Ask for commuter passes and recommended tickets!

After getting out of the car, Montreal showed his ID and walked towards the open-air studio on the set under the leadership of a staff member of the "Inglourious Basterds" crew, but it was impossible to bring in equipment such as cameras and video cameras, so he could only stay in the storage place for the time being and take them away when he came out. Pen? Interesting? Pavilion wWw. ｂiquge。 ｉｎfo

This is the rule of the world studio, most media reporters will also tacitly abide by it, Montreal before becoming a reporter, also spent time in Hollywood, is still a graduate of the University of Southern California film school, served as an assistant director in a crew, and then really couldn't find a way out, so he had to change careers, but he didn't expect to become the chief reporter of the film section in "Entertainment Weekly".

Interviewing Murphy, a Hollywood A-list director, and watching his new project shoot on the spot, of course, requires a journalist of equal status in the industry.

Inside the open-air set, a large area of makeshift grass was laid out, and it was in front of this grass that Murphy met the reporter contacted by Twentieth Century Fox.

This kind of interview doesn't ask much either, and Montreal asks only a few simple questions.

"Director Stanton......" he asked, handing a voice recorder to Murphy, "did the filming go well?" ”

"For the first two to four days, we were in a state close to madness because it was happening so fast."

Because it was a propaganda need, Murphy deliberately said a few more words, "I am almost working around the clock to fight against the jet lag, including the deployment of staff and accounting problems, I am also dealing with it." Because we all know that we're fighting for a special day project, we need to focus on the attention of everyone involved, and if we can't put together a good team, we can't get the film done on time, and we do have an extraordinary and unusual team behind the scenes. ”

Montreal asked, "How do you rate the work of the actors?" And your job? ”

"I think that until now, the work of the actors can be said to be instinctive." Murphy said in detail, "The more instinctive, the better." And the director's job is more rational. When you're directing, you have to ideate, explain it to the technicians and actors, and then it will fall into place. ”

Gal Gadot came over from behind to say hello to Murphy, who said sorry to Montreal and returned to the set to discuss the set with Helena Espora.

Murphy walked over to the camera lens used for the long shot, looked at the set up, shook his head, and said to his art director, "Helen, the scene needs to be adjusted. ”

Not far in front of the camera is a paved location, which is very simple, a farmhouse, a cow, a piece of clothes to dry, a farmer at work, and a green meadow......

Murphy frowned and thought for a moment, then said to Gal Gadot, who was following behind, "Call David Robbie." ”

In the crew, Gal Gadot does not have any preferential treatment, and she never regards herself as a special member, and participates in every aspect of the filming and production with the attitude of an intern who is serious about learning.

A qualified producer can not be as proficient in technical techniques as Murphy and Philip Raschel, but must have some knowledge of all aspects of the industry.

Gal Gadot almost got David Robbie as fast as he could.

"Helen, adjust the position of the cow thirty feet to the left."

Time waits for no one, and Murphy said as simply as possible, "David, I need you to add texture to the grass with low-intensity lighting. Fili, which increases the contrast when shooting, allows both the house and the cow to leave a slender shadow in the shot. ”

Murphy then pointed to the jagged grass in front of him and said to Helena Espora, "I need a lot of open foreground to show the vastness of this place and provide a sense of space, especially when the grass is almost as level as the farmer in the long shot." ”

"And," he said, gesturing to the back of the house, "I remember the setting for the distant mountains?" I'll go to the layout in a moment. ”

Helena Espora nodded, and the distant mountains in the background helped the depth of field a lot.

These preparations began immediately, and an hour later, Murphy's filming began punctually with the shouts of the field reporters.

Montreal, accompanied by two crew members, stood in a specially set aside observation position on the set and carefully watched the filming process.

Because of his professional learning, he used to be the assistant director of a crew, maybe his actual hands-on ability is not strong, but his professional quality is beyond doubt, which is also the biggest capital for him to get the chief reporter of the film category of "Entertainment Weekly".

Compared with the layman of the media reporter, Montreal can be regarded as the film expert in the journalist business.

Standing on this relatively high observation position, the location used for filming is clear at a glance, and just by looking at it, Montreal nodded approvingly, and the good balance between houses, cows, distant mountains and trees on the set also set off the actors smaller.

