Hollywood Road

The small studio was silent, and the shooting site in front of the camera lens was arranged as a hospital room. Margot Robbie with a golden hair was lying on the hospital bed with her head tilted, and the scattered golden hair covered her exposure. On the outside half of her face, there was only a frown showing that she was not as relaxed as she seemed. ?

The door of the ward was suddenly pushed open from the outside, and a tall nurse walked in, came to Margot Robbie's bed, stared at her for a while, then pulled off the mask that covered her face, The strange face of James Franco was revealed.

As if by induction, the sleeping Margot Robbie woke up, and saw the magician at first sight, with angry eyes as sharp as knives.

"netbsp; Hearing the sound of stopping, Margot Robbie moved the scattered Jin Shun to the back of his head, got out of the role, and turned to look at Murphy. It was obvious that he had made a mistake just now.

"Maggie." Murphy beckoned to Margot Robbie, "Come here."

Margot Robbie quickly jumped out of the hospital bed, without shoes on, and walked barefoot to Murphy's director's chair.

"Sorry." She scratched Jin and said, "I ng so many times again."

This is one of the few long shots in the film, and it is the most critical scene of Jay Rachel. Murphy will inevitably use long shots in this kind of character-building scene. Gert Robbie, always looked weaker than the in-form James Franco.

It seems that this has also affected Margot Robbie's state. The more she wants to perform well, the worse she performs, especially the facial expressions. The pictures taken through the camera lens always give people a deliberate feeling.

"You are a little too strong!"

Unlike the previous times when Margot Robbie was asked to adjust himself, Murphy saw that she had no effect, so he directly pointed out the problem, "Anger is a kind of emotion from the heart, either wide-eyed or angry."

Margot Robbie's staring performance just now made Murphy think of Leonardo DiCaprio. An exaggerated expression does not mean that his acting skills are good.

"I...have any?"

Probably because there were too many times of ng, and Margot Robbie was not sure, "Did I make such a fundamental mistake?"

Murphy shook his head slightly, and did not answer Margot Robbie's question. Instead, he said to the assistant next to him, "John, tell the crew to rest for 20 minutes."

"Maggie." Murphy said to Margot Robbie, "This long shot is the key scene of Jay Rachel's transformation. What you have to do is not to make expressions, but to grasp Jay Rachel. The psychology and background of Chell's character."

Seeing that Margot Robbie's thinking was a little unclear, Murphy decided to use this time to have a good chat with her. He couldn't and couldn't tell Margot Robbie how to act, but he could give her a detailed explanation. It should help Margot Robbie to dissect Jay Rachel's light and dark changes in "Dark City."

"Jay Rachel's blackout from New York's 'Knight of Light' may seem heartbreaking, but it's no accident."

This role is what Murphy thinks about the most, and she naturally has a clear control, "She vowed to eradicate crime in New York, but turned a blind eye to the cooperation between her senator father and Renner, and the 'fanatic pursuit of justice' she showed was just one side That's all, but her other side has long existed and has always existed! The magician's logic of "when there is no need, who doesn't want to be righteous" can be applied to her to the letter."

Listening to Murphy's words, Margot Robbie was also recalling the script and her own analysis of the role of Jay Rachel in the past.

It can be said that Jay Rachel in the script looks upright and kind, but as Murphy said, she has always had another side. Jay Rachel is not pursuing "light", but her Now, I can pursue influence by pursuing light.

Jay Rachel knows very well,

Gaining the support of New York City citizens through "a fanatical pursuit of justice" and the financial support of Chris Dane are huge benefits.

Originally, all of this could go on, however, Jay-Rachel's survival logic was suddenly subverted when her loving father died.

From this point of view, Jay Rachel and Chris Dann are not the same people at all. There are fundamental differences.

Inspired by Murphy's words, Margot Robbie immediately thought of the difference, Chris Dann is not interested in influence, he is pursuing justice and protecting New York, even at the expense of making people think he has broken the ring , but he is willing to take it all, and let the citizens of New York meet the light. This is not a show hero, but a real hero.

