Chapter 169 Core Concepts of the Text Volume (Ask for Subscription)

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No matter how busy the work is, it is necessary to ensure a certain amount of rest time and complete all the filming work, Murphy gave the crew three days off, and most of the personnel will quit the crew after receiving part of the remuneration, except for a small number of actors who need dubbing, there are not many people who are qualified to participate in the post-production.

In the past three days, Murphy basically hid at home, firstly, to relax the nervous nerves after busy work, and secondly, he did not want to be disturbed.

After these months of noisy and noisy, there are some things that cannot be turned back, and things have developed to this point, and Murphy himself does not want to go back.

After two days of hiding, Murphy felt that the mood he had suppressed during this period of time was slightly better.

Then, Bill Rothes came to him.

"I just spoke to Miramax and Harvey Weinstein yesterday,"

By the pool in the backyard, Bill Rothes sat under a sun umbrella and took a bottle of juice from Murphy, "The world premiere of the film will be in Cannes. ”

He looked across the side, Murphy's face was hidden under a pair of oversized sunglasses, and he couldn't see the change in love.

Although the shoot went smoothly, Bill Rothes knew full well that something was already affecting Murphy's work.

It wasn't much before, and after seeing the rebellious side of Carey Mulligan thoroughly, he really didn't want her to bother Murphy anymore and affect his future.

He sees things first and foremost from the perspective of Murphy's agent, not Kerry Mulligan's.

Murphy grabbed the cold drink on the small table in front of him and took a big sip, "Have you decided on the itinerary and the people going to Cannes?" ”

"It's decided," Bill Rothes nodded to Murphy, "you and producer Erica Steinberg are going to Cannes before the festival starts, going through some screening formalities." I'll go over before Harvey and I premiere. ”

"What about the personnel?" Murphy asked again.

Since the crew is in Cannes for the world premiere, the main cast and crew will definitely need to rush over.

"The cost is limited, and there won't be a lot of people." Bill Rothes thought for a moment and said, "Mainly in front of the scenes. Donnie, Jim, Seth, Jonah, and Jessica Chastain. ”

Murphy's eyes closed and opened again, then he took them off, looked at the pool next to him, and shook his head vigorously, as if throwing away a lot of things.

Bill Rothes looked at Murphy and deliberately added, "This is the list given by the Miramax side." ”

From the investment to the production to the distribution, the film all came from Miramax, and they have the real decision-making power of the film.

Murphy nodded, "You guys deal with it." ”

He stood up, "And, Bill. In the last two months, I will devote myself entirely to post-production, and you will take care of the tedious affairs for me. ”

"No problem, just leave it to me." Bill Rothes also stood up, "I'm going back to the Death Star Mansion, call me if there's something." ”

Seeing off Bill Rothes, Murphy went upstairs and sat in his study for a full afternoon, and the three-day vacation was over, and he got back to work.

Busy work can also make him forget some unhappy things.

With the full support of Miramax, this post-production zuò is completely different from the previous two, the post-production zuò room does not need to be rented, Miramax has a related studio in Burbank, and it is fully equipped to meet the production needs of "Planet Terror".

However, Murphy did not have the final editing rights.

It's also a natural thing, the first two films were all invested by Stanton Studios, and Murphy, the director and producer, has all the decision-making power, but this time it's different, even if the director's opinion and weight are heavier in independent films, it's still the producer-centric.

To put it bluntly, Murphy can come up with various ideas and ideas in post-production, and be deeply involved in them, but the final decision of the film is in the hands of Harvey Weinstein.

Similarly, the editor is no longer Jody Griffiths, Murphy's first two collaborations, but Russ Beint, hired by Miramax.

"Be careful in the choice of editing points!"

In the studio, before the first cut began, Murphy communicated with Russ Beint, "When I was shooting, I left enough editing points, and I thought that if I edited according to those editing points, the final result would be smoother." ”

The two had seen all the footage before, and Russ Beint also had a general impression, and nodded lightly to Harvey Weinstein on the other side.

In fact, the editing points mentioned by Murphy are mainly used in the scene switching of different characters.

For example, the doctor played by James Franco opens the door, and the camera switches to Jonah Hill pulling the door in another scene.