Then, he looked at a few camera positions not far away, and quickly judged that Murphy Stanton had used a triangular composition technique, with large reflection sources reflecting sunlight onto the actors' faces, and the farthest camera was clearly shooting at a wide angle, easily highlighting the remoteness and loneliness of the scene.

The filming went on one by one, the whole crew and the set were completely under the control of Murphy Stanton, the young director showed super professional ability, no worse than those big directors in Hollywood, and even more active thinking, and some adjustments made on the scene proved to be some genius in the end.

For example, he temporarily switched to a reflector for fill light, and when the shooting was finished, the large depth of field effect of the relevant lens in Montreal was quite outstanding.

Yes, after the morning shoot, he saw Murphy Stanton's partially finished footage.

Montreal originally had the attitude of giving it a try, and asked the crew if he could watch some of the shots that were filmed, after all, his background and professional ability are quite famous in the circle, and when he enters many crew interviews, he can often achieve such a purpose.

This time was no exception, and Murphy Stanton happily agreed, but the number of footage provided was extremely limited, and the two parties also signed a temporary agreement that all viewing content was not photographed or videotaped, and the content of the footage was not directly mentioned in the report.

The crew also wanted to use Montreal's pen to better carry out pre-publicity.

The footage that didn't go through post-processing was actually very rough, but standing in front of a monitor, the first shot I saw made a huge impression on Montreal.

Being able to see Murphy Stanton's film footage before anyone else, Montreal knew that this kind of opportunity was very rare, so he took it quite seriously.

In the shot, a girl is drying the sheets, whether it is the girl herself or the light-colored sheets hanging on the clothesline, they do not exist as a separate individual, all of them actually participate in the expression of the plot.

The sheets are cleverly used as revealing elements and are eventually pulled back to show soldiers approaching in the distance, the dark chocolate brown outfit creates a lovely contrast with the white sheets, temporarily distracting from the background and what is about to be revealed, while simple objects like baskets help balance the composition, or they may be cleverly placed to cover the bottom of the clothes pole.

The costumes are all brown, white, or gray and match the overall tone of the shot.

Then, the time to reveal! It works really well...... The soldiers' distant position gives an idea of how long it will be before they arrive, and the beautiful S-shaped lines guide the direction of the sight – reflected in the winding roads and fields.

The second shot is a panorama of the house, and as soon as it is played on the monitor, Montreal sees the farmer walking towards the house.

"Murphy Stanton's composition is so ingenious!"

Even if it is well-informed, Montreal also sends out a sigh.

In the monitor frame, the stump in the foreground helps balance the frame, its size contrasts with the house and the actors, adding depth of field, and the axe handle erected on the stump directs the eye to the house.

The whole composition is also based on triangles, which perfectly reflects the three-dimensional sense of the lens.

Subsequently, several girls appeared near the house, and the color of the girl's clothes and the blue stone and the fuchsia plant matched quite perfectly? Their complexion is also beautiful, and the girls look healthy.

I don't know if it's a special processing technique, the sky in all the pictures looks a little dark, which is very in line with Murphy Stanton's usual picture style, but if the sky is blue, there should not be such a sharp color contrast.

If you break down the shot into a depth plane, you can see that the composition is subtle, with the distant mountains and the camera's position relative to the house making the composition even better.

If this shot was shot by another director, I'm afraid it wouldn't look so beautiful.

These are the two shots that Montreal can see, but after watching these two shots, he thought about it for a while, and then watched it again, probably because he was afraid that he would forget it for a long time, pressed the button of the voice recorder, and whispered, "The pace of these two shots is so perfect, the tension of Murphy Stanton's construction of the shot is almost overflowing!" The actors also performed quite well, and did an excellent job of completing Murphy Stanton's almost genius lines. I hope he doesn't mind me sharing a little bit of insight in the media: Well done, Murphy! ”

He will submit this recording to the crew's public relations review before publishing it in Entertainment Weekly, and I believe there will be no problems.

In the filming of Inglourious Basterds, Murphy, although he still maintains his usual style, also balances colors appropriately, and pays more attention to depth of field and detail than ever before.

In his spare time, Murphy also returned to Los Angeles to attend the upcoming 80th Academy Awards. (To be continued.) )