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Back in Los Angeles, after a short three-day break, Murphy arrived at a 20th Century Fox post-production studio in Century City to begin post-production work on Inglourious Basterds. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

Post-production also requires the coordination of multiple departments and teams, and the basis of all this is undoubtedly editing, and it is no exaggeration to say that Murphy and any director shoot for the sake of editing.

This time, it was Jody Griffith's editing team that worked with Murphy to edit.

Before editing, to be precise, as early as when writing the script, Murphy already had a very clear idea, Quentin Tarantino's films will play a lot of tricks in editing, especially the famous chapter back body, although Murphy is not the kind of director who relies on traditional editing, but unlike Quentin Tarantino after all, this film will inevitably not use chapter back, he will use a lot of parallel montage in editing, that is to say, the final film of "Inglourious Basterds" will be presented in a multi-line narrative situation.

This time in post-production, all the work will revolve around editing, and Murphy has made careful preparations for this.

It has been said that "the best editing is the one that makes people unable to find the traces of editing." ”

This is really the biggest misunderstanding of editing, it should be said that the editing that people can't find is the editing that "allows ordinary audiences to have no barriers to information acceptance", but it is not the best editing, editing has been developed for more than 100 years, there are already a variety of aesthetic standards and possibilities, and the connotation is very rich.

Of course, as a commercial film, and as much as possible for the general public, Murphy had to keep the editing fluid.

Editing that does not "let ordinary viewers have no barriers to information receptivity" is not a trick to show off tricks, let alone obscure.

If you want to maintain a smooth editing that is acceptable to the general public, the first thing is to determine the right editing points for all shots.

The editing point is the transition point between two shots, including sound or picture, and accurately grasping the editing point of the shot can ensure smooth lens switching, so the selection of editing point is the most important and basic work of Murphy and Jody Griffith's video rough cut.

The editing points of all shots in "Inglourious Basterds" can be simply divided into two categories: the first category is the picture editing point, action editing point, emotional editing point, and rhythm editing point; The second category is sound splicing points, including dialogue, music, and sound effects splice points.

In a film, most of the editing revolves around the actions of the characters, and the actions here do not refer to fights, but to the actions of the characters.

The action editing point is the coherence of the subject's action, and the action editing is certainly for the sake of a clear narrative, but it focuses more on the coherence of the action outside the camera, and the coherence of the action can increase the sense of fluidity between the shots.

Murphy and Jody Griffiths are very important in the choice of action cut points, which will directly affect the final result of the film.

The rough cut of Inglourious Basterds, split into two parts by Murphy and Jody Griffith.

The first step is to spell, which means to use the combination of some lenses to produce different kinds and give people different feelings.

And then the second step is the cut, specifically to control the rhythm, this rhythm and mood of the whole film.

Pacing is very important in film editing, but as far as Murphy's approach to the film is concerned, everything is still attached to the storyline and mood, and he and Jody Griffiths agree that the most important thing to control the pace of Inglourious Basterds is the mood, and what emotions need to do to you, and what changes or processes you need to do here.

During the editing process, Murphy hopes that he will try to maintain a more objective state, really regard himself as an audience, and really feel the changes in the rhythm and details in the middle, whether the play is good or not, and so on.

What kind of "Inglourious Basterds" is suitable for, then what kind of techniques he and Jody Griffith use to cut it, so that the audience can enter the play when they watch it.

Relying on these, Murphy and Jody Griffiths spent nearly half a month to get the rough cut, and the next fine cut is more important, which will directly determine the quality of the finished film.

As you can see from the name, fine cutting is far more complicated than rough cutting.

Murphy had to make sure that the cut was tight enough and that the editing was tight but not overly short, which meant cutting out unnecessary pauses in the actors' dialogues, shortening the gaps in the middle of each sentence, and even subtracting long, unimportant dialogue.

Most moviegoers generally spend no more than 150 minutes concentrating, which is equivalent to the length of a mainstream commercial movie, and the rough cut version completed by Murphy and Jody Griffiths is more than 300 minutes, which needs to be compressed to about 120 minutes in the fine cut, and if the film is two and a half hours or even longer after the fine cut, it will require "major surgery".

Unlike the previous edits, Murphy's editing also uses temporary background music as a supplement.

