Great Artist

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"Inception" has started, but the whole shooting situation is still a bit different from what we imagined. The technical reasons are the main factors, but it is undeniable that the cooperation between Evan Bell and Christopher Nolan is also In constant exploration, both are slowly getting used to the process.

The so-called cooperative relationship, in fact, the two sides are bound to have the upper hand, or there is always someone to compromise, if both sides are extremely strong, then the cooperative relationship will sooner or later face severe challenges, or even break down. Evan Bell and Christopher Nolan have strong personalities. Relatively speaking, Evan Bell will be more prominent, but Christopher Nolan's inherent stubbornness often makes the problem deadlocked.

Although it is not the first time that the two have collaborated, even though the script this time was completed by two people, the particularity of the director's position is still very different; even before filming, the two discussed their own Division of labor and cooperation, but shooting a movie is not so simple divided into emotional part and technical part.

Therefore, the cooperation between Evan-Bell and Christopher-Nolan kicked off between the left and right collisions.

"Are you sure you want to use the on-site blasting to complete the process of this villa?" Evan Bell frowned slightly, showing a thoughtful expression.

Christopher Nolan stood opposite Evan Bell, and his brows were also tightly knotted, "Yes. I know it will be very troublesome, and it will have to communicate with the Paris city government, and the requirement of smokeless blasting It’s also very demanding. But the impact will be most real only if the scene is completed by actual blasting on the spot.”

What Evan Bell and Christopher Wahlan are discussing now is their first scene after arriving in Paris. After nearly 20 days of filming in the Los Angeles studio, the two gradually figured out some doorways on the road of cooperation. Now, it's not like at the beginning, the two people quarreled fiercely on the set, but neither of them is the type to vent all their anger, more often it is verbal violence and cold war, which makes the people living in Los Angeles hot summer. The set is always like an ice cellar.

In this scene on the streets of Paris, Cobb showed Ariad what it means to "make a dream", and just relying on one idea, the entire street of Paris exploded, like a kaleidoscope. This scene was also dubbed "Kaleidoscope" by Evan Bell.

Paris Kaleidoscope and Christopher Nolan's folded Paris will present the most magical picture of dreams. However, folding Paris is definitely impossible to shoot on the spot, and can only be achieved by relying on computers, so Christopher Nolan very much hopes that the Paris kaleidoscope can be truly presented.

"Not only that, but the whole street has to be built with special materials according to the actual proportion, which is very time-consuming." Evan Bell reminded again that when the entire street of Paris exploded, Cobb and Ariad completely Those who are in the center of the explosion are like watching fireworks, watching the streets explode around them. Therefore, when making the scene, the choice of materials must use non-hazardous rubber, foam, plastic, etc., even if it is These soft materials, under the impact of the explosion, are also likely to cause damage to the actors. Therefore, Evan Bell is still a little worried about Christopher Nolan's persistence.

Christopher Nolan didn't speak this time, he just looked at Evan Bell. Without words at all, Evan Bell knew that this was Christopher Nolan expressing his insistence. Evan Bell did not rush to refute Christopher Nolan's view, but went on to say, "I agree with your idea, but I have more ideas for this kaleidoscope."

Evan Bell's eyes came into contact with Christopher Nolan, and he said seriously, "I think this explosion also has a sequence, and it also has visual aesthetics. You imagine, after a flower shop or fruit shop explodes , the flower pots, fruits, and flowers were blasted out, but they were not smashed in the first time, that is to say, these objects were completely blasted out, and then burst out again in mid-air due to the power of sound waves, and those fragments would be crushed. The streets are completely filled, such a kaleidoscope is a real visual enjoyment.

Christopher Nolan pondered for a while, and thought about it, "You mean, present the entire explosion process in an artistic slowdown." He quickly understood Evan Bell's idea, in his head After constructing the actual picture, involuntarily, he nodded, "Why, the tension of the picture will be more prominent, and the sense of the picture will be more full."

Having said this, Christopher Nolan paused, with a smile on his face, "Deliberately arrange the shops on the street, put in colorful carriers such as flower shops and coffee shops, and then when it explodes, the whole kaleidoscope effect It's the most amazing."

