Bang - Bang -

Gunshots rang out one after another, and pieces of car glass shattered, dozens of policemen lay down in the back of the car, suppressed by the dense bullets and unable to raise their heads, just behind the glass curtain wall opposite, the figure kept shaking, and someone was aiming at this side with an automatic rifle, and the muzzle of the gun seemed to be spewing flames.

"Get down, get down, get down......"

A sheriff shouted from behind the car, "Get down all of them!"

Shattered glass shards fell from above with a thud as if they didn't need money.

Matthew and an officer descended from a nearby height, and a photographer with a Steadicam set up kept in front of him.

"What's the situation?" he asked, looking not far away.

"Bank robbery. The officer said quickly, "At least eight hostages, four criminals!"

He pointed to the front of the police car, where the blonde female officer was hiding, and said, "One officer is trapped, but the opponent's automatic fire is too strong for us to get close to her." ”

Matthew took off his sunglasses and stood behind a car looking over at the bank, where the officer followed, "They were shooting at us all morning. ”

"Hmm. Matthew nodded, and was about to rush out, but the officer reached out to grab him and reminded, "They have large-caliber heavy firepower, I don't know if you can do it." ”

Matthew broke free of the officer's hand, "I'll be fine." ”

He just wanted to go out, but he only took a step forward, stepped back, opened and closed his mouth several times, and then said a little stiffly, "You guys did a good job!"

The officer was immediately stunned.

Matthew turned to all the cops around him and said, "Well done! Well done!"

The cops were a little uncomfortable at first, but soon someone smiled at Matthew, who put his hands on his hands and jumped into the police car.

"Stop!" Director Peter Borg shouted to stop filming and raised his hand to Matthew's side, "OK! ”

There's also a scene where Hancock flies over a car, which was previously filmed by a stuntman.

The whole scene is the same, the camera and lighting are adjusted, Peter Borg finds Matthew, points to the blonde policewoman hiding behind the police car, and says, "You go over and rescue her, don't run, don't be nervous, have the ease of walking." ”

Matthew nodded, "No problem." ”

Filming went on for more than two weeks, and he also found his form.

The stunt crew over there was also ready, and Peter Borg returned to the director's monitor and shouted, "Shoot...... Let's go!"

The otherwise quiet set immediately became noisy, shouting, gunfire and screams rang out one after another, and Matthew strode towards the police car directly in front of the bank, he could smell the smell of gunpowder, and occasionally looked down, as if he had been shot, and reached out to flick the gunpowder smoke off his clothes.

The shooting effect of the bullet is all dependent on post-production, and he only needs to make a stance.

Matthew walked past a large billboard, and one glass cabinet after another exploded into pieces under the careful control of the stunt team, and all landed on the other side, as if they had actually been shot by bullets.

After walking in front of an SUV, Matthew made a casual slapping motion according to the pre-set routine, and the next second he made this action, the SUV exploded.

As a real man, of course, you can't look back at the explosion.

Matthew came to the back of the police car, picked up the policewoman who was lying on the ground in great pain, and said loudly, "You did a good job!"

The actress just shook her head in pain and couldn't say a word.

"Can I touch your body?" Matthew asked aloud, seriously, "Is that okay?"

The actress nodded with pain on her face, "Please, take me away!"

Matthew grabbed the actress by the arm and prepared to lift him up.

Director Peter Borg shouted, "Stop!" and he nodded to Matthew, then to the stunt crew, "Get ready, you've got twenty minutes!"

The actor took a break for a while, but he didn't relax at all, first watched the footage he had just shot, then coordinated the camera position with the cameraman, and went to the stunt team to check the equipment.

The next shot to be shot is the shot of Hancock holding the police car as a shield, and of course it is impossible for the actor to grab the car and go, which depends on the coordination of the stunt crew.

Peter Borg was meticulous and did not miss anything that could go wrong, not only for today's shooting, but also for all the previous shoots of this film, and he put in a 120 percent spirit and 200 percent effort.

For a director like him, the opportunity to direct such a big production is too rare.

When he first served as Michael Mann's assistant, he didn't feel anything about it, whether it was an actor or a film company, for the sake of Michael Mann's face, he was polite to him, but since he left Michael Mann to become an independent director, he really realized that it is not easy to be a rookie director.

