"I shot a lot of long shots this time. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ”

In the post-production studio in the Fox Building, Murphy said to his head of the editing team, "Jodi, these long shots are mainly used to show the human side and the human side of the struggle, and you have to pay attention to that when you edit. ”

Jody Griffiths nodded, "In the past few days, I have watched all the footage, and with a general idea, I will make a rough editing plan first, and then we will communicate." ”

"Yes." Murphy fully trusts Jody Griffiths, "It's up to you to take care of that. ”

At the very beginning of post-production, Murphy didn't edit it, but had a color grading team assembled, just like in post-production of Man of Steel, where all the shots were color-corrected.

Although all of the shots were shot in dark and gloomy conditions, the use of a da Vinci grading desk was essential to achieve the effect of Project Murphy.

"The previous movies were dark, but compared to this one, they are nothing."

Before all the work began, Murphy brought the post-production team together for a brief meeting, "This film goes straight to the darkest side of the human heart and society, showing the collision of ideologies and personal ideas, and the tone of the film and the darkness of the camera will be the basis for it all." ”

The black inside the film should be further set off by the external blackness.

As he said, compared to this film, the darkness of "Man of Steel" and even "Gone Girl" is nothing at all.

Strictly speaking, this will be the darkest film Murphy has directed since he entered Hollywood, and perhaps it is more appropriate to describe it as a dark film.

To achieve this, rendering the dark tones of the shot is quite crucial.

So, Murphy put the Da Vinci Palette grading at the forefront of all post-production work to highlight this requirement.

Murphy has made up his mind to make this film go further than film noir and become a heavy dark film that really doesn't have any humor elements!

In the field of painting, it is difficult to verify the origin of the "dark style", because evidence of the existence of the "dark style" can be found in paintings and literary works such as Goya's series of black paintings, Bruegel the Elder's "Triumph of Death" and "Triumph of Death", Boccaccio's collection of stories "Decameron".

It's just that at the time, it wasn't called "dark".

Hollywood's traditional film noir, even if the theme is heavy, will often give people a special sense of satirical comedy like "Gone Girl", but dark movies are different, how others watch Murphy I don't know, according to his own understanding, this type of film is more heavy and philosophical, in some ways, "The Matrix" and his "Man of Steel" can be classified into this ranks.

Of course, Man of Steel only scratches the surface, and The Matrix goes even further in this regard.

However, this is not to say that this kind of film is very lofty, but it is almost difficult to see the existence of this genre in today's homogeneous Hollywood commercial films, and in Murphy's understanding, the dark style is the same as film noir, but one of the branches that the film has been forcibly separated.

There is no doubt that Christopher Nolan was the key figure in the dark style of cinema that could really enter the mainstream film industry, and the dark style has even become synonymous with high compulsion.

This style is unique in superhero movies, and has directly or indirectly brought about two trends - first, under its contrast, films such as "The Avengers" and "Iron Man", which follow the mainstream commercial blockbuster style, appear more joyful and popcorn-like; Second, the Dark Knight brought depth and style to DC Comics and Warner Bros., resulting in a unified style and values for the entire DC universe.

This is no longer a superhero movie, and it does not have the aura of the master, what Murphy wants to do is to make him more civilian and dark, and its content is heavier than the previous one, the protagonist does not have so many high-tech bodies, and will be under greater pressure to move forward, and may be crushed or even completely blackened at any time.

To achieve this style, one is the setting and shooting, and the other is post-production.

Once the setup and shooting were basically done, post-production became crucial.

No one is born with a mastery of all styles of film, not even Murphy, who, despite the experience he and his team have gained before, is a careful and meticulous master of every aspect of post-production.

In order for the post-production team to follow this style, the first thing to do is to understand what the characteristics of the dark style are.

Dark, refers to the tone of the picture in these movies, which is artificially darkened, even those scenes that take place in the daytime are dark and damp.

In this movie, most of the plot takes place in the middle of the night, which is also in line with the characteristics of New York City, which will change from a bustling Big Apple to a rotten crime city when dark falls.

The black, mainly refers to the theme of the movie and the reflection of the idea is black, the story will be closely associated with dark, sick, weird, violent, bloody, mysterious, religious, alternative and other words, although the main body of the film is positive, the protagonist is also to punish evil and promote good, but in the development of the story, the above elements are amplified and exaggerated, thus producing the effect of "black".

