Chapter 170 of the text volume is a red carpet pusher

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In fact, the core idea of Murphy's post-editing is very simple: it must not confuse the audience, distract them from the storyline, or make them feel annoyed and depressed, but the overall plot framework is simple and easy to understand, which can make most people who watch the film happy.

This is also the essence of the film's ability to be widely circulated.

It took more than ten days to complete the initial cut, and Murphy asked the special effects department to start adding special effects, because the zombies basically rely on makeup to complete, the special effects mainly come from two aspects, one is Jessica Chastain's prosthetic legs, and the other is to darken the tone of all shots.

In all the scenes where Jessica Chastain has a broken leg, the right leg is wrapped around the green screen, and it is not difficult to cut the green screen and replace it with the corresponding wooden leg, M4A1 or Gatling, which is just a very simple post-production technique in Hollywood, which can be easily achieved in the early nineties.

The latter relied on the da Vinci palette to turn all the shots taken during the day into the background of the night.

Again, it's not that hard work.

While adding special effects to the special effects department, Murphy and Russ Beint continued to edit, not counting the subsequent videotapes and TV broadcasts, and they also had to prepare two edited versions for theatrical screenings, one in North America and one in Europe.

The former is mainly released in North America, and the cyan lens is relatively convergent, while the latter is mainly aimed at European theaters, and the cyan scale is larger.

In addition to this, Murphy has also prepared a larger-scale version, which not only has shots of the male and female protagonists Jessica Chastain and Robert Downey Jr., but also a large number of large-scale images of other actresses.

This is a screening version specially prepared for the Cannes screening.

In the world's most famous international film festivals, the scale of Cannes has always been at the forefront, like **** shots or something is too common, if you don't engage in some large-scale cyan shots, you are embarrassed to say that you are a participating film at the Cannes Film Festival.

Murphy remembers very well that at the beginning, a "Love 3D" successfully refreshed the public's three views of the Cannes Film Festival with its amazing large-scale ** content and 3D projection format; On the day of the Cannes premiere, the screening was postponed for 30 minutes due to too many attendees, and he once saw reports that the film was hard to find at the time, and the queue was even more crowded than the New York subway during rush hour.

Since the beginning of the 21st century, the scale of the films exhibited at the Cannes Film Festival has also increased year by year.

Gay, bisexual, ****, s.m...... This is not a thing, in some of the "little ****" specially provided by the Cannes film industry, the scene of women giving birth to children is directly broadcast live throughout the whole process, which is simply unbeatable to the rhythm of flying in the sky!

Maybe that's what some people think of as cinematic art.

"Our goal for the Festival de Cannes is clear,"

While resting in the staff recreation room on the first floor, Erica Steinberg said unabashedly, "Use the film festival to increase the visibility and attention of the film and sell it for a better price!" ”

Murphy and Russ Beint looked at each other, and it was not surprising that even Miramax, who was known for producing art and independent films, was ultimately interested in commercial profit.

"I heard that the screening rights in several overseas markets have been pre-sold?" Murphy asked.

"Our target is not just the overseas cinema market." Erica Steinberg smiled and explained, "Harvey and I both believe that 'Terror Planet' is unlikely to surpass 'Chainsaw' at the box office. ”

He looked at Murphy, Murphy nodded unmindfully, he is a director who knows very well that a box office miracle like "Chainsaw" is hard to come by, and he can't achieve such a terrifying return on investment ratio every time, in most cases, the final box office of a Hollywood film can reach three to four times the cost of production, which can be said to be very successful.

Miramax couldn't have expected the film to hit the box office fifty times the cost of production, unless the Weinstein brothers and the entire company were all amused.

"Revenue from other channels is also critical to Planet Terror." Erica Steinberg said unhurriedly, "Participating in competitions, screenings or setting up exhibitions at the festival can make more potential buyers aware of the film, and can also receive good news such as praise from the audience or the media, which can greatly help the film to make more profits." ”

"It's a pity ......," Russ Beint shook her head and joked, "I don't have a chance to walk the Cannes red carpet as an editor." ”

Murphy and Erica Steinberg laughed.

"You can pay out of your own pocket," Erica Steinberg joked, "and it's not impossible to pay out of your own pocket to buy an invitation and go to Cannes for the red carpet." ”

Rubbing the red carpet Murphy knows, but can you still buy an invitation?

"Can you buy an invitation to Cannes?" He asked.

