Chapter 204 of the main text volume is a sincere invitation

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The biggest difference between the post-production of this film and Murphy's first two films is not the large increase in special effects shots, but the presence of a dedicated soundtrack dedicated to Sin City.

Murphy doesn't know a lot about music and won't be involved in the creation of the soundtrack, but all the soundtracks must be approved by him if they want to be added to the film.

Although the final decision-maker for post-production is Harvey Weinstein, this big Jewish fat man is currently working on the Oscar PR of "Chicago", and is only responsible for the final review, and the specific work is still to be done by Murphy and Erica Steinberg.

And, of course, there's Frank Miller, with whom Murphy has gradually formed a wordless tacit understanding after months of working together.

Murphy kept the film's footage in the style of a comic, and Frank Miller turned a blind eye to the market-friendly stuff that Murphy stuffed in.

Although this old man is a little stubborn and suspicious, he is not completely unaware of the flexibility, his comics can sell well in the United States, and he must also understand that what is suitable for the market can really spread.

He and Frank Miller have contradictions in filming and production, but they are always within a certain range, and there has never been a fierce conflict.

And the picture style that Frank Miller cares about the most is also what Murphy agrees with.

At Murphy's request, the first thing the makers did was to remove the colors and turn them into pure black and white, but the colors could be returned to the frame at any time.

Murphy uses color as a weapon, and color becomes a powerful narrative tool, such as Godie's real skin tone and blonde hair, while the yellow mongrel's mustard yellow skin is particularly eye-catching.

If Murphy wants to highlight a character's pain, he will return the blood to bright red, like a close-up of the color.

The three special effects companies in Venice were responsible for the film's special effects background, each responsible for a story, the studio under the digital domain was responsible for Sin City, and the other two were responsible for sniping and yellow mongrel respectively, and each story required more than 600 special effects shots, all of which combined were more than 2,000.

In the actual shooting, it didn't cost too much, and most of the money in the cost budget was actually prepared for the post-production of special effects.

"Mitchell, red isn't bright enough!"

In the special effects studio, Murphy stood in front of the big screen, holding his chest with one hand and pinching his chin with the other, looking at the clip that had just been sent to complete the special effects adjustment, this is the scene where Muffle and Godie get along, and it will also be the most intense color contrast in the film, but the red color rendered by the special effects does not satisfy Murphy.

He told Mitchell Williams, the person in charge, "The black and white here needs to accentuate the color, and the color needs to be extremely dazzling against the rich layers of black!" ”

Murphy pointed to Muffle and Gottie on the picture and said, "For a man like Muffle who is as rude as a murder machine and has an ugly face, he originally didn't know what love was, but after kissing the prostitute Gottie, he fell in love with Gottie deeply and regarded her as his goddess, and here Gottie must use dazzling colors to highlight her golden hair, snow-white skin and red silk dress, which forms a strong contrast with the black of the background!" ”

"I'll take it back right away," Mitchell Williams said quickly, "and readjust." ”

Murphy glanced at him and said word by word, "Be fast!" ”

Mitchell Williams swears, "I promise!" ”

The scene between Godie and Muffle can be said to be the scene with the biggest difference in color in the whole film, the lens is the language of the film, and color is one of the expressions.

During the shooting, the bed where Godie and Muffle had a fish-and-water affair was a huge red heart, and Murphy took the overhead camera position, making this love-symbolizing heart seem like a flat boat in the black ocean.

In this way, when Muffle wakes up, Gottie has been killed, and since then Muffle has been wanted by the police and prostitutes, and Muffrey, who has lost his beloved, is determined to take revenge, and he attacks everywhere, not for his own safety, but to find Gottie's murderer.

In addition to color, Murphy was also very demanding about the light and shadow design produced in the post-production of each shot.

Murphy almost abandoned color in the use of color, and used extreme black and white to show scenes of violence and crime.

In this case, the role of light and shadow comes to the fore, and since there is no color as a distinction, the viewer's dependence on lightness and darkness increases.

In comics, painting techniques can be used to create shadows for characters and objects, and movies in the face of real people are different from comics, Murphy gave up the real scene in the shooting, and did not hesitate to use high-definition cameras combined with special effects departments to make the background and process the picture, which shows the great importance attached to the lighting effect.

Take, for example, the design of light and shadow in a bar.

The bar is an extremely important venue throughout the plot, and here is the intersection of three separate stories.