Edit points like this were reserved by Murphy a lot during the shoot, such as Seth Rogan turning on the faucet, the water just flowed out, just in time to switch to the shot of Robert Downey Jr. washing his hands.

It's also a very common way of editing in Hollywood, so neither Russ Beint nor Harvey Weinstein objected.

In particular, Russ Beint, as an editor, was involved in the whole filming process and had enough communication with Murphy.

He knows very well that Murphy Stanton, a young director, is not just talking, and the filming of the film did have enough preparation for editing.

The process of filming is fundamentally shooting for the sake of editing, and the ultimate goal of shooting is not to shoot a good shot, but ultimately to serve the narrative of the film, so the director must shoot the shots needed for post-editing, so that these shots can be spliced together to complete the entire scene and plot, complete a logical, coherent and touching finished product, and achieve the ultimate goal.

This is a very simple principle of shooting, but there are not many directors who do it, and many directors like to shoot nonsense.

Russ Beint saw very clearly that the director, named Murphy Stanton, had a clear idea, an orderly shooting, and implemented this principle well.

Such a director is the editor's favorite director, and he is also the director that the production company likes.

He glanced at Harvey Weinstein, and the other party was able to support a young director like Murphy Stanton, not because of blind trust, but because this director won for himself with practical actions.

Harvey Weinstein and Erica Steinberg sat on the side, never speaking, just watching Murphy take over the post-edit.

Just like Russ Beint, they had already seen Murphy Stanton prepare for the post-production during the shoot.

The film can only shoot one scene at a time, and only one shot can be shot at a time in each scene, no matter how complex the scale of the whole film is, it can still only be shot one shot at a time, and when shooting each shot, Murphy Stanton keeps in mind the overall goal of shooting, so that this shot must be consistent with other shots, so that the whole scene can be stitched together.

Continuity is a big problem in filmmaking, and it is one that directors must always be vigilant about, and continuity mistakes can make a few hours of filming useless, or lead a lot of problems when editing.

Murphy Stanton managed to circumvent these.

In addition to being strict during the shoot, Murphy and Russ Beint also paid great attention to continuity during the first cut.

The first is the continuity of the content, which has to do with anything visible in the scene: the costumes, the hairstyles, the props, the actors, the cars in the background, the time on the clock, Murphy and Russ Beint have to make sure that everything is continuous in the different shots, and those shots that can be made wrong in the shot, are also cut out as much as possible.

These kinds of problems are so big that they are very obvious, such as Jessica Chastain wearing a red skinny t-shirt in the main shot, but changing it to a golden red one in the close-up.

There are also extremely small and extremely detailed shots, such as a scene where James Franco enters the camera with a cigarette that is almost finished, and the camera cuts to a freshly lit cigarette.

While script supervisors, on-set costume and prop technicians, and director Murphy all worked to prevent these mistakes, people are not precisely calculated, and like in other Hollywood films, it's impossible to completely eliminate them.

Therefore, Murphy and Russ Beint should try to avoid using these wrong shots in their editing, and if there are shots that have continuity errors during shooting, they must use them, and cut out the wrong scenes as much as possible.

There is also the continuity of action, which is more important for a film like "Planet of Terror" than the continuity of content.

Anything that moves in the shot must also move in the next shot, it's a seamless connection of movement, whether it's opening a door, picking up a book, or parking a car, the movement in the front and back shots has to be free, and Murphy has to be very clear about how the two shots are going to be edited together, which is crucial.

During the shoot, Murphy shot a variety of action shots in a well-planned, safe and effective way to avoid overstretching the post-editing, most importantly by overlapping all the action.

For example, in the scene where Jessica Chastain pulls the door open on the set in Venice, the scene described in the script ends before she can fully open the door, but Murphy still lets the camera shoot for a few more seconds during the shoot until the whole action is complete.

Murphy knew very well that he didn't get stuck at the beginning of the action, giving a little more lead time and delay in the camera, and getting the full action into the shot.

These are very important for the shooting and post-editing of a film, and can even affect the success or failure of a film.

A good post-production zuò can sometimes even turn a bad shot into magic.

However, these principles of continuity are not the core ideas of Murphy's late Zuò room, and his core ideas are never proclaimed to the public. (To be continued.) )