From Flower Vase to Film Emperor in Hollywood

“Cut!”

Sam paused the filming again, looking at the actors with a hint of helplessness, but after hesitating for a moment, he ultimately said nothing, obediently shutting his mouth.

Because Sam knew the difficulty of filming this scene, they had already considered all aspects of the situation in the sandbox rehearsal, but there was still a wide gap between theoretical discussion and practical operation.

The filming difficulty was even beyond imagination; unexpected situations and performance rhythm problems inevitably arose during the actual filming process, and they still needed to be fine-tuned.

Currently, it was already the fourteenth NG (no good take), and Sam couldn't help but feel agitated.

Just now, it was still a coordination issue. The four people fighting on top of the train model, facing numerous difficulties, required perfect cooperation from all departments; however, the four people still inevitably deviated, causing the entire action scene to lack coherence—

Simply put, it wasn't smooth or visually appealing.

For commercial films, a lack of depth or theme is irrelevant; but if the climax doesn't ignite passion or stimulate adrenaline, it's fatal.

Sam needed them to present the intensity and excitement of this scene.

Taking a deep breath, Sam barely controlled himself and kept telling himself:

The actors are the ones who are truly working hard. The longer the filming time, the more exhausted the actors become. But Anson and Alfred haven't complained; they are still diligently communicating and focusing on filming.

Not just the actors, but the other department staff on the set are also sweating profusely, their faces flushed, their tense nerves constantly strained.

So, he could at least remain calm and refuse to let emotions control his brain.

After all, as the director, he should set the tone for the crew's working atmosphere.

“Let's do it again.”

Sam said loudly, then looked around.

“All units, get ready.”

A flurry of activity erupted in the studio as all departments mobilized.

The difficulty of this scene lies in the fact that Anson also needs to cooperate with the wire work to complete the action.

If you've ever watched diving training, you'll know that divers need to wear a belt around their waist, and then a rope similar to a wire is attached to the belt. The coach next to them pulls the athlete into the air with the rope, pauses briefly to give the athlete time to complete the diving action, and then controls the rope to descend, giving the athlete time to perform a vertical entry to minimize the splash, completing the entire diving technique training.

Wire work is based on the same principle.

One to three experienced masters grab the wire, lift the actor up, suspend them in mid-air, pause briefly, so the actor can complete the action, and then control the wire to descend, avoiding the actor staying in the air for too long and lacking realism—

Unless it's Superman or Iron Man.

Here, controlling the rhythm of the entire ascent, pause, and descent is very difficult, relying entirely on feel. In traditional kung fu movies, the wire masters are all artisans, relying on the feeling accumulated through experience; but now, there are fewer and fewer such artisans, because computer special effects play a more important role, and there are not many film projects that rely on solid wire work to complete filming.

However, Sam wanted to complete the filming this way. They found specialized wire work artisans to assist in completing the filming of the entire movie.

However, the difficulty coefficient remains high.

In this scene, Anson needs to rely on the wire to ascend, complete a 360-degree rotation, and then dive towards Alfred in a swooping posture. After a brief close-quarters fight between the two, Alfred relies on his tentacles to suppress Anson again, making the entire fight smooth and seamless.

Now, Anson is tied with four wires, in four different directions, using the control of the wires to adjust Anson's state in the air—

The difficulty is imaginable.

Especially after Anson lands, the positions of him, Alfred, and the two stunt performers are even more intricate. If you're not careful, the tentacles and wires may become entangled, and filming cannot continue.

After another NG, Anson didn't simply wallow in frustration; instead, he discussed with his fellow actors, made adjustments based on the errors, and hoped to make progress in the next take.

Then, Anson turned and strode towards the connection between the train cars, creating distance, preparing for the entrance action of bursting out from below.

“Ready!”

Anson shouted loudly, informing the wire master and other staff that he was ready.

Adjusting his breathing, taking a deep breath, Anson entered combat mode, and then—

“Action!”

With an order, the camera started rolling, but Anson didn't start immediately, deliberately leaving some blank space to facilitate finding an entry point in the later editing.

Spider-Man!

Involuntarily, he looked up.

High, high into the air, Spider-Man flew freely without wings. The passengers in the train and Doctor Octopus on the roof all looked up at the sky, watching that graceful figure intently.

Seeing that he had reached the highest point, Spider-Man did a 360-degree somersault, shot out spider silk with both hands, pulled hard, and his body rushed towards Doctor Octopus like a cannonball in a diving posture.

Doctor Octopus: Huh.

Before he even had time to exclaim, Spider-Man had quickly magnified in his pupils.

Head-on collision.

Doctor Octopus only had time to put up his hands, trying to stop Spider-Man.

The next second, Spider-Man's hands had already grabbed Doctor Octopus's hands and did a forward roll, pushing Doctor Octopus along like a whirlwind, and then Spider-Man had already pressed Doctor Octopus underneath him.

A punch, then another punch.

Without stopping, swinging left and right, Spider-Man punched hard, smashing towards Doctor Octopus's cheeks.

Between Doctor Octopus's dizziness, unable to dodge in time, he suffered continuous blows; but the next second, the tentacles on the left and right had already reached out to help.

Similarly, swinging left and right.

Spider-Man couldn't continue attacking Doctor Octopus, leaning back his upper body to dodge, meeting the tentacles with his fists, engaging in hand-to-hand combat.

Bang, bang, bang.

Fist to flesh.

Doctor Octopus finally came back to his senses, gripping his fist and smashing it up.

Three heads and six arms completely suppressed the opponent's two fists, and the situation reversed.

However, Spider-Man showed agility and flexibility, dodging left and right in the storm of fists, lowering his waist and shifting position, not only completing the dodge, but also seizing the opportunity to try to counterattack with his fists, forcing the opponent to dodge as well.

Back and forth, a bloody fight.

The two were completely entangled, and the situation was once deadlocked.

At this moment, two of Doctor Octopus's tentacles finally found an opening, and a straight punch slammed hard into Spider-Man's nose.