Hollywood Road

As usual, Murphy still started shooting with scenes in the studio, but unlike before, he had stricter requirements for shooting. br\u003e

"Cut! Jim, your expression is not in place."

"Sally, your smile is not pure enough, do it again!"

"Light, the light just flickered a bit. David, don't do it again!"

From the beginning of filming, everyone in the crew felt a different atmosphere from the previous filming. Murphy almost became a perfectionist, some shots that were passable in the filming of "Deadpool" or "Sin City" , were all rejected by him and had to be re-shot.

The first shot of James Franco and Charlize Theron was shot six times in a row, and Murphy was still not satisfied.

This is just a seemingly simple shot of Nick and Amy meeting at a party and chatting together.

The scene is really not difficult. Murphy kept calling to stop. On the one hand, he wanted to get the best shooting effect, and on the other hand, he wanted to establish a different shooting atmosphere from the beginning of the shooting, so that everyone could understand that this shooting As a result, he wants to be more perfect.

"cut!"

Calling the crew to stop again, Murphy took off his baseball cap, threw it on the director's monitor, stepped across the laid camera track, entered the set, and stood opposite James Franco and Charlize Theron, " Jim, Sally, you both have a problem with that one."

James Franco squeezed the center of his brows, and was the first to get out of the role. Charlize Theron took two steps back and forth, and also got out of the play.

"What's wrong with me?" James Franco was a little puzzled, "Didn't Nick belong to Muna?"

"There's no need to be snarky now." Murphy shook his head and turned around James Franco, "Nick's snarky was born with laziness, and now he just met Amy, and was taken by Amy." Attracted by..."

He turned to look at Charlize Theron, who was also listening carefully.

"What Nick needs is to attract Amy, not to reveal his true nature." Murphy added, "He has already tested Amy and has a general understanding of Amy. Now he is what Amy wants to see."

When the director talks about the play to the actors, he must never tell the actors directly what specific expressions you should use and how you should act. That is a very amateurish approach, which will make the actors' performances rigid and stereotyped.

In a film like "Deadpool" that doesn't really require acting skills, it can be done appropriately, but in the filming of "Gone Girl", it would be a disaster to do so. Murphy needs James Franco to come up with The best state, not limited by him.

Therefore, he can analyze the current state of the character for James Franco, but he will not say how to do it.

Having said that, when it comes to acting, James Franco doesn't know how many streets he can throw at him.

"I understand." James Franco nodded, "Give me a few minutes, I need to find a feeling."

Murphy waved to him, then looked at Charlize Theron, "Sally, you have the same problem."

"Yeah." Charlize Theron nodded slightly.

"You were really beautiful just now, and you looked innocent enough, very attractive." Murphy looked at the hairline of her wig, and raised his voice, "Jack! Readjust Sally's wig!"

He changed the subject again, "Nick Dunn likes not only being pretty, but also being cool, and what he loves most are cool girls."

Charlize Theron instantly understood, "So I'm going to give Nick Dunn a cool girl."

"That's it." Murphy raised a finger, "Show your cool side."

After saying this, Murphy quit the set. Charlize Theron, like James Franco, needs to find a new feeling, and as the male and female protagonists, they also need to communicate again.

Back behind the director's monitor, he looked at the previous shots one by one, and then called the director of photography Philip Lascher over.

"The range of camera movement is still a bit large." Murphy pointed to the monitor screen and said, "In this way, the next shooting will make the camera as quiet as possible, cancel all the moving shots, and put the second camera on the tripod , don't move."

Philip Lascher nodded, "I'll make adjustments."

He understood what Murphy meant. In the previous preparations, the two had had enough communication. The filming of "The Gone Girl" this time is completely different from the previous filming of "Deadpool", and there is basically no need for violent scenes. For sports shots, it is necessary to quiet down the scene displayed by the shot.

This is also what Murphy meant. The camera language of this film is a typical one that should be quiet rather than moving.

Today's mainstream commercial films in Hollywood are all screen heroes saving the world or fighting monsters. When it comes to the use of lenses, what comes to the audience's minds are all cool and eye-catching shots or eye-catching special effects, which directly leads to Photographers who specialize in crazy sports shots are in high demand in the industry.

Not to mention anything else, the last time Murphy filmed "Deadpool", he used a lot of operational shots.

