As usual, Murphy still starts shooting in the studio, but unlike before, he is more demanding. Pen, fun, and www.biquge.info

“cut！ Jim, your expression isn't in place. ”

"Sally, your smile isn't innocent enough, do it again!"

"The lights, the lights just flickered a little. David, don't have a next time! ”

From the beginning of filming, everyone in the crew felt a different atmosphere from the previous shooting, Murphy almost became a perfectionist, and some scenes that were passable in the filming of "Deadpool" or "Sin City" were all rejected by him and had to be reshot.

James Franco and Charlize Theron's first shot was shot six times in a row, and Murphy was still not satisfied.

It's just a seemingly simple shot of Nick and Amy meeting at a party and chatting together.

The scene is indeed not difficult, Murphy keeps shouting to stop, on the one hand, he wants to get the best shooting effect, and on the other hand, he wants to establish a different shooting atmosphere from the beginning of filming, so that everyone understands that he wants to be more perfect for this shooting.

“cut！”

Calling the crew to stop again, Murphy took off his baseball cap, threw it on the director's monitor, stepped over the laid camera track, entered the set, and stood across from James Franco and Charlize Theron, "Jim, Sally, the one just now, you both have a problem." ”

James Franco pinched his eyebrows and took the lead in getting out of the role, and Charlize Theron paced back and forth two steps and also played.

"What's wrong with me?" James Franco was a little confused, "Isn't Nick Muna's?" ”

"Muna is not needed now." Murphy shook his head and circled around James Franco, "Nick's Muna was born with laziness, and now he just met Amy and was attracted to Amy......"

He turned to look at Charlize Theron, who was also listening intently.

"What Nick needs is to attract Amy, not to expose his true nature." Murphy added, "He's already tested Amy, he has a general understanding of Amy, and now he's what Amy wants to see." ”

When the director tells the actors, he must not directly tell the actors what specific expressions you should use and how you should act, which is a very amateurish practice, which will make the actors' performances stiff and patterned.

In a film like "Deadpool" that doesn't require much acting, it can be done appropriately, but in the filming of "Gone Girl", it was a disaster, and Murphy needs James Franco to be at his best, not confined to his rules.

So, he can analyze the current state of the character for James Franco, but he won't say exactly how to do it.

Then again, when it comes to acting, James Franco doesn't know how many streets to throw him off.

"I see." James Franco nodded, "Give me a few minutes, I need to find a feeling." ”

Murphy waved at him, then looked at Charlize Theron, "Sally, you're having the same problem. ”

"Hmm." Charlize Theron nodded slightly.

"You are indeed beautiful just now, and you look innocent enough to be very attractive." Murphy looked at the hairline of her wig and raised her voice, "Jack! Readjust Sally's wig! ”

He turned the subject back to "Nick Dunn doesn't just like pretty, he's cool, and he loves cool girls the most." ”

Charlize Theron instantly understood, "So I'm going to give Nick Dunn a cool girl." ”

"That's it." Murphy held up a finger, "Bring out your cool side." ”

After saying this, Murphy quit the set, Charlize Theron, like James Franco, needs to find their feelings again, and as the hero and heroine, they also need to communicate again.

Back behind the director's monitor, he looked at a few more of the previous shots, and then called the director of photography, Fili Raschel, over.

"The camera still moves a little bit." Murphy pointed to the monitor and said, "In this way, the next shot will make the camera as quiet as possible, cancel all the moving shots, and put the second camera on the tripod and don't move." ”

Philip Raschel nodded, "I'll make adjustments." ”

He understood what Murphy meant, the two had communicated enough in the previous preparations, and the filming of "Gone Girl" this time was completely different from the previous filming of "Deadpool", basically no vigorous motion shots, and the scene shown by the lens needed to be quiet.

This is also what Murphy means, the lens language of this film is typical of being quiet and not moving.

Nowadays, Hollywood's mainstream commercial movies are all screen heroes saving the world or fighting monsters, etc., when it comes to the use of lenses, what sprouts in the audience's minds are cool shots or special effects that brighten people's eyes, which directly leads to the popularity of photographers who are good at shooting crazy sports shots in the industry.

If nothing else, the last time Murphy filmed "Deadpool", he used a lot of operational shots.

But these filming methods are used in films like "Gone Girl", which makes the most basic mistakes, which are completely inappropriate.

The film's content, theme, and way of expressing emotions dictate that it's best not to use shots of intense movement.

It can even be said that for "Gone Girl", other ways of filming are wrong.

It seems to be a departure from Murphy's style in the past, but it's not something to do.

In fact, people with a little film cultivation will understand that they are not conformist in directing, and the wonderful thing about movies is that there are 100 ways to tell stories for 100 people, