Hollywood Road

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"what……"

Shouts of panic resounded in the audition room. The little girl with bright eyes and bright teeth shrank into a ball, looking at the teddy bear on the opposite table, looking terrified, "Mommy... Mommy..."

There was water in her eyes, and then big tears rolled down her face.

Murphy nodded slightly, and looked up from behind the camera, "OK, Miss Collins, let's go here."

The little girl was still standing there in a daze, as if she hadn't gotten rid of the state of panic just now, the middle-aged woman who was standing aside hurried over and hugged her into her arms.

"Ms. Collen." Murphy walked in front of the two, lowering his voice slightly, "We will inform you of Miss Collins' audition results within the next three days."

"Thank you." Jill Coren nodded politely, and left the audition room with her daughter.

Murphy went back and turned off the camera, took out the tape inside, marked it, and handed it to Paul Wilson, who had been his assistant all along.

In the audition just now, the little girl's performance was not bad. Among the girls of the same age that Murphy had met, she belonged to the more spiritual type, and the role itself was not too difficult to perform, and the scenes were limited.

In the bottom of my heart, Murphy has been listed as the first choice, but it depends on the price.

Walking out of the audition room, James Franco leaned over as soon as he returned to the living room, "How is it?"

Murphy knew what he was asking, and lowered his voice to warn, "Jim, this is not an ordinary girl, don't do anything stupid."

James Franco went straight to Murphy's tone that night, "Am I that kind of guy?"

Stretching out his finger and pointing at him, Murphy didn't bother to say anything more. James Franco had a weird personality and often behaved unpredictablely, but he wasn't that kind of a fool.

Murphy went up to the second floor, and Carey Mulligan followed from behind, "James is making a bad idea again, and it will affect the crew."

"It's okay." Murphy waved his hand casually, "Jim is a man who knows the importance."

Up to now, he couldn't see that James Franco was a guy with a heart but no guts.

In the next few days, Murphy's main job was to audition. He interviewed more than 50 actors, and finally finalized all the actors in mid-April. The little girl named Lily Collins also became one of the cast members. member.

As for the passers-by audience, Murphy didn't plan to spend money to hire extras. With so many behind-the-scenes personnel in the crew, guest appearances were enough.

Moreover, it has always been a Hollywood tradition for behind-the-scenes personnel to act as background boards.

Once the list of actors has been determined, the crew has been formed and has entered the formal preparation stage.

Murphy has become even busier. He is not only the director, but also the producer in charge of the overall situation. Every task in the preparation must be arranged in place and the final review must be carried out.

The project this time is not much more complicated than the last one. Murphy knew that he had only shot a small-budget movie, and he was definitely not capable enough. He estimated the possible difficulties enough, and unlike mature directors, he The plans made are also more realistic.

In addition to the shot sketches, he also specially prepared a storyboard for each main actor. Although the storyboard cannot be described as all-encompassing, it is also detailed enough, mainly focusing on handwritten personal shots.

In fact, many Hollywood directors also use storyboards. The level of detail of the storyboard mainly depends on two factors: the confidence of the director and the complexity of shooting.

Some directors want to have a very precise storyboard for every shot, while others only decide how to shoot when they are on set.

Only experience can tell a director what method is right for you,

Murphy is clearly still in the groping stage.

Various departments coordinated a unified time, and Murphy led the assistant director, photography, lighting, props, art director and set designer to inspect suitable shooting locations.

This stage is mainly to find practical solutions to meet the needs of the script.

A good director and screenwriter will screen scripts, screen out those scenes that are not suitable for shooting, or screen out the bridges that are too expensive to shoot within the budget. From the perspective of funds, Murphy directly deleted a few scenes that cost Bigger car chases.

In the crew, there are special personnel to search for scenes, props, costumes, pictures, information, etc., and hand them over to Murphy for review.

This is the most difficult step in the preparation stage. Murphy will encounter many challenges, either too many choices or too few choices, and he needs to come up with solutions so that the crew can make the most suitable choice.

This is also the most stressful part of the preparation stage, and Murphy's daily work schedule is full.

In the whole film, there are only a very small number of exterior shots, which are basically shot around the Stanton studio. For the houses needed, from the perspective of saving costs, Murphy also preferred the Stanton studio.

With a few tweaks, Stanton Studios is a decent middle-class home.

In addition, Murphy, the main part of the film, plans to find a large old warehouse for filming. The rental cost of the studio is too high for him to afford. Among the five places submitted by Paul Wilson, he and each After the investigation, the person in charge of the department combined opinions from all sides and finally settled on a scrap steel warehouse on the outskirts of Venice.

First of all, this warehouse has been abandoned for a while, and it looks dilapidated. The rent is cheap enough, only 10,000 US dollars a month; and the space is large enough to build multiple scenes at the same time, and there are still small cranes that used to transport steel on the ceiling. According to the director of photography Philip Lascher, the boom can be used in the overhead shooting of some shots.

After finalizing the shooting location, the crew immediately began to renovate and build the scene. Even for such a small crew, a large amount of data and information from various departments are still collected by director Murphy. The data needs to be sorted out, screened and approved. Usually it is the assistant director If this person is chosen well, he will be very concerned about the project, and will mark any problems or make a record immediately before the problem occurs.

Not to mention Paul Wilson's sense of responsibility, he also has a certain ability, but unfortunately his experience is even worse than him. Murphy can only work with Paul Wilson and sum up his experience in time.

Talents in this world need a process of growth.

In addition, Murphy has to coordinate the work of various departments. There is nothing wrong with a small crew, but there will be many collisions and bumps in the work. Where there are people, there will be conflicts. At this time, it depends on the director and production If the coordination and management ability of people is improved, the work is done well, and the production crew prepares smoothly, otherwise there will be a lot of trouble.

Filmmaking is a collaborative project, and people management is a cornerstone of that project.

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