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Any director will do whatever it takes to find a suitable subject for him, rather than waiting for the right project to be delivered to his door, and Murphy has always been able to say that he has "no place to find his iron shoes", but fortunately, sometimes there is good luck that "it takes no effort to get it"!

Just like the injured Quentin Tarantino and Inglourious Basterds, Murphy has had really good luck at times. Pen "Fun" Pavilion www.biquge.info

But luck is only one thing, and if you want to be successful, you have to put in the effort.

To date, he has been involved in almost all of the scripts of his films.

The reason why he writes the scripts for all the films he directs, or actively participates in the writing of the screenplays, is not to become the dictator of a film, but for purely technical reasons, and the script is already a part of Murphy's production style and model.

A screenplay is not a book, not a novel, but a guide, an instruction for use.

In this shoot, whenever Murphy came to the set, he would have a clear plan and idea for the scenes he would shoot every day, and if it was an action scene, he had to let everyone know what was going to happen before the work started, so he often made a "storyboard board" because the technicians and the entire film crew had to be familiar with the requirements for them.

If he is filming other scenes, Murphy does not like to use "plot boards", especially those scenes that require actors to have explosive performances, because this will tie his hands and feet, and rigidly follow his drawings to do, which can never be compared with the richness of reality......

It's like asking a master costume to make a garment and then going to the person who wears it.

Obviously, the opposite should be done: find the person, measure him, ask someone to cut it, and see again until the end to see if there is room for improvement......

Therefore, during Murphy's preparation period and filming this time, he let the actors rehearse, and even did not intervene at all at the beginning, and those actors who were good enough in their understanding would naturally choose the right position.

After so many years of work, Murphy only needs to observe the situation in place, and he can clearly know what to do better.

Except for the necessary guidance, Murphy never shows the actors what they should do, those people are much better than him in acting, and a smart director will not be stupid to direct the actors' specific performances, that is completely putting the cart before the horse.

Many directors tend to over-coach their actors, and actors are addicted to it because they like to be over-coached, and they like to have endless discussions about the role; They like to do a purely rational inquiry into the whole process of creating a character.

Often, they are so dizzy that they lose their spontaneity or talent.

Many people always think that every director is James Cameron on the set and will always squeeze the actors, but in fact, on the contrary, most directors work like Murphy, as long as the actors are not in any situation, they will basically create conditions for the actors to play to their heart's content.

This is also part of the director's job.

From the beginning of filming, Murphy knew what was right for the lead actors, and it was useless to easily not interrupt their good work.

On the contrary, they should be made easy to work with......

Every director has his own style and his own work habits, which has advantages and disadvantages, the most typical is Spielberg, this super director can indeed shoot any subject, but any subject matter is filmed and produced, as long as you carefully distinguish them, it is not difficult to find that they are all made in a mold.

Therefore, if you want the film to maintain its own style and not become a product of patterning, then every film from photography to storyboard to scene design to editing style must come up with something new, otherwise no matter how good the director is to shoot a movie every year, it won't take too long to be bored by the audience.

Spielberg is also typical of this.

Just as "Deadpool" added humor and quick editing, "Gone Girl" blended with suspense thriller, and "Man of Steel" gave superheroes a heavy theme, Murphy in "Inglourious Basterds" in addition to black humor and shamelessness that penetrated to the bones, he also used a lot of brains in the filming and design of each scene.

When Murphy shoots special scenes, he tries to use a single shot, or as much as possible, as long as it is not necessary, he does not switch, and he never shoots the same scene from different angles.

This prevents the actors from doing the same thing over and over again, keeps it fresh and spontaneous, and allows them to try a lot of different things, and they may perform the same scene in a different way each time without worrying about whether it will match other shots.

In terms of directing alone, this kind of film noir that integrates black humor into the entire theme, plot and scene of the film, but does not highlight the jokes, is a very demanding and strict genre film.

It's hard to find the right laugh if you pull out a shot alone, but when you put it into the theme and context of Inglourious Basterds, these hidden black humors will become a laughing stock for the audience.

From the early stages of preparation, Murphy knew very well that "Inglourious Basterds" was not "Man of Steel", and that the final film could not get in the way of the audience's deserved laughter, and nothing could divert the audience's attention from where they should laugh.

If he moves the camera too much and cuts too quickly, he runs the risk of stifling laughter and making it difficult to make a fantastic film noir about World War II.

The final effect of "Inglourious Basterds" is to be dark, simple, and clear.

What Murphy wanted was really a detailed, concise, slightly darkened image, and he wanted to work to see everything, to see the actors do what they had to do, and not to compromise the timing, which was so important to the film.

His last film was a pretty serious film noir, so there was always an urge to shoot and try something out of his head, to enjoy the camera, to enjoy the movement.

But this wasn't Man of Steel, and during the filming of Inglourious Basterds, Murphy had to resist that urge.

On top of that, Murphy has to try to avoid a lot of mistakes in all of his work.

The first thing to avoid is not to do anything that doesn't help Inglourious Basterds.

This happens a lot, and during filming, Murphy suddenly has an idea that he thinks is clever, or wants to try something, but this idea is not suitable for Inglourious Basterds, then he must immediately put it aside.

Of course, this does not mean that rigidity is stubborn, on the contrary, rigidity is also wrong.

In Murphy's mind, Inglourious Basterds is like a plant that begins to grow once it is sown seeds, and if he wants to see it grow, he must grow at the same rate, he must account for changes, and he must be open to other people's opinions.

As a director, it is definitely different from a screenwriter, when a screenwriter writes, he is alone in his room, thinking that he can control everything he writes, and the director comes to the set with the script, which is a completely different matter, the director has to have control and needs the help of other people and the whole team to achieve the goal.

This is something that any director must understand, accept, and value, and they must use the resources they have to work.

For directors, firmness is a quality, but not compromising is certainly a mistake.

The second is that the director has a lot of power on the set and is likely to swell, thinking he knows everything about the film, but that's a joke.

A lot of directors think that the audience will like a certain character, but they are not interested in him at all, but prefer another character that the director hardly cares about, and the director thinks that they will laugh at some point, and they end up laughing at something that the director never found much funny......

This situation, as long as anyone who watches movies from time to time knows, is too common.

But that's why directing is so magical, so fascinating, so fun, that if Murphy thought he knew everything there was to know about movies, he would have stopped making movies a long time ago.

Murphy loves this job, it not only brings him financial income, but also generates spiritual enjoyment, and he is happy to do this job, which is both what he is good at and what he is interested in, and every time he shoots a film, he will be deeply immersed in it.

Even when encountering difficulties, the process of overcoming those difficulties can lead to a kind of spiritual joy.

For example, when filming the scenes of many high-ranking Nazi officials in the cinema, Murphy used 35mm film for the sake of the awards season, and the color processing was no longer as convenient as that of digital lenses.

The scenes in the cinema are dark and depressing, and if you have to shoot in a low-light environment, you will naturally encounter many problems, and Murphy has made ample preparations and a lot of experiments for this.

Low-light shooting often requires trial and error to find the most suitable way to achieve the desired result.

Murphy led the crew to arrive at the scene at least two hours early every day to prepare the shooting equipment and set up the lighting, and at the same time think about the composition in his mind and use the lens to express the picture he wanted.

This traditional way of shooting using film is extremely time-consuming and labor-intensive, but it is necessary to impact the awards season and get better results.

For two films in a similar situation, the answer is very obvious whether the academy will choose film or digital.

Film shooting can be a bit of a hassle, but it's always under control, and as the shoot gets into post-production, Murphy has a real big problem with film. (To be continued.) )