Ask for recommended tickets and Sanjiang tickets!

Murphy shot a thousand minutes of footage, and although the filming followed the sequence of the story, it still required a huge amount of work to edit these into a 90-minute or so film.

The entire post-editing work was mainly done by Murphy and editor Griffith, with intern Paul Wilson and Griffith's two assistants acting as assistants.

The specific editing was handled by Griffith, and Murphy was mainly responsible for reviewing and elaborating on the requirements for the film.

Any clip will have a main line, and Murphy's main line is very simple, Hayley finds the sins that Jeff is hiding in the room, and then gives the corresponding punishment, and then finds and punishes again, until the final castration and hanging.

In fact, the reason for this is very simple, after being changed by Murphy, the heroine Hayley is even more ruthless, which is also to increase the attractiveness of the large-scale picture, but in this way, there are also problems, and the viewer is likely to be disgusted with the heroine, which is not what he wants to see as a director.

is disgusted with the protagonist, is the film still attractive?

Therefore, Murphy increases the guilt of the male protagonist Jeff, and every time Hayley is tortured, he can always find new guilt, which makes people's disgust for him deeper, so that Hayley's actions naturally become very happy.

But this method can't be used too much, and Murphy prepares three main stages, a bundle spraying pepper water, a castration, and a hanging.

Of course, the corresponding verbal and psychological destruction is also essential.

Post-production is more than just editing, and Murphy did this first, as he and Griffith watched the black-and-white opening footage from all angles before finalizing the use of Shot Seven from an oblique overhead shot as the opening scene of the film.

The effect of this shot is quite brutal, and the different expressions of the victim played by Emily and Jeff, the perpetrator, are displayed in all directions.

The opening screen is only a few minutes, and it is a full long shot, and after Murphy and Griffith have discussed, they don't plan to re-edit it for the time being, and use it directly.

The progress of the editing work is not fast, even if it is only a rough cut now, and in the past morning, Murphy has only settled on a shot.

He is very cautious, more careful than when shooting, and editing can directly determine the success or failure of a film.

Nowadays, montage is a completely cinematic word, in fact, montage is to connect different shots and different scenes through guò screen editing and picture compositing, creating a unique cinematic time and space to guide the audience's emotions and psychology.

The most typical function of montage is to speed up the pace of the film, which is also the biggest application in films with simple narratives such as "Hard Candy".

Later, Griffith edited the first meeting between Hayley and Jeff, which is to use montage to speed up the pace, two strangers will inevitably be verbose when they meet, and the length of the film determines that it must be concise and clear, and the gucci editing makes the picture constantly change between Hayley and Jeff, and these scenes can be completed in just a few minutes.

Griffith stood in front of his workbench and worked intently, in front of him was an old-fashioned screen with a piece of chalk in front of it, which is the usual way for some veteran editors, who would find something that was proportional to the screen — like a cigarette or chalk in front of the screen — to use a reference for something to judge what it would be like on the big screen, which was the process of rough cutting.

However, after each clip, Griffith would use the big screen to really look at it.

After completing the rough cut, Griffith handed it to his assistant and played the edited clip on a twenty-seven-inch screen.

In the picture of the screen, there are only Hayley and Jeff, and the camera always revolves around the two.

"Jody!" Murphy walked up to Griffith, pointed to the two people on the screen, and said, "Can we add some separate shots of the two people to make the picture frequently shift between the gray and red they represent?" ”

Griffith immediately understood what Murphy meant, and slapped his palm gently, "Good idea." ”

He beckoned his assistant to pause the playback and prepare to re-edit.

On the other side, Paul Wilson has been keeping an eye on this side, he is from a professional class, but he lacks experience, and he can't figure out what Murphy and Griffith mean, so he can't help but walk behind Murphy lightly.

Paul Wilson is willing to be an unpaid intern in order to learn, and when he doesn't understand, he will naturally ask.

"Director," he asked softly, "I ......"

Murphy turned his head to look at him, and Paul Wilson touched his head embarrassedly, but didn't say the second half of the sentence.

"What Jody and I meant was trying to make comparisons between Hayley and Jeff and a montage between contrasting images." Murphy liked the industrious, free labor, and said in a low voice, "Imagine the picture constantly shifting between Jeff's gray and Haley's red, two very different colors, and editing them through guò not only introduces what they may represent, but also compares the two and establishes possible conflicts." ”

Paul Wilson immediately thought of the hidden thread in the film - Little Red Riding Hood countering the big bad wolf, and suddenly realized.

When he saw the re-edited footage playing on the screen, he couldn't help but nod his head and said in admiration, "Director, your idea is really amazing." ”

Murphy just smiled.

He could think of a lot of things, but in practice, he was far worse than a veteran like Jody Griffith.

Still not satisfied, Jody Griffiths continued to refine the clip, with Murphy calling Paul Wilson to his workbench and asking him to assist him in editing another clip.

Compared to the previous ones, this clip is much simpler, and Murphy has carefully thought about the final effect when shooting.

Here's a snippet of Hayley's web chat with Jeff.

Murphy didn't let the actors appear in the shot when shooting, and naturally there was only a computer screen when editing, and the edited shots were all close-ups at the beginning, and then edited from top to bottom according to the content of the chat, so that the content of the chat was presented in the frame.

"Moving the camera from top to bottom also forces a quick look at the content, creating a sense of tension from the start, while also setting the tense, fast-paced tone of the film."

While finishing the work at hand, Murphy also made some explanations to the curious Paul Wilson, but in the next edit, he no longer used close-ups, but replaced the content with a panning lens, "Panning the camera can gradually reduce the depth of field, from the first few sentences to a sentence to one or two words, which makes the film feel oppressive and curious, and makes people can't wait to know what will happen next." ”

Although his level is not very high, Paul Wilson, a rookie, still nods convincingly.

Murphy added, "You need voice acting here to get the best effect." ”

;