Hollywood Road

The biggest difference between the post-production of this film and Murphy's previous two films is not that there are a large number of special effects shots, but that there is a special soundtrack engineer who specially tailors a suitable soundtrack for "Sin City". Eight ≥ one Chinese \u003e text ≦ \u003c ≤ \u003c ≦ \u003c

Murphy doesn't know much about music, and he won't participate in the creation of soundtracks, but any soundtracks that want to be added to the film must have his nod of approval.

Although the final decision-maker for post-production is Harvey Weinstein, this fat Jewish man is currently working on the Oscar PR for "Chicago" and is only in charge of the final review. The specific work is still left to Murphy and Eric Karl Steinberg to complete.

Of course, there is also Frank Miller. After several months of working together, Murphy has gradually formed a silent understanding with him.

Murphy kept the footage comic-like, and Frank Miller turned a blind eye to the marketable stuff Murphy stuffed in.

Although this old man is a little stubborn and suspicious, he is not completely ignorant of flexibility. His comics can be sold all over the United States, and he must understand that only those that are suitable for the market can really spread.

He and Frank Miller had conflicts during filming and production, but they were always controlled within a certain range, and there has never been a violent conflict.

Moreover, the picture style that Frank Miller cares most about is also agreed by Murphy.

For all the shots, the initial images were in color. At the request of Murphy, the production staff first had to remove the color and turn it into a pure black and white image, but the color can be returned to the screen at any time.

Murphy uses color as a weapon, and color has thus become a powerful narrative tool. For example, Goldie in the film has real skin and gold, and the mustard yellow skin of the yellow bastard is also particularly eye-catching.

If Murphy wanted to highlight a character's pain, he'd bring the blood back to bright red, like a color close-up.

Three special effects companies located in Venice are in charge of making special effects backgrounds for the film. Each company is in charge of a story. The studio under Digital Domain is in charge of Sin City, and the other two companies are in charge of Sniper and Bastard. Multiple special effects shots, all the special effects shots add up to more than 2,000.

In the actual shooting, it didn't cost too much. Most of the production cost budget was actually prepared for post-production special effects.

"Mitchell, the red isn't bright enough!"

In the special effects studio, Murphy stood in front of the big screen, with one hand on his chest and the other on his chin,

Looking at the clip that has just been adjusted for special effects, this is the scene where Muffle and Goldie get along, and it will also be the scene with the most intense color contrast in the film, but the red color rendered by the special effects does not satisfy Murphy.

He said to the person in charge, Mitchell Williams, "The black and white here needs to set off the color, and the color must be extremely dazzling against the rich black!"

Murphy pointed to Muff and Goldie on the screen and said, "For a man like Muff, who is as rude as a killing machine and has an ugly face, he didn't know what love was at first, but after having a skin-to-skin relationship with the prostitute Goldie Later, she fell in love with Goldie deeply, and regarded her as her own goddess. Here, Goldie must use dazzling colors to highlight her golden body. Her snow-white skin and red silk dress form a strong contrast with the black background. contrast!"

"I'll take it back right away," Mitchell Williams said quickly, "and readjust."

Murphy glanced at him and said word by word, "Hurry up!"

Mitchell Williams vowed, "I promise!"

The scene between Goldie and Muff can be said to be the scene with the most color difference in the whole film. The camera is the language of the film, and color is one of the ways of expression.

During the filming, Goldie and Muff had a huge red heart on the bed. At that time, Murphy took a bird's-eye view, making the heart, which symbolizes love, look like a small boat in the black ocean. .

In this way, after Mu Fu woke up, Goldie had been killed. Since then, Mu Fu has been caught in the double wanted by the police and prostitutes. Mu Fu, who lost his love, is determined to take revenge. To find the murderer who killed Goldie.

In addition to color, Murphy also has strict requirements on the post-production light and shadow design of each shot.

Murphy almost gave up color in the use of color, and used extreme black and white to show scenes of violence and crime.

In this case, the role of light and shadow is highlighted, and since there is no color as a distinction, the audience's dependence on lightness and darkness increases.

In comics, painting techniques can be used to create shadows for characters and objects, but movies that face real people are different from comics after all. Murphy gave up real scenes during shooting, and did not hesitate to use high-definition cameras combined with special effects departments to create backgrounds and process images. , it can be seen that the light effect is highly valued.

Take the light and shadow design in the bar as an example.

Throughout the plot, the bar is an extremely important place, where three independent stories intersect.