Before this project, he could only direct some small productions in the independent film industry, and the highest investment was only a few million dollars, not that he didn't want to direct a first-line big production, but no one wanted to give a new director such an opportunity.

After filming a few small productions and becoming a little famous, with the help of Michael Mann's recommendation, he met the noble man Aziva Gosman, and although he hesitated for a while, he knew that he could not let go of such an opportunity.

There may really be directors who are willing to stay in the independent film industry for the rest of their lives and dedicate themselves to art, but the vast majority of directors are like him, who has the opportunity to direct first-line mainstream commercial productions, who wants to continue to stay in that small circle?

After inspecting the stunt team, Peter Borg said to the person in charge, "Truss, you check again, don't have any surprises, we'll try to pass it once." ”

"Okay. Said the head of the stunt team.

It wasn't until the stunt crew leader checked again to make sure there was no problem, and Peter Borg returned to his director's monitor, his eyes turned to the actor's side, and his gaze fell on Matthew Horner.

"I'm really lucky. He whispered to himself, "Becoming an independent director with the help of Michael Mann, the first work that turned into the commercial film industry was starring Matthew Horner......"

He has worked hard in the independent film industry, which is the only way for many new directors to start their careers, and compared to himself, the resources and opportunities of most new directors are too bad, or even very different.

Before taking over the project, he once saw a survey report on the survival of new directors from a friend who was doing film market research, and a set of data was particularly eye-catching: among the 60 new directors interviewed who had already made a feature film, 38 percent of the interviewed directors made their own debut films, of which only 21 percent raised funds within a year, and most of the works took one to two years or even more than three years before they could be filmed. Fifty-eight percent of those surveyed who had failed a project were from investment issues, topping the list of all options.

No one trusts a rookie director any more easily than anyone trusts a rookie screenwriter.

Peter Borg knows this firsthand, and there are so few lucky people like him.

In fact, due to survivorship bias, the 60 respondents who already had a feature film were already among the "lucky ones who finally got the investment", and outside of them, even the most professional film research agencies did not know how many film directors had been forced to terminate their dreams because they could not raise money.

Only by making a debut film can you officially step into the ranks of "film directors", but this is a hurdle, Michael Mann once told him: this is a paradox, you want others to pay you to make a movie, first you have to have a film to prove your own ability. So it's going to be very difficult to find investment for your first film.

Peter Borg has personally experienced that professional companies dare not invest, private investment cannot be found, pre-sale rights are not bought, and crowdfunding is more difficult than the sky......

Like Christo Nolan when he first debuted, in order to raise funds for the shooting of his new film, he did not hesitate to put down his body and beg the audience for crowdfunding in the cinema.

Although the road is smoother than that of other new directors, Peter Borg has also fully experienced the hardships and hardships.

When he first left Michael Mann, he went to look for investment and went to a company that made art films, and the person in charge yawned and listened to his laborious narration, and then said, you see what we do is Oscar-magnitude......

So, the other party didn't even read the script and refused.

His project, which was then introduced by Michael Mann, found investment and made a small profit for the production company, but the company that rejected him back then did not regret that it had missed out on a money-making film: rejecting a debut film without anyone's endorsement was what they saw as a professional approach.

As he personally felt: a helpless status quo is that if you are a newcomer, how well your script is written, many times does not give you extra points when facing investors.

Even, the same script will have different fates in different circumstances: with the recommendation of the great director Michael Mann, his project has attracted investment, and without Michael Mann's help, he may not have been able to find investment until now.

Twenty minutes later, filming began on time, and Peter Borg sat behind the director's monitor, intently in control.

The gunshots rang out again, and the filming of "Superman Hancock for All" attracted a lot of media reporters and pedestrians, many people gathered around the periphery to watch, and some fans found Matthew and prepared a pen and notebook, planning to wait a while to find him to sign it.

Francis Lawrence walked out of the door of the Death Star Mansion and met Paula Barton, who was waiting at the door, and also spotted the shooting not far away.

"It's a film starring Matthew Horner that is being filmed. Paula Barton said.