell hopes to have a learning attitude and communicate with Paul Haggis.

Paul Haggis doesn't mind Evan Bell's question, because he knows that Evan Bell is now in the learning phase, and he is also a novice director himself. It's better to have a person to communicate with.

"I plan to shoot according to the clues of each story. When the story and the story junction appear, use the details of the picture as the connection point. When editing later, I will edit the clues." Paul Haggis on "Crash" "The idea is composed of multiple different stories. in a story. Victims are created because of conflicts between races and classes; the victims in this story. After leaving, he vented his anger on another person, the victim became the perpetrator, and a seemingly innocent person became the victim; the victim became the protagonist of another story.

The characters appearing in multiple stories are not absolutely related, but they are integrated into the same event because of different contacts in life. A seemingly unrelated story is connected to form our lives.

"You're going to have multiple lines at the same time. After telling a story, a detail triggers the picture and enters another story. It's like saying, at this point in time, things are happening in this city at the same time. And then these stories drive time. progress, and use the conflict of the story to promote the development of the plot, right?" Evan Bell told his own understanding. At this time, Evan Bell did not substitute the pictures of watching "crash" in his previous life, but Just looking at the script from a fresh perspective, looking at the work of Paul Haggis.

On the set, the director has a dark green folding chair, which is placed upright in front of the camera monitor. This is the best position to control the scene and a symbol of the director's power. Paul Haggis was sitting on this dark green folding chair at this moment. However, now there is another folding chair on the left side of the dark green folding chair. Generally speaking, this position is the position of the assistant director or the main photographer, but at this time Evan Bell is sitting here, and Paul- Haggis sat side by side. From this position, the situation at the scene is well known.

Standing in different positions will have different landscapes. Now sitting closest to the director, what unfolds before Evan Bell is a whole new world. Different from the shooting of MV, the seat of the film director has a wider perspective and has a wider control over the situation. However, when sitting in this position, the head must be clear enough to have a clear understanding of the direction of the plot, the grasp of the picture, the performance of the actors, and even the lighting, positioning, perspective and other factors.

For Evan Bell's feedback, Paul Haggis nodded, "But you said it too broad, we can discuss while shooting." The director did not rely on his mouth to say it. Although Paul Haggis is sitting in the director's position for the first time, as a screenwriter, he has clear ideas and ideas for the script of "Crash". Evan Bell chose to believe him and let him sit on the set. In the biggest position, Paul Haggis naturally hopes to realize all his visions, and he can't wait.

Paul Haggis pointed the camera at the handle of the glass sliding door, and then shouted "start shooting", and all the crew on the set immediately started running.

Evan Bell was restoring this scene in the movie in his head at this time. Before this scene, there should be a picture of a woman pushing the door and walking out. Obviously, Paul Haggis hopes to borrow a door to connect the two story lines. As soon as he looked up, Evan Bell saw two black men babblingly pushing the door and walking out.

Evan Bell has a very clear memory of the script of "Crash", and now recalls the picture of the movie very clearly. The black pair are Anthony and Pitt, two black gangsters, doing nothing all day. Anthony believes that every image in the city is expressing the racism of whites against blacks, so he expresses his protest in his own way: taking money to rob whites.

Now the picture that Paul Haggis is shooting is the first appearance of Anthony and Pete. The two have just walked out of the restaurant and expressed a lot of dissatisfaction with the service of the restaurant. Heading up, he met the district attorney and his wife: Brandon Fisher and Sandra Bullock starred as a powerful couple.

Anthony and Pete robbed the district attorney's husband at gunpoint and drove away. The robbery triggered a series of events, and it was the first incident of racial discrimination.

"When the car pulls off the corner, I'll take the picture along with the car and bring out the story of Officer Graham." Paul Haggis explained to Evan Bell in a low voice. The scene is not difficult, but the lines are very heavy, so it is not easy to shoot. After finishing speaking, Paul Haggis ignored Evan Bell who was in deep thought, turned back and picked up the horn and shouted, "Sandra, don't be too deliberate when you get out of the car, just follow the instinctive reaction of your body. ." At this time, it is to be filmed that Anthony and Pete use pistols to instruct the prosecutor and the couple to get out of the car, and then drive the car away.

Evan Bell regained his senses, and then saw Jane played by Sandra Bullock. After being pulled out of the car, the elegance of her black wool shawl disappeared. Pete pulled her hand away, wearing high heels. The center of gravity was unstable, and the whole person fell to the ground in a panic.

Paul Haggis didn't make specific demands on Sandra Bullock's performance, just gave a guideline and let the actors play freely. This effect is obviously good. Sandra Bullock's response is in place.

Evan Bell sat next to the director's seat, propping his chin back into thought. In the director's job, directing the actors' acting skills is also part of the responsibility. An outstanding director is definitely a master at training actors. He can unleash the potential of actors, make them reach the heights required by movie roles, and even make extraordinary performances.

Different directors have different styles and different ways of training actors. Some directors like to teach by words and deeds, go into battle in person, and let the actors follow the track; some directors do not command at all, but simply say "dissatisfied" to let the actors think for themselves; some directors give a direction, so that the actors can work hard Goal; some directors continue to oppress the actors and have a clear understanding of the plot, but the characters themselves are not imprisoned, but they are pressing the actors. They only hope that the actors can perform amazingly to meet the plot requirements At present, Richard Kelly has given directions to several directors Evan Bell has met, while Christopher Nolan, Joe Schumacher and Gore Verbinski have all let the actors play freely. , while James Mangold and Spike Jones are more pressing type, and Paul Haggis in front of him is closer to Richard Kelly, giving a direction xìng, letting the actors play freely . If it was Evan Bell, he would probably do the same. He hoped that the actor would be able to show his own personality and incorporate his own opinions into the characters. If the effect is not good, then give suggestions from the director's perspective, and then re-run.

"Evan?" Paul Haggis' voice awakened Evan Bell, who was thinking, and Evan Bell looked at Paul Haggis and heard, "Go, get in the car, we're going to shoot on the trailer The scene in the car is over."

Evan Bell rubbed his eyes, "Go!" He has a lot to learn. Even though Paul Haggis is a novice director, his years of experience as a screenwriter have given him a unique perspective and a clear understanding of screen editing. Evan Bell knew that this shooting experience was also a rare learning opportunity.

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