Hollywood Road

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Since Philip Lascher will be back soon, Murphy has no intention of continuing to hire a director of photography. Instead, he adjusted the shooting plan appropriately, adjusted some action shots, and let the action director team take the shots, so that Minimize the negative impact of Philip Lascher's absence.

As for other shots interspersed with action scenes, such as some typical long-range shots, Murphy will personally operate the camera.

On the set, six people stood in front of the green screen, confronting Henry Cavill in black, and Liam Neeson in high boots stayed on the periphery, yelling loudly.

Murphy sat behind the director's monitor, just watching the transmitted images, and completely handed over the command of the scene to the action director.

If a person wants to have great strength, he must go through rigorous hell-style training, and the actor played by Henry Cavill is of course no exception.

Action scenes are shot intermittently, and the longest shot will not exceed 20 seconds. This is Murphy's request. Short shots are conducive to the post-editing of action scenes, and can also speed up the rhythm of the final film. In this regard, Murphy Fei believes that Michael Bay's shooting and editing methods are very worthy of reference.

Of course, Michael Bay cannot directly copy the production of action scenes. Murphy just uses this as a basis to make appropriate modifications to match the style of his own film.

In one morning, Murphy finished filming the scene of Henry Cavill being trained. There is only one scene left in this scene that is about to be demolished. The scene between the apprentice played by Henry Cavill and the mentor played by Liam Neeson a conversation.

Murphy called Henry Cavill and Liam Neeson over before filming began in the afternoon.

"This scene is the beginning of your conflict of ideas."

Looking at the two actors in front of him, Murphy said seriously, "Henry, Chris was a lost child at first, and it was Renner who untied his knots and doubts and pointed out the way forward."

He then said to Liam Neeson, "Liam, your goal is not to put Chris back on the right path, but to lead him to the path that you believe in."

Liam Neeson nodded, "I understand, I'm not evil per se."

He paused and pointed to his head, "The evil is the ideology instilled in it, the ideas that cannot be changed."

Murphy gave him a thumbs up, "Exactly right!"

The protagonist and the villain, who were originally almost like father and son, finally turned against each other. The only reason is the difference in ideology.

Chris Dann, played by Henry Cavill, was influenced by many people, and he grew up in a complete family in his youth. Although he encountered a blow in the middle, which made his behavior a bit extreme, he did not form a single ideology, even Having the influence of a teacher and a father like Liam Neeson is still a very complicated person deep down.

Reiner, played by Liam Neeson, wants Chris Dann to inherit the ideas he was instilled in him since he was a child, and become an individual with a single ideology, leading the organization he inherited to accomplish his goals. In the collision of ideas, Chris Dann partly agrees with Liam Neeson's point of view, but cannot agree with the exclusive and destructive side of his ideas.

Filming began quickly, with Henry Cavill and Liam Neeson standing in the dim light in front of a green screen.

"The greatest fear in your heart is the darkness."

Looking at the disturbed Henry Cavill, Liam Neeson said loudly, "But the darkness has never been our enemy, the darkness is our best friend, and he can provide us with cover..."

Murphy doesn't need the two actors to perform outstandingly in the literary drama, as long as they have a normal level is enough, he controls the No. 1 camera to slowly retreat through the slide rail.

"You get over your fear," Liam Neeson's voice was captured unmistakably by the recording equipment,

"The best thing to do is to be fear!"

"Stop!" Murphy called to stop the shooting and reminded, "Lim, Henry, you two don't have the right expressions."

The two actors were making adjustments, and he said loudly to people in other departments, "Everyone reset, and the shooting will start again in five minutes."

Everyone else was busy making adjustments, but the camera controlled by Murphy did not move. During the shooting just now, he suddenly had an idea to use a long-range lens to shoot.

Murphy also made the necessary adjustments to the camera in just five minutes, and the subsequent shooting was also very smooth. After only one shot, he got the shot he wanted, but for better effects and different Murphy then changed two angles and took four shots successively.

One of the most outstanding ones fully met his requirements.

Vision shots have a wide field of view, and are often used to show the time, environment, scale and atmosphere of events, such as expressing open natural scenery, crowd scenes, war scenes, etc.

But Murphy is used here, not for these at all, but to show the character of the character and the series of changes that have resulted from it.

