Hollywood Road

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Murphy shot a thousand minutes of material. Although the filming followed the sequential development of the story, editing these into a film of about 90 minutes still required a huge amount of work.

The entire post-editing work was mainly completed by Murphy and editor Griffith, with intern Paul Wilson and Griffith's two assistants acting as assistants.

The specific editing is handled by Griffith, and Murphy is mainly responsible for reviewing and elaborating the requirements for the film.

Any clip will have a main line. Murphy's main line is very simple. Hailey finds the sins that Jeff hid in the room, and then gives the corresponding punishment, and then finds and punishes, until the final castration and hanging.

In fact, the reason for this is very simple. In the film modified by Murphy, the heroine Hailey is more ruthless. This is also to increase the attraction with large-scale pictures, but there are also problems in this way. The heroine is disgusted, this is not what he wants to see as a director.

Disgusted with the protagonist, is the film still attractive?

Therefore, Murphy increases the guilt of the male protagonist Jeff. Whenever Hailey is tortured, she can always find new guilt, which makes people hate him even more deeply, so what Hailey does is logically pleasing. .

But this method can't be used too much, Murphy prepared three main stages, one bundled and sprayed with pepper water, one castration, and one hang.

Of course, corresponding language and psychological torture are also essential.

Post-production is more than editing. Murphy first did this work. He and Griffith repeatedly watched the black and white opening footage shot from all angles, and finally settled on the oblique shot No. 7 as the entire film. the opening scene.

The effect of this shot is quite brutal, and the different performances of the victim played by Emily and the perpetrator of Jeff are all displayed in an all-round way.

The opening scene is only a few minutes long, and it is a complete long shot. After Murphy and Griffith negotiated, they do not plan to re-edit for the time being, and use it directly.

The editing work is not progressing fast, even if it is only a rough cut now, Murphy has only determined a shot in nearly a morning.

He is very cautious and more attentive than when shooting. Editing can directly determine the success or failure of a film.

Today, montage has become a completely cinematic word. In fact, montage is to connect different shots and scenes through picture editing and picture synthesis to create a unique film time and space to guide the audience's emotions and psychology.

The most typical function of montage is to speed up the rhythm of the film, which is also the biggest application in a film with a simple narrative such as Hard Candy.

Later, when Griffith edited the first meeting between Hailey and Jeff, he was using montage to speed up the rhythm. Meeting two strangers would inevitably be long-winded. The length of the film determines that it must be concise and clear. Constantly shifting between Haley and Jeff, the scenes are completed in just a few minutes.

Griffith is standing in front of a workbench focused on his work. In front of him is an old-fashioned screen with a piece of chalk in front of it. This is the way some editors are used to, and they will find something to scale with the screen - like Put a cigarette or chalk in front of the screen - through the reference of things, to judge what it feels like on the big screen, this is the process of rough cutting.

However, after each cut, Griffith will use the big screen to see it for real.

After finishing this part of the rough cut, Griffith handed it over to his assistant and played the edited clip on a 27-inch screen.

In the picture on the screen, there are only Hailey and Jeff, and the camera always revolves around them.

"Jody!" Murphy walked over to Griffith, pointed to the two people on the screen, and said, "Can we add some separate shots of the two people,

Have the images switch frequently between the greys and reds they represent? "

Griffith immediately understood what Murphy meant and patted his palm lightly, "Good idea."

He beckoned his assistant to pause the playback, ready to re-edit.

Paul Wilson on the other side has been paying attention to this side. He is a professional, but inexperienced. He can't understand what Murphy and Griffith mean, so he can't help but walk behind Murphy lightly.

Paul Wilson is willing to be an unpaid intern in order to learn, and he will naturally ask when he does not understand.

"Director," he asked softly, "I..."

Murphy turned to look at him, Paul Wilson touched his head embarrassedly, but did not say the second half.

"What Jody and I mean is to try to compare and contrast a montage of images between Hailey and Jeff." Murphy liked this hard-working and free labor, and said in a low voice, "Imagine that the picture Constantly switching between Jeff's grey and Haley's red, two very different colours, by editing them not only to introduce what they might mean, but to compare the two and build up the conflict that might arise."

Paul Wilson immediately thought of the hidden thread in the film-Little Red Riding Hood fought against the big bad wolf, and suddenly realized.

When he saw the re-edited picture played on the screen, he couldn't help nodding his head and said admiringly, "Director, your idea is really amazing."

Murphy just smiled.

A lot of things he can think of, but in practice, it's far worse than a veteran like Jody Griffith.

Still unsatisfied, Jody Griffith continued to refine the cut, and Murphy called Paul Wilson to his desk to help him edit another clip.

Compared to the previous ones, this clip is much simpler, and Murphy has carefully considered the final effect when shooting.

Here's a clip of Hailey's web chat with Jeff.

Murphy did not let the actors appear in the shot when shooting, and naturally only the computer screen was used when editing. The edited shots were all close-ups at first, and then edited from top to bottom according to the chat content, so that the chat content was presented on the screen.

"The top-to-bottom panning also forces a quick scan through the content, creating a sense of tension from the start, while also setting the film's tense, fast-paced tone."

While completing the work at hand, Murphy also explained some questions to Paul Wilson, who was curious, but in the next editing, he stopped using close-up shots and replaced them with panning shots. "Panning can make The depth of field is gradually narrowed, from the first few sentences to one sentence to one or two words, which makes the film feel oppressive and curious, and makes one cannot wait to know what is going to happen next.”

Although his level is not high, Paul Wilson, a rookie, is still nodding his head convincingly.

Murphy added, "There is still a need for dubbing here to achieve the best effect."

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