At the same time, in this inherently dark city, the bar is a mixed and ambiguous place, with people ranging from police to gangsters, drug dealers and prostitutes, most of whom are perverts who come for Nancy's beauty, and the positive characters are also looking for the person they are looking for.

Therefore, in the bar, the light is ambiguous, and under the smoke, the light of the whole bar swells with a sense of oppression.

In his post-production of Zuò, Murphy has always used the interpenetration and mutual influence of the language of film and comics to create a unique visual effect.

Although the graphic style of movies and comics is in the same vein, as we all know, comics and movies are two completely different forms of art, although Murphy has the original comic book as a basis and is extremely faithful to the original book, this does not mean that the color and light design of the film can be in an absent position.

Helena Espora, as artistic director, also played an important role in this.

While perfecting the special effects for the shots, Murphy also called in all the main actors to dub in the post-production room, and there was no live recording during the shooting, all the dialogue and narration were re-recorded and added to the film.

This is not an anime dubbing, all the actors have experienced the performance of the characters, and the dubbing work is relatively easy to do.

"Why do you think I keep writing?"

In the studio, Jessica Alba looked at Nancy on the screen and said into the microphone, "I've always loved you, Hardy, for so many years, and I've tried to fall in love with other boys!" But I can't do it...... me, Hardy! Sleep with me! I've been in love with you for a long time......"

As with all crews, most of these recordings were made by an actor on his own, even in dialogue scenes, where Jessica Alba was the only actor in the studio, who read the dialogue like a monologue.

Compared to shooting, the recording went much more smoothly.

Towards the end of the day, Murphy came out of the special effects studio and walked into the studio, where all the dialogue that needed to be recorded by Jessica Alba was completed.

Of course, she doesn't have many scenes, and her lines are relatively limited.

"Hi, Murphy!"

Seeing Murphy come in, Jessica Alba immediately smiled sweetly and raised her arm to wave at him.

"Hello, Jesse."

Nodding to Jessica Alba, Murphy didn't go over, but walked over to the sound engineer and asked, "How's it going?" ”

The recording engineer whispered, "It's okay, the line skills are much stronger than the acting skills." ”

After speaking, he handed Murphy a headset, Murphy took it and put it on, listened to it for a while, nodded approvingly, and said, "Okay, that's it, here today." ”

After finishing Jessica Alba's recording, there are only a few minor actors left to record work, and after nearly two months of busyness, the post-production is gradually coming to an end.

Murphy raised his voice and said to everyone in the studio, "That's it for today, let's get off work." ”

He also had a busy day, and he didn't care about the others, leaving the studio, going to his makeshift office, grabbing a briefcase, and walking out of Miramax's office building to his car.

Pulling the car door, Murphy was about to get into the car, and suddenly there was a sound of clattering high heels falling to the ground in front of him, accompanied by a crisp and sweet woman's voice.

"Wait, Murphy."

Hearing this, Murphy turned his head to see Jessica Alba in tight jeans walking quickly, waving to this side as she went, as if he was afraid that he would leave.

Murphy closed the car door and waited for Jessica Alba to walk in a little bit, looked at her and asked, "Is there anything wrong, Jesse?" ”

"The car I hailed didn't have time to come," Jessica Alba said as she got closer and closer, finally stopping near the front of the Cadillac, standing there playfully, "can you take me to North Hollywood?" ”

If you go back to Santa Monica, it can be considered a smooth walk from that side, Murphy nodded lightly and pointed to the co-pilot, "Get in the car." ”

"Thank you!" Jessica Alba walked over and pulled the car door open.

Murphy also got into the car, started the car and drove onto the road, the speed was not fast, he drove relatively steadily, and he could no longer see that he had driven frantically after the murderer and the chasing policeman.

Like all successful people, now in him, there is no trace of madness in accumulating raw capital.

"Murphy," Jessica Alba broke the silence in the car as it was about to enter North Hollywood, "what do you usually do after work?" ”

"Go home, rest, and think about what you didn't do today." Murphy stared ahead and said casually, "Plan what you're going to do tomorrow...... That's about it. ”

Jessica Alba turned her head to look at him, isn't that too boring?

The Cadillac suddenly stopped by an apartment building, and Murphy looked at it and asked, "Is this it?" ”

"Yes, this is it." Jessica Alba smiled, "Thank you. ”

She pushed the door open and got out of the car, and just as she was about to close the door, she suddenly turned around and looked down and asked, "Would you like to go to my place for a cup of coffee?" ”

Murphy turned to look at Jessica Alba, she had a very sweet smile on her face, and the invitation sounded very sincere. (To be continued.) )