Usually photographers don’t use long-range shots to express the characters’ personalities, but Murphy is willing to make such an attempt, and he has a complete plan in a short period of time, which is to present the image of the characters from head to toe in the long-range shots.

Film shooting and production is never a simple copy and paste. If you can notice and develop the use of shots like this wisely, you can bring more changes to the film.

In Murphy's most satisfying long-range shot, Liam Neeson's character stands tall and heroic in the picture, while Henry Cavill's character is at a disadvantage in the environment and appears relatively helpless , which perfectly matches the situation he faced in the plot.

This means that this long-range shot is not single, and can give a lot of new meanings, which is why Murphy uses a long-range shot here, it can make Henry Cavill's character feel very weak, in a kind of Subtle vulnerable situations create a clever sense of oppression in the plot.

Similarly, the two completely different characters in the lens are also conducive to creating conflicts.

Beauty comes from contradiction, and Murphy loves contradiction, no matter how ambiguous it is.

In addition, such long-range shots can also capture the dialogue between the two actors very well. Murphy's long-range shots are intersected with two medium shots and two close-ups. The audience is placed in the camera position of the long-range shot, so that the audience has a sense of presence, as if watching the people in the screen talking.

At the end of the day's shooting, Murphy didn't get off work immediately. He went back to the temporary filming room on the set to review all the shots taken today, so as to find any deficiencies and re-shoot immediately. The long-range shot is the focus of viewing.

After watching for a while, Gal Gadot, who was busy with the work at hand, came over.

Gal Gadot didn't speak, pulled over a chair, sat with Murphy in front of the monitor, and watched the shot together.

Of course, she's not so much looking at the camera as she's watching Murphy review it.

Looking at the extremely serious Murphy, Gal Gadot suddenly thought of a passage he said when the two discussed the film some time ago: "Making a film is to discover things, it is about investigation, about discovery. Put your own gaze Become a child's gaze, draw inspiration from everything in life, observe everything in life, and when you become a visual storyteller, you will learn to see people's behavior motives and some things behind them. Or simply For example, when driving through a field, whether it is natural light or artificial light, to perceive and learn from the light there. This approach will make you feel like you are in a movie 24 hours a day!"

There is no doubt that Murphy has devoted 120,000 points to the movie.

Even sometimes, Gal Gadot felt that in Murphy's eyes, the movie was the first, and she could only be behind the movie.

But she wasn't angry about it. A man with a career is more attractive, isn't he?

Glancing secretly at Murphy's face, Gal Gadot sighed softly in his heart, "Movies are what you should pay attention to the most. Don't get involved in those messy things."

Although she knew that some things were difficult, she still had to persuade her. After all, if someone like Murphy appeared in Rose's trial, it would definitely cause an uproar.

Gal Gadot was not in a hurry to speak, and waited until Murphy watched all the shots and turned off the monitor before asking, "Today's plan is behind, and Fili will be back tomorrow. Make up for the ones that were not shot yesterday and today. lens?"

"Tomorrow?" Murphy shook his head and said directly, "You will be in charge of the crew tomorrow..."

Gal Gadot frowned after hearing this.

Sure enough, Murphy said again, "The filming will be suspended tomorrow, and Philip will be given a day off. And tomorrow is Rose's last trial. Robert said that it is very likely that he will be sentenced in court. I will go there."

"Murphy!" Gal Gadot still couldn't hold back, "Is it suitable for you to go in the past? Not only will you not be able to help in the past, but it will also make you fall into a whirlpool of public opinion!"

She crossed her arms and looked at Murphy, "Have you thought about it carefully?"

Looking up at Gal Gadot, Murphy could see that she was really angry, and raised his hand to gently pinch her shoulder, "My dear, I know you are worried, but some things cannot be measured with reason."

Gal Gadot seldom loses his temper, but at this moment he turned around, stopped looking at Murphy, and didn't speak.

"Ross is my friend." Murphy knew very well that without his original experience, it would be difficult to understand this kind of brotherhood between men, but he still said, "We supported each other in prison, and he helped me through the prison. It's been the hardest time."

"You..." Gal Gadot sighed for a long time, bit his lips, and said, "I'll call Bill right now, always be prepared."

Murphy took her hand and walked outside, "I'll call when I get home."