This approach works well for a particular film like Inglourious Basterds, but it can never be used as a regular way of editing, once you like the temporary music in the edit, it is difficult to find the right soundtrack that feels good, Murphy usually prefers to edit a strong movie scene and make it perfect with proper editing, and if a scene can stand on its own, the soundtrack will be the icing on the cake.

Inglourious Basterds is just one exception to this.

In fine editing, it is necessary to take into account many aspects that are difficult to take into account when rough cutting, such as the coordination of action and picture, the use of actors' gestures, props, line of sight or movement is one of the editing methods, the best way is to let the emotions flow naturally, or cut out a smooth narrative rhythm, technical editing is not the key.

The role of the editor is to make the audience participate in the plot.

In the shooting, there are a lot of pure action shots, and many action scenes, Murphy uses moving lenses to shoot, and these also need to be processed through fine editing.

Moving the camera is the main way to shoot the action scenes, and Murphy used a track camera, a swingarm camera, a camera stabilizer and a Steadicam, and the action scenes in the film had to be tense, and he and Jody Griffith edited the camera as it moved, making sure that one shot after another was in motion.

The action scenes cut out in this way are more compact, making the audience dizzy.

For this shoot, Murphy used a pure single shot for some shots, but this was only a part, and most of the other scenes continued his usual style, shooting with multiple cameras and multiple angles.

Footage shot from multiple angles cannot be cut back to the same angle mechanically, or reread the same series of lenses that were used not so long ago.

Of course, there are only two angles in a dialogue scene like Lieutenant Aldo and Colonel Hans, and it's hard to avoid repeated editing.

When switching scenes from multiple angles, Murphy also needs to deal with it, and Murphy is always in groups of three, holding it for at least 1.5 to 2 seconds or longer.

For example, when Soshana enters Goebbels' banquet hall and looks around, Murphy cuts the viewpoint shots in groups of three, which can visually show the audience the entire scene as the protagonist sees, imitating the real world and immersing the audience.

In these multi-angle shots, the actor's eyes are the focus of the editing, the actors attract attention with their faces on TV, in movies and on stage, but the most important thing is the actors' eyes, when editing intense dialogue scenes, Murphy pays great attention to the actors' eyes, do they convey the right emotions? How did the actors react to the play? The performance of the actors determines the editing in this regard.

Sometimes, Murphy is more focused on conveying the main actors of the dialogue and cutting out the reactions of others.

This is to exclude some of the irrelevant side effects in the actor's performance.

Murphy's penchant for tight editing rhythms is evident from the very beginning, and exclusion is necessary to maintain the rhythm.

Most actors perform exaggerated, more than appropriate, with actors emphasizing pauses, adding more mistakes than the script requires, and stuttering for longer, at which point the performance needs to be properly edited to bring the performance back to normal, cutting out lengthy movements and dialogues, and making the film real and not artificial.

Therefore, if an actor wants to win an acting award, the director and editor are also the key.

These methods and methods are all in the service of forming the storyline of the film.

Some people say that there are three kinds of movies in the world: scripted type, shooting type, and editing type, no matter which type of editing, you must pay close attention to the story line, and don't be afraid to change the script or shooting content, as long as it is meaningful.

Murphy has been using storyboards to record the storyline, which can help Jody Griffith determine the most logical way to present the story to the audience.

In the end, Murphy asks Jody Griffith to make her own choice.

Although the two have worked together many times, they certainly have different views on some plots and shots, and even the most successful director needs the help of a good editor, especially to inject some differences into it, and correct mistakes that the director does not notice.

Movies have always been the product of teamwork, and the director is only the helmsman in it, and if there is a problem in other links, it may also fail.

Then again, is there anyone in this world who doesn't make subjective mistakes and doesn't notice?

I think a director like Murphy doesn't review every shot in post-production, but instead modifies it according to Jody Griffith's version of the edited performance, whether or not he appreciates the actor's performance.

If he does appreciate a different performance of an actor, he will suggest changing the editing or finding the right part from the framing shot. The more the scene is cut and feels new and presents the most convincing effect, the more the director will identify with the editor's technique.

Murphy and Jody Griffiths continued this work until late May, and then completed the first edition of the fine cut, which took a lot of time and effort to continue to be retouched, but Murphy had to take a break from work to attend an extremely important premiere of Robert Downey Jr. (To be continued.) )