But when these shooting methods are used in a film like "The Gone Girl", they will make the most basic mistakes, which are completely inappropriate.

The content, theme, and way of expressing emotions in this film determine that it is best not to use violent sports shots.

It could even be said that for Gone Girl, any other way of filming it would be wrong.

It seems that this is different from Murphy's previous style, but it is not something that can be done.

In fact, anyone with a little bit of film culture will understand that directors are not rigid. The brilliance of a movie lies in the fact that a hundred people have a hundred ways of telling a story, and it is to see who can tell a better story.

People who make movies have an interesting phenomenon. The more scenes they direct, the easier it is for them to control the details of the story scenes. Many people think that the greatness of directors lies in how they shoot those magnificent scenes, those crazy shots or Personalized images with strong stylization.

Often these classic scenes or shots are imitated as soon as they come out, and these classics do have a strong visual impact. Many directors think that these let the audience understand the thoughts of the characters in their movies.

But different types of movies have different requirements. Compared with shots with strong visual impact, Murphy is more concerned about the information that the shots can convey to the audience during shooting. Many other directors like to create suspense when telling stories, but He wants to control the drama brought by suspense to when the characters get new information.

For example, in the scene where Nick and Amy meet for the first time, they seem to be attracted to each other and fall in love at first sight, as if they are a natural couple, but is this really the case?

Is what they can arouse each other's interest really what they really have?

The shots that Murphy needs to shoot extend this information, and when the audience sees the following plots, they realize that all this is just what the other party wanted and they showed it on purpose.

Hollywood can shoot all possible and impossible things. The problem faced by a more mature director like Murphy is actually "what you don't shoot", not what you shoot.

Therefore, in accordance with the theme and emotional needs of the film, Murphy has long stipulated what not to shoot.

Murphy is the kind of director who likes to put the camera on a tripod. He hates holding the camera. Even if someone needs to follow the camera, he must use the Steadicam to stabilize the camera instead of violently shaking hand-held shooting. This film More stable shots are needed. He wants most of the shots to be as rock-solid as the damn tripod.

The second is that at the moment, many directors like to add a sense of camera shake and some actions that imply the existence of the camera. Murphy asked to completely eliminate this situation in this film. It is necessary to avoid letting the audience perceive that it is a breathing human being Control the camera.

His camera needs to appear here flawlessly and quietly, and then move there, everything must be as perfect as possible without being noticed, and it needs to show calmly and objectively what is happening now and what is going to happen soon.

In addition, the close-ups of this film must attract attention, such as Charlize Theron in this scene, she will give people an amazing feeling as soon as she appears on the stage, making the audience feel that she is the cool girl Murphy asked for , The illusion brought by this kind of close-up should be extended to the middle of the film to achieve the dramatic effect of the reversal in the second half.

At the same time, Murphy has to control the number of close-ups, which will only appear unless it is really necessary.

This is a film with strong suspense. Every time the director cuts to a close-up, the audience will immediately make up their own minds. Look, the truth is like this.

So he had to be very careful when he decided to shoot close-ups.

What Murphy wants is to subtly switch shots from different angles to show a weighty dramatic moment, instead of using close-ups, so that he can try his best to express what is happening now and what is going on under objective conditions. What the character sees.

For this shoot, Murphy set a lot of strict requirements for himself and the entire crew: no hand-holding, no traces of artificially operating the camera, no unnecessary close-ups, no camera movement that moves without motivation??

Shooting resumed quickly, giving up the Steadicam and completely fixing the camera. Murphy needed to readjust the operation of the camera, and took two consecutive test shots. James Franco and Charlize Theron in front of the camera also found their status. Everything seems to be back on track with the previous smooth shooting.

"So..." Charlize Theron leaned against the wall, holding a wine bottle in her hand, and asked coolly, "Who are you?"

"I'm the one who saved you." James Franco put one hand on the wall behind Charlize Theron, "Keep you away from all terrible things."

The scene ends here, with Murphy standing up and shouting, "Stop!"

Everyone breathed a sigh of relief and waited for the director to call to pass, but it was Murphy who shouted to Fili-Raschel, "Reshoot, Fili, the two cameras are at forty-five degrees left and right. Catch Sally!"

This sentence was like an order, and everyone in the crew started to get busy, except for one person, who was the representative of the third-party insurance company AIA on the crew. (To be continued.)