Time waits for no one, whether Caesar is ready or not, the two production companies and the two superstar-level assistant directors have already set up the stove, just waiting for Caesar to personally light the fire and make the feast.

Bruce Willis's performance really surprised Caesar, and the first shot at the beginning had the pomp of a theatrical stage performance. After a few patient explanations from Caesar, Willis quickly got into the state of a movie actor.

Caesar sighed in his heart, no wonder it is said that actors on the theater stage are very easy to mess up when they are exposed to film and television, because the emotions and intensity required for the performance on the stage are very full and exaggerated, and it will make people feel very pompous to suddenly continue this kind of performance in front of the camera.

If the stage actor can break through the obstacles brought about by this change, then the actor's performance will be free, and the acting skills will be improved in a way that those film actors who have no experience in stage play do not have.

Willis is clearly the kind of actor with a high level of understanding, and his Broadway background has made his acting skills, not an obstacle.

Max Payne, a veteran who graduated with an unprecedented perfect score from the Hunter Academy and was devastated by the Vietnam War and still retired with great military achievements.

Stallone and Eastwood were just silent spectators when Caesar gave Willis a play, in fact, they couldn't praise Caesar more for his casting level.

Willis's hellish training at SEAL camp brought huge benefits, and the all-round improvement of his spirit and spirit allowed Max Payne to move from the written description of the script to the three-dimensional, and finally to the concrete.

Under the premise of burying a peerless veteran, Payne, as a newlywed New York police officer, applied for a vacation to come to Los Angeles, and was ready to surprise his wife on a business trip.

Willis instantly condensed this kind of love under the premise of the character's background, so that the audience can see at a glance that this is a thick man who is worthy of in-depth reading.

Caesar didn't have any problems with the scheduling of personnel in the crew, although Stallone and Eastwood were ostensibly here to learn new ideas, but the kindness of bringing up the juniors still made Caesar feel warm from the heart.

These two were present, and none of the staff members in the entire crew dared to slack off.

With the status of these two in Hollywood, you can't do anything with the person in charge of the producer, but it is a phone call to make the "big shots" of the crew completely disappear from Hollywood.

No one in Hollywood is irreplaceable, the difference is just the price.

Finding someone to replace James Cameron may pay hundreds of millions of dollars at the box office, but what about finding someone to replace Michael Eisner? When Disney finally fired Eisner, who claimed to be Disney, he paid nothing more than a pension.

Therefore, those "big shots", such as casting directors, lighting and prop masters, and photographers, are all well-behaved like kindergarten children who have just entered an unfamiliar environment.

The length of the list of substitutes behind these people is like the IRS schedule.

Caesar knew that the two seniors were secretly taking care of them, so he reciprocated with no reservations about them.

Caesar is not ready to make things like "The Matrix" and "Sin City", first of all, the technology is not up to it, and secondly, Hollywood, from filmmakers to audiences, is not ready to touch things that are too advanced, so he is not ready to come up with all the theories now.

But just like that, Eastwood and Stallone also raised questions about many shots of Caesar.

The main plot of the whole movie takes place in a very tall building, and one of the shots of Caesar is the male protagonist squatting behind a desk in an exaggerated posture with a white shirt and bare feet, seemingly trying to reduce the impact point of the whole body to the limit, while stretching his arms forward to the limit, and the dual-wielding 1911 fires violently.

Caesar took the Delta advisor sent by William and fiddled with Willis for a long time while consulting, and spent an hour and a half, just to put on a crouching shooting position that was very aesthetically pleasing and as close as possible to actual combat shooting.

This was also spit out by the Delta consultant, who thought that although this posture was beautiful, it was too wasteful from a practical point of view.

Caesar acknowledged with a smile, but at the same time he sighed and said to the advisor and the two assistant directors: "That's the difference between film and life." ”

"After all, this is not a war correspondent's war record, how dare you say that you are a movie without artistically processed footage?"

At this time, both Stallone and Eastwood raised the question, that is, this shot is indeed amazing, but there is no need to waste so much time on this simple pose and shot, right?

Caesar could only smile apologetically, and then found the gaffer and photographer to give a brief explanation.

Once the lights were in place, Caesar had the consultant and assistant director stand in his place again and stare at the monitor for a moment.

It took the three of them to understand how much the hard work of an hour and a half was worth.

After all, this is the office of a large company set up on the set. The gaffer switched the light to simulate the light source after a power outage, and the moonlight poured in from the huge floor-to-ceiling windows, and Willis crouched behind a kicked desk and fired wildly at the enemy ten meters away.

Because the whole picture is backlit with black and white as the main color, the audience can only see the silhouette of Willis sideways, and then because of the two guns firing wildly, the audience can occasionally see Willis's eyebrows and eyes through the orange fireworks flashing at the muzzle.

Through guò high-speed photography, slow down this lens, and then slow down. Plus a close-up of the eyes illuminated by a muzzle flame, plus a close-up of the muzzle part when the two guns fire bullets.

Even Caesar filmed bullets in large quantities, the sleeve backseats, the shell casings flying out of the mouth of the shell ejector, and then tumbling in the air with gunpowder smoke and residual heat......

All of this action has a close-up shot in slow motion.

Caesar simply mixed these shots with Willis's medium-shot shot in front of him and showed them to the three people present.

The three of them could only gasp and sigh as the other staff members watched curiously.

The Delta Consultant never dreamed that a simple shooting action would be processed by Caesar's lens and give him the illusion that shooting could be so artistic.

Stallone and Eastwood, two industry experts, can no longer be described as admirable, and both of them shouted "It's right!" at the same time! ”

They are indeed both puzzling and delightful.

Why is it that slow motion is given when it shouldn't be, close-up is given when it shouldn't be close-up, and silhouette is used when it shouldn't be used.

However, the combination of these abnormal shots by Caesar produces a strange charm, which makes the man want to dance with two guns under the moon like the main character.

Yes, this shot, although basically in slow motion and close-ups, gives the impression of dancing under the moon with two guns in hand.

Stallone also joked that Colt's company should be asked to pay for advertising, and this set of shots is completely Colt's 1911A1 god-level advertising film.

As a result, under Eastwood's mediation, Colt actually paid Caesar a sum of money, and released the same 1911A1 dual-gun set as the movie at the same time as the movie, named "Moondancer".

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