However, even if it is a man-made concept, it needs to follow certain regulations and styles to be established, and in Murphy's hands, it will also develop in several directions.

First of all, the story is dark, and there will be a certain morbid element to a considerable extent.

Most of the main characters, both positive and negative, will have childhood shadows and traumas, such as Chris Dane's father, who fell into a pool of black chemicals in order to save him, and was burned black by his own eyes, creating a fear of blackness.

This shadow and trauma accompanied his maturity and eventually became part of his values, and this trauma would lead him to present himself with another "sick" image, in which he would always hide in black clothes and black shadows.

In the same way, the actions of the antagonists are not for repayment or revenge, but for the awakening of the masses that involves violence and bloodshed, and their violence is not to a large extent related to personal past and vendettas, but to some kind of redemption and revelation.

Such a villain breaks through the general sense of "bad guy", he has the same speculative and philosophical color as the positive character, so that the positive character is caught in a dilemma many times, such a swing of values and thinking about justice and evil, can be described as a kind of darkness in the aesthetics of the movie.

Secondly, the religiousness and the resulting sense of ritual, mystery, cult, incompleteness, and otherness will be the characteristics of the sensory and narrative elements in the film, and in many passages and plots, the protagonist will be mentioned by key characters, or come out on top in some ceremonial gatherings and activities, before entering the next stage.

Such a setting is actually just a process of self-healing and ability upgrading, but driven by the dark wind, a bridge that could have been full of vitality will definitely become a plot of "climbing up from the mass grave", and the hero has to go through a series of events to wash himself in the process of becoming a hero, and then painfully choose to maintain the status quo.

No matter what it is, what its perception of the world is, whether the world needs to be cleaned up and restarted, heroes are never born heroes.

In this regard, Murphy has watched too many movies about the main theme of heroes, and he has a deep understanding of this aspect, and knows how to avoid that kind of lofty without motives, and the most direct reflection of this kind of thinking is in Chris Dane, whose initial motivation comes entirely from overcoming fear and revenge!

This is a realistic film, it is impossible to be like a superman movie, the protagonist is born a hero, and it is impossible to deliberately create "Wei Guangzheng", so as to get a "fake big empty".

In addition, in the process of post-production, Murphy borrowed a lot of dark styles from painting, expressionism, Gothic, and many modern and contemporary oil paintings.

Of course, there was another question he had to consider, and this was what Twentieth Century Fox was more concerned about - whether the audience would be able to accept the style.

Undoubtedly, this style is several times riskier than Murphy's past film noirs.

If before "Man of Steel", such a dark and heavy film might have been rejected by Twentieth Century Fox at the review stage, but now Twentieth Century Fox is willing to accompany Murphy on his adventures.

The reason is simple, just like Steve Jobs was sought after by countless people.

Another point, Murphy and Twentieth Century Fox are very clear that movies are deeply affected by the social environment, and it is not difficult to find that throughout the development and changes of Hollywood movies, after experiencing countless CG special effects and simple and brainless popcorn commercial blockbusters, the audience's sense of expectation for those popcorn movies that understate the plot and only pay attention to whether the CG is realistic is decreasing to a certain extent, especially those who are slightly older, are increasingly dissatisfied with commercial films that are seriously infantilized.

Therefore, this kind of darkened film noir with the characteristics and creative tendencies of serious cinema can be said to have been produced in accordance with the trend.

Of course, in such a dramatized plot-dominated movie, the direction of the characters is positioned in the dilemma of "alternating good and evil", and a strong logic and speculation are placed for the villain, coupled with some spectacle displays and stories that take place in the night, which can bring a fresh excitement to the audience.

In this style of film, the villain is also key, and if the villain is just a face-painted character in a popcorn movie, the style will be unbalanced.

Reflected in this film, Reiner wants to use his own ideas to heal New York with shock therapy, and Chris Dane believes that it will only bring destruction, and the adoptive father and son are turned against each other due to a conflict of ideas.

This naturally raises the level of the villain, or the forced character.

Murphy and Twentieth Century Fox are quite confident that, in addition to these external elements, they mainly believe that the film can get enough attention with the right publicity and marketing strategy. (To be continued.) )