Hollywood Road

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The scenes filmed here are actually not very difficult, neither need to dig deep, nor to pursue connotation, not to mention the actors' great acting skills, the most important thing is to show violence, blood and cruelty...

Even so, Murphy did not relax when shooting. Not only did he change four angles to shoot in the morning, but he also shot for nearly an afternoon after lunch. When there was only one reel of black and white film left, he gave the actor one shot. Take a long break and resume shooting after the break is over.

He himself did not rest, sitting in the car repeatedly watching the footage that had been taken, in order to find any areas that could be improved.

This opening scene of only a few minutes, Murphy attaches great importance to it.

For any film, the opening shot is like the key that opens the door to the world of light and shadow, leading the audience on a cinematic journey.

It can be said that whether a movie can catch the audience’s attention in an instant and have a good chemical reaction with the audience, the opening shot plays an important role, so for the director and production staff, the long shot must be carefully considered, and there are Sometimes it can be the beginning of the entire movie story, and sometimes it can also be the end of the entire movie story, the beginning and the turning point.

The movie planned by Murphy has a very simple opening. When it comes up, it will point out the theme and explain the true side of the actor Jeff. This is indeed cruel, but it can make people unconsciously think that such a person will continue to commit crimes? What will happen?

Whether he continues to torture and kill other girls, or someone seeks revenge on him, they are all good gimmicks and can attract a group of viewers to watch.

"In conjunction with the end of the script,"

Bill Rossis and the agent named Mike were still standing by the bushes in the morning, and the former told the latter, "He's using a typical end-to-end opening scene."

"The most simple and crude way of opening shots."

After an afternoon of on-the-spot observation, Mike is obviously a lot more serious than in the morning, "but it is also the way with the lowest chance for new directors to miss."

He looked at Murphy in the distance, "a very smart person who has a very clear understanding of himself."

In the eyes of Bill Rossis, such a lens technique is also more likely to be successful in the use of new directors, and there are countless classic movies that echo the beginning and end of the film history.

Mike suddenly turned his head and asked, "Are you very interested in him?"

Bill Rossis didn't deny it, and said directly, "With our position in the company, it is impossible to get high-quality customer resources. An actor like Julian Fellowes is already our limit. If we want to climb up, we can only find a way to cultivate new people."

"You think he can?" Mike asked curiously.

"Who can guarantee this kind of thing." Bill Rossis shook his head, "I just think he has some potential."

Mike understands what he means. For newcomers like this, brokers of average status sign a few every year. These people can stand out, and they will naturally rise as diggers. If they can't, there is basically nothing to lose.

"And he's a director," Bill Rossier emphasized.

A successful director looks much bleaker than the star actor in front of the screen, but the reality is the opposite.

Following the director is a universal value in the film industry. Throughout the history of more than 100 years of film, the real leading film riders are directors. There is no such thing as James Cameron, Steven Spielberg, George A great director like Lucas,

There is no world cinema that has entered its golden age today.

"It is true that the director is the dominant job in the entire film industry," Mike reminded as a friend, "but every year there are thousands of film practitioners who dream of becoming directors. How many are successful?"

"Everything is risky." Bill Rossis just smiled. "I think he has potential, and that's enough."

How could he not know the truth that the road to directing is as difficult as reaching the sky? Even the now-popular Ann Lee has been a home cook for 6 years before that; even Quentin Tastino was an unknown video shop guy before that.

Filming resumes over there, and Bill-Roses and Mike continue to chat quietly.

"I've been on this set for a long time," Bill Rossis said, arms crossed, looking across the set, "one to help Julian take care of Carrey, and two to watch this Murphy Stanton. ."

Mike frowned slightly, "Does he really have the potential to be worthy of your attention?"

"While the paths to directing vary," Bill Rossis apparently made up his mind, "there's always some general truth behind it."

"The most important point is, of course, to prove yourself by strength and achievements." He smiled at Mike, "I can't say this now, and the directors who have proved themselves are not up to us."

"What about the others?" Mike was obviously interested.

"Stress resistance! Director is a high-risk and high-pressure job. The hard work and high pressure of filming the film itself is enough to drive ordinary people crazy."

Having said this, Bill Rossis looked at Murphy with a hint of admiration in his eyes, "I have investigated, he has suffered a lot of blows, and he has been in prison for a year, but he has not fallen down and is released from prison. Later, he did even better, and even dared to put all the net worth he finally gathered into this movie."

Mike disagreed, "Is this a lunatic?"

Bill Rossis retorted, "Aren't those successful directors crazy?"

He continued, "A director must have the ability to direct performances. Carey Mulligan is my contracted actor. She has improved a lot during this period, and the most direct reason is Murphy Stanton."

These words are not only for Mike, but Bill Rossis is also convincing himself that such a potential person cannot be missed, "and the most important ability to control the script. Akira Kurosawa has pointed out many times that if you want to be excellent The director must first become a qualified screenwriter, and the script for this project comes from his own hands.”

"Of course, I'm not saying how good the script is, "Hard Candy" is at best just an engineering standard."

After Mike had read the script, Bill Rossis still analyzed, "The script is not good, but it is full of factors that attract audiences. Today's small-budget movies, if you want to attract audiences, is nothing more than making a fuss about fists, blood plasma and women. There are enough manifestations in "Fruit Hard Candy"."

After going through the script in his mind, Mike found that it is indeed the case. The beginning of the script is a violent crime, with a large-scale underage girl punishing the murderer, and the sensitive Lolita plot is interspersed in the middle...

He couldn't help looking towards Murphy, and was also interested in this guy. The script was really not good, and there was no creativity at all, but it was full of gimmicks to attract audiences.