"The important thing is not the form, but the soul!" Murphy said at this time, "This is what magicians and Chris Dane have in common!"

Margot Robbie nodded, "I understand, what matters is the soul!"

She smiled at Murphy and said, "There is still time, I will go back to the dressing room to be quiet for a while."

Murphy waved his hand and said, "Go, I'll send someone over to call you when it's almost time."

Picking up the water glass next to him, Murphy took a sip and used this time to clear his mind. It's not just characters that need a soul, but also movies!

There is no doubt that the soul of the film "Dark City" is not the actor Chris Dane, nor the heroine Jay Rachel, nor the Inspector Lynch who has been promoted from deputy director to police chief. , but the magician of James Franco!

There have been robbers who robbed them of their gems, but they threw them away. They are not interested in gems, they do it just because they think it is interesting. They won't be bribed, intimidated, reasoned, or negotiated, some just want to watch the world burn.

The magician is such a person, and everything else is removed, and the chaos he represents is the soul of "Dark City".

Any good movie has a soul!

In Murphy's more than ten years of Hollywood director career, there are many people who recommend themselves, but the most common problem in their scripts is the lack of emotional core, that is, "soul".

Murphy defines "soul" as the emotion that the audience gains from the script and touches their hearts. When creating a script, the core of the story should not be the plot, but the theme of thought. This is the universal feeling that can touch everyone. Emotional experience, take the loss of a loved one as an example, in every city in the world, from the largest city to the smallest village, everyone will experience the sadness of losing a loved one, this is a universal emotion and common to all human beings experience.

As human beings, viewers have all experienced the loss of a loved one in one form or another, and it is part of a collective consciousness, a universal emotional experience that transcends cultural barriers and touches most people.

Studies have shown that people perceive things consciously or unconsciously through watching movies, which is why TV shows and movies have endured for so long because of their ability to touch audiences.

People want to get emotional experience, whether it is joy, anger, sorrow, joy...

Great screenwriters and directors know that people often instinctively connect to emotions. This is the inner impact of the ideological theme of the story on the audience, making the audience empathize with them. It is what the audience experiences through watching movies or TV. It is the experience of the story that brings them emotional impact.

To find the center of your story, all you have to do is create the main characters of the story. At the center of the story is usually the growth of the main character, or lack thereof.

Growth, defined by Murphy himself as a character's inner change over the course of a narrative, is the personal dilemmas a character goes through in which they struggle with them, either like Chris Dane and overcome them, or like Jay- Rachel was defeated like that.

These can come in many forms or mixtures, be emotional, intellectual, psychological, spiritual, deficiencies, or traumas that need to be healed.

Think about the movies that touch the audience the most, the ones that last, the ones that people keep coming back to, are basically about the central theme of being human overcoming or being defeated by one's own weaknesses, which is what makes those classic characters so fascinating for the sake.

They struggled and struggled in the journey of life, and then the theme of the story that finally grew up is what attracts and impresses the audience.

Character growth can be a Chris-Dane-like positive turn, often with an uplifting ending, or a Jay-Rachel-like negative turn, usually with a sad ending.

At the same time, the growth of a character can be a huge change or a subtle change; This is a huge shift.

Jay Rachel falls into this category.

However, whether it is a big or small shift, Murphy upholds the principle that the growth of characters usually leads to the heart of the script, and this proverbial emotional glue is precisely the reason why the audience sticks to the story.

Twenty minutes passed in a flash. Before Murphy called, Margot Robbie returned to the set by herself. After the makeup artist touched up the makeup, the shooting started again.

With Murphy's guidance, Margot Robbie's performance improved greatly. Although she made a mistake and caused two ngs, she became more and more confident and finally passed the third shooting.

The filming of the crew in the studio has also temporarily come to an end, and Murphy is going to go to New York to shoot exterior scenes. 8 For more exciting novels, welcome to visit our Reading Academy