"Of course." Erica Steinberg wasn't joking, "If you're a Cannes Film Festival sponsor or other filmmaker, it's easy to get an invitation, and if not so, you have the opportunity to be at the Cannes Film Festival and appear on the red carpet." ”

In Murphy's previous cognition, the Cannes Film Festival was definitely a tall store, and he thought that rubbing the red carpet was the limit of Cannes commercialization, but he didn't expect to be able to buy the opportunity to buy the red carpet.

"Ari," he was intrigued, "can you elaborate?" ”

"It's all about money," Erica Steinberg doesn't shy away, "Let's start with the viewing seats on both sides of the red carpet that are easy to be captured by the media and TV cameras, generally the first class seats cost 20,000 euros, the next one costs 15,000 euros, and the worse ones are 5,000 euros." ”

"The price required for walking the red carpet is even higher." He continued, "It's basically more than 100,000 euros, but if you're the face of an official sponsor of Cannes, you can usually get it for 10,000 euros. ”

"There are other public events in Cannes," said Erica Steinberg, a veteran of Cannes, who has seen a lot of things, "for example, for certain brand-sponsored events, you only need to buy a certain amount of the brand's business to get the opportunity to walk the red carpet." ”

Murphy knew that this certain amount must be a lot of money.

"Other Chopin nights, closing ceremonies, or the premieres of popular films, if you are willing to pay for it, you can get a red carpet invitation at Cannes," Erica Steinberg shrugged, "and you will understand once that these are almost openly advertised." And it's not just Cannes, the Venice Film Festival and the Berlin Film Festival are similar. ”

"The Cannes Film Festival costs between 15 million and 20 million euros for a single event, and if the organizers don't find a way to raise money, the festival will be doomed." ”

For ordinary people, it is obviously not worth spending such a large price on the red carpet of the Cannes Film Festival, but for stars, it is a rare opportunity.

According to Erica Steinberg, these money-making methods launched by the film festival are mainly aimed at stars who want to rub the red carpet.

In his words, many international film festivals not only have film sales agents, but also special storage such as "red carpet promoters".

Red carpet promoters not only seek opportunities for stars to walk on the red carpet of film festivals, package stars, and spend high prices to participate in red carpet shows.

Even some companies or institutions in Cannes have launched similar services one after another, and even ordinary people can spend money to buy the opportunity to walk the red carpet.

This kind of "high-level" service is also staggering to Murphy, but I don't know if celebrities can enjoy discounts; Otherwise, it is a waste to spend so much money just to go to Cannes to find a photographer to take a photo and report it in the corresponding media.

He, a director who hides most of his body behind the scenes, can't fully understand the thoughts of the actors and stars.

After talking to Erica Steinberg so much, in fact, the most useful information for Murphy is still that little bit of Cannes is so important!

The heavier the taste of a film, the more it tends to attract attention at the Cannes Film Festival, stirring up debates among the media, audiences and international filmmakers, and the controversy often outweighs the commercial benefits of an electric film.

In the later editing, Murphy also appropriately released the scale of the Cannes screening version, and all the large-scale shots shot in the film, as long as they did not conflict with the overall plot, were edited into this version by him in a suitable way.

After that little special effects was done, he called in the actors again to dub the voice, which was a large area of live recording, and there were not many scenes that needed to be dubbed, mainly focusing on the roles of James Franco, Robert Downey Jr. and Jessica Chastain.

In addition, this time, the soundtrack Murphy still adopts the old way, choosing the right tune from the existing music, paying a certain copyright royalty, and adding it to the soundtrack by a professional sound editor, the soundtrack is mainly metal rock and electronic music, especially the final finale, the soundtrack must be able to set off the atmosphere.

After completing this, Murphy edited two more trailers and handed them to Miramax's marketing staff, and the promotion and marketing of this film will be handled by Miramax's professionals, and he, the director, only needs to cooperate.

The post-production took two full months, and after three different versions were completed, it was not the final film, and the finished sample had to be handed over to Miramax for the final decision by the Weinstein brothers.

In other words, Murphy's cut version is not the last finished film to appear in theaters.

During the last two weeks of April, Harvey Weinstein and Murphy met frequently to exchange views on some scenes of the film, and Murphy now has no money to claim the final editing rights, is not paranoid, and has made appropriate adjustments to some of the film's shots according to Harvey Weinstein's request.

Fast forward to May, and Miramax's North American promotion of "Planet Terror" had just begun, and Murphy and Erica Steinberg, along with several other staff members, boarded a plane to France with copies of the film. (To be continued.) )