Ask for a commuter pass and recommendation!

Warner Bros. has officially confirmed that a director named Walter Brofski will direct the latest DC comic book superhero film, Suicide Squad. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

Choosing this time period to be announced, Murphy's own guess, Warner Bros. may not have shown a tough attitude, but it didn't have any effect on him, after all, he didn't have to get the guide of "Wonder Woman".

When he returned home, he logged on to social networking sites again and looked at Walter Brofski, a very unfamiliar name.

However, Murphy didn't think it was strange, there are many directors in Hollywood he doesn't know, such as the former Jon Favreau, if it weren't for the film "Iron Man", I believe that not only him, but also a considerable number of fans would not know this fat director.

Hollywood has a lot of lesser-known directors who have been directing for years in independent film circles and other smaller film and advertising circles before directing high-profile productions.

It is rumored that the investment of "Suicide Squad" may be as high as 150 million US dollars, and finding such a director to direct it, even if there is a small conflict with Warner Bros., but Murphy believes that they are definitely not crazy, and must have their own reasons.

In Hollywood, it's not uncommon to see examples of small directors with enough credentials to direct big projects.

From the perspective of people outside the circle, these directors must be geniuses, and their new debut can win the trust and appreciation of large companies, and get the guide tube of a big production with a production cost of hundreds of millions of dollars......

But no one in the circle would see it that way.

These so-called novice directors who are not famous are actually veterans, but they have not been the directors of commercial blockbusters, and now the Hollywood commercial film system is perfect, and the producer system can ensure that the quality of the film will not become a complete disaster due to the director's failure alone, not to mention that these directors will not have the final editing right at all.

In a situation like this, there must be the support and recommendation of heavyweights, and the role of this aspect is quite crucial.

On the other hand, most of Hollywood's artisan directors tend to be good at more than one similar and can cope with multi-minute genre films, except for some special genres - such as musical and dance films, film noir - so as long as you carefully examine and finalize the director candidate, there is basically no such thing as an inappropriate situation.

For example, if you ask Ridley Scott to direct a pure romance film, it won't be too bad, but the director's interest is not here.

Also, producers, art directors, and experienced editors are the guarantors of the project, and most of the ordinary directors of Hollywood popcorn commercials are just the people who string together the entire project, and sometimes even just live performance directors.

Under the reminder of typical commercial operations in Hollywood, the importance of the director of those commercial popcorn films with serious homogenization has been weakened too much.

Take Carla Firth's ongoing X-Men reboot "X-Men: First Fight" as an example, the actors Michael Fassbender and James McAvoy who have been finalized are the producers of Carla Firth, the script was written early by the screenwriter, and Matthew Vaughn as the director does not have the final editing rights.

Don't say it's him, another "Alien" series rebooted by Carla Firth, a project that has been named "Prometheus", the big director Ridley Scott doesn't have the final editing rights, it's unimaginable, right?

Ridley Scott is undoubtedly a Hollywood A-list director, but his power in the crew has been reduced to the limit, because his last film lost a lot, and everything is so realistic in the commercial film industry that speaks with box office results.

In these ordinary commercial productions, for the production company, the director is here to work, and if he is disobedient, the producer has every right to change the director.

This kind of high-investment commercial production is actually extremely rigid in creation in Hollywood, because I am afraid of losing money because I accidentally encounter the audience's taboo by innovating, so I can always feel that the start and end of blockbuster films are almost the same.

Many times, for this kind of general popcorn commercial blockbuster, the producer doesn't want to find a director like Murphy who requires great power, because a director like them has ideas and the right to final editing, but this is a production of hundreds of millions of dollars, and it can't allow one person to be so creative.

The flip side of this logic is, are directors like Murphy willing to be angry with this?

In fact, not only in big productions, the director is often not recognized, but the actors are often not recognized, or they are just recognizable but not particularly famous and can cause screams.

Because in fact, this kind of movie throws most of the budget into special effects, and the director and actor are of course as few as possible, the big-name director and actor not only get their salaries but also score the box office, and the production company will not be happy even if it makes money.