Evan Bell nodded, that's what he meant, "So, if we want to complete such a process, it would be unreliable to rely entirely on field shooting. We have no way to control the process and extent of the explosion."

To give a simple example, in the most classic picture in "The Matrix", where the lower back is dodging bullets, the screen not only clearly shows the whole process of the male protagonist dodging bullets, but also shows the flight trajectory of the bullets in the audience's eyes. in front of you. The visual impact brought by such a picture is absolutely top-notch. However, in order to shoot such an effect, it is impossible to rely on physical shooting, and it must rely on digital technology.

Christopher Nolan understood at this time that the reason why Evan Bell questioned his idea was that in addition to the difficulty of filming, there were other considerations, "So what do you mean?"

Evan-Bell smiled, "Haven't we tried many times in Los Angeles before?" Here, Evan-Bell refers to the combination of traditional shooting special effects and digital special effects, which is also "Inception". , 'One of the biggest highlights in this movie. The special effects produced by traditional on-site shooting can highlight the realism of the performance, and from the perspective of three-dimensional space, it will also present the most shocking and direct effects; while digital special effects can Make things that you normally can't do real.

When filming the second-layer dream zero-gravity clip, Evan Bell and Christopher Nolan had a heated discussion about the entire shooting method, and finally the two compromised with each other.

Christopher Nolan insisted on installing hundreds of Wea in the Vientiane installation to form a forest of Wea, rather than filming in front of a green screen as Evan Bell suggested, the scene in the Vientiane installation is It is made in full accordance with the real scale, so the effect of shooting is naturally the most realistic.

Afterwards, the actors were all equipped with Wia, and on average, there were at least ten Wia on each person. The entire body was fixed in mid-air, presenting a zero-gravity floating effect. In a Wia forest, the actors had to complete the movement. , and even the touching part, the whole scene was filmed.

And here, Christopher Nolan's suggestion to let the actor play in person was shot, and according to Evan Bell's suggestion, let the substitute play. Because it is not an easy task for the actors to rely on Weiya to maintain their balance in the air, not to mention that they have to shuttle in the Weiya forest and accidentally bump into the Weiya on other actors, then the effect of zero gravity will be It would be unnatural, not to mention fighting in the process. So it's the right choice for a stuntman to go into battle.

After the whole scene is filmed, replace the stuntman with the real actor's face, and then use computer equipment to erase the Wia little by little in post-production, instead of changing the background directly after the green screen is completed. So simple.

This time, when shooting the kaleidoscope scene in Paris, Evan Bell felt that using a combination of traditional special effects and digital special effects would make the whole picture better and better, and that's why he suggested this. Christopher Nolan did not insist this time. He nodded in agreement, "Let's discuss it with the technical team later."

"They must have been frightened by the two of us." Christopher Nolan couldn't help laughing at Evan Bell's words. In fact, for the technical team, it is their pursuit to be able to use their abilities to produce more exciting pictures, and it is natural that they will never tire of it.

The shooting plan for the next scene has been confirmed..." Christopher Nolan also relaxed a little, "Then this scene will be put in a little bit later~www.wuxiaspot.com~ Let's start shooting from the studio scene first. Are you going to sit behind the monitor? "

Evan-Bell shook his head, "The style of the entire shot should be consistent, you sit behind the monitor." Christopher-Nolan's shot is more clean and neat, while Evan-Bell's shot is more full and lingering, which will damage to the overall integrity of the film. "But today's set is what I say."

Hearing Evan Bell's joke, Christopher Nolan couldn't help laughing, "Don't worry, I'll be your assistant director today."

Since the studio scenes filmed today are part of emotional communication, this has always been Christopher Nolan's weakness. In his past works, emotional outlines and changes are always slightly rigid, not much change, let alone Profound. So, this was naturally handed over to Evan Bell to shoot.

Although Evan Bell does not sit behind the monitor, he can completely control the rhythm of the entire set, and without changing the style of the lens, adjust the shooting angle, shooting track, actor performance and other aspects to achieve his Purpose.

In the past 20-odd days, most of the "Inception" crew has been dominated by Christopher Nolan, but today, Evan Bell took the initiative when he began to explore more delicate emotions. .

Today's 12,000 update is here!

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