At the same time, in this gloomy city itself, the bar is a mixed and ambiguous place. People who come and go here include policemen, gangster drug dealers, and prostitutes. Most of them are here for Nancy's beauty. The perverts come, while the positives are also in the bar looking for what they're looking for.

Therefore, in the bar, the light is ambiguous. Under the smog, the light of the whole bar is filled with a sense of depression.

During post-production, Murphy has been creating a unique visual effect through the interpenetration and mutual influence of film language and comic language.

Although the picture styles of movies and comics are in the same line, as we all know, comics and movies are two completely different forms of artistic expression. Although Murphy is based on the original comics and is extremely faithful to the original works in the picture, this does not mean that the movies The color and light and shadow design can be in an absent position.

Helena Espora, as art director, also played an important role in it.

While perfecting the special effects of the shots, Murphy also summoned all the main actors to dub in the post-production room. There was no live recording during the shooting, and all dialogues and narrations will be re-recorded and added to the film.

This is not animation dubbing, all the actors have experienced the performance of the characters, and the dubbing work is relatively easy to do.

"Why do you think I keep writing letters?"

In the recording studio, Jessica Alba looked at Nancy on the screen and said into the microphone, "I have always loved you, Hardy, for so many years, and I have tried to talk to other boys. In love! But I can't do it... Fuck me, Hardy! Fuck me! I've been in love with you..."

Like all crews, most of these recordings are performed by an actor alone, even the dialogue scenes are no exception. There is only Jessica Alba in the studio, and she reads the dialogue like a monologue.

Compared to filming, recording went much more smoothly.

When it was time to get off work, Murphy came out of the special effects studio and walked into the recording studio. Jessica Alba had finished all the dialogues that needed to be recorded.

Of course, she didn't have many roles in the first place, and her lines were relatively limited.

"Hi Murphy!"

Seeing Murphy coming in, Jessica Alba immediately showed a sweet smile, raised her arms and waved to him.

"Hi, Jesse."

Nodding to Jessica Alba, Murphy did not go over, but walked to the sound engineer and asked, "How is it?"

The sound engineer whispered, "It's not bad, the lines are much better than the acting skills."

After speaking, he handed Murphy a headset. Murphy took it and put it on. After listening for a while, he nodded in approval and said, "Okay, that's it, we're here for today."

The recording of Jessica Alba is done, and only a few minor actors are left. After nearly two months of busy work, the post-production is gradually coming to an end.

Murphy raised his voice and said to everyone in the recording studio, "That's it for today, let's get off work."

He also had a busy day and didn't care about other people. He left the recording studio, went to his temporary office, took a briefcase, walked out of Miramax's office building, and came to his car.

Opening the car door, Murphy was about to get in the car, when suddenly there was a high-heeled shoe landing in front of him, accompanied by a crisp and sweet female voice.

"Wait, Murphy."

Hearing the sound, Murphy turned his head to see that Jessica Alba, who was wearing tight jeans, was walking quickly, waving to this side as she walked, as if afraid that he would go away.

Murphy closed the car door, waited for Jessica Alba to walk in a little bit, looked at her and asked, "Is there something wrong, Jessie?"

"The car I ordered doesn't have time to come," Jessica Alba got closer and closer, and finally stopped near the front of the Cadillac, standing there pretty and said, "Can you take me to North Hollywood?"

If you're going back to Santa Monica, you can take the right way there, Murphy nodded slightly, and pointed to the co-pilot, "Get in the car."

"Thank you!" Jessica Alba walked over and opened the car door.

Murphy also got into the car, and drove onto the main road. The car was not fast, but he drove relatively steadily. It was no longer apparent that he had chased the desperate murderer and the police in pursuit.

Just like all successful people, now he can't see the madness of accumulating initial capital.

"Murphy," Jessica Alba broke the silence in the car when the car was about to enter North Hollywood, "What do you usually do after get off work?"

"Go home, rest, and think about what you didn't do well in today's work." Murphy stared ahead, and said casually, "Plan what to do tomorrow...that's about it."

Jessica Alba turned her head and glanced at him, isn't this too boring?

The Cadillac suddenly stopped beside an apartment building. Murphy looked at it and asked, "Is it here?"

"That's right, it's here." Jessica Alba smiled, "Thank you."

She opened the door and got out of the car. Just as she was about to close the door, she suddenly turned around and lowered her head and asked, "Do you want to go to my place for a cup of coffee?"

Murphy turned to look at Jessica Alba, she had a very sweet smile on her face, and the invitation sounded very sincere. (To be continued.)