Of course, these directors that the audience has not heard of must have been strictly considered by the production company, although the reputation is relatively lacking, but there is certainly no problem with on-site shooting, which has a large number of advertising, cinematographers, B-grade film backgrounds, in Hollywood's previous experience, many directors also came out of here, so the production company is also willing to select people from these fields, these are actually the bottom-up selection channels among Hollywood directors.

Look at today's Hollywood, why more and more directors from advertising are now carrying A-level production, it is because directors from advertising have a set of visual effects, although the story is often told poorly, and there is a very heavy advertising thinking, but this goes back to the original problem, most of the audience goes to the cinema to watch the scenes and effects.

Therefore, now more and more big directors are giving producers to movies with relatively high budgets, or producers are giving themselves closer people, such as Murphy is cultivating Gal Gadot, just to let himself have more autonomy and get more benefits.

Strictly speaking, the risk of the model of big director + big star + high investment is the highest, and there are too many cases in Hollywood history where a company can't do it because of this model box office waterloo, if there is not really enough security, the production company will not be so confident to make a movie of this model.

If you want to do this kind of project, you must be able to see enough profit prospects, such as directors like Murphy and Spielberg, who have a large number of super successful resumes, and even if the project cannot recover from the box office, it can also be profitable through later income.

It is said that Hollywood movies are an industrial system, what is industry? It is to standardize the process and risk control to implement every aspect.

Let's just put it this way, the combination of a typical popcorn high-cost movie + an unfamiliar director, handed over to the six major companies to shoot, almost all of them can give similar visual effects, and handed over to those carefully selected unknown directors to shoot, under the strict control of the producer, it will not be bad.

In these films, if the director is really talented, it will be the icing on the cake for this film, and if the director has a problem, this film will not be completely ruined.

During the economic crisis of 2008, Murphy invested in a series of films of this genre, such as "Transformers 2" and so on, which are basically of this genre, the characteristics of popcorn, and relatively small risk.

Of course, in a very small number of commercial films, the production company will become cautious and will not make investment decisions easily.

This type of film is generally original and very risky.

All of this, in the final analysis, is the control of the cost of risk.

Hollywood's strict control of risk control is unimaginable to people outside the circle, even Murphy's current projects cannot get the green light from investors when they are taken out, and the necessary review procedures must be followed.

Even projects that look very good and stand out from the crowd are subject to the cost of risk.

The Matrix is a prime example of this.

When the Wachowski sisters and brothers were still Wachowski brothers, the two brothers took the script of "The Matrix" to various producers, and the producers didn't like them at all after reading it, thinking that this kind of inexplicable thing would only lose money if they made a movie. It was later the much-acclaimed animated version of Matrix - after a lot of producers tossed and turned, one of them showed the comic to Warner Bros. executives, but Warner's executives didn't like it at first, saying that the story was a complete blend of religion, philosophy and business, and that it was a complete nonsense and that they didn't want to invest in it at all.

Later, the Wachowski brothers had no choice but to take out loans and shoot a whole set of short films at their own expense, which moved the top management of Warner Bros.

To put this matter simply, the first point is that the market evaluation and prediction of the script are too risky, and the film company is not stupid, it is impossible to be shocked when they see such a, they are not stupid; The second point is that the reputation of the director and screenwriter is not enough, if the script is not the Wachowski brothers, replacing it with the current Murphy or Spielberg is definitely a different effect.

For Hollywood's A-list directors and budding directors, these are two different things entirely.

Concerned about the selection of directors for Warner Bros., Murphy continued to polish his script and plan in the following time, as long as there were no big surprises, this would be his new project.

Los Angeles is like New York, it looks extremely prosperous and glamorous on the surface, but in any world, where there is light, there will always be darkness.

However, in this day and age, darkness is always hidden in the depths and is easily not revealed to the public.

In the old China Town, in a very ordinary warehouse, several people gathered together to check their guns and make final preparations for the next operation, and on the wall in front of them, hung an image of a man, with several scars on his face and hard facial lines, at first glance he was a strong-willed person.

"Look!" The man at the head said in awkward English, "This is what we're going to kill!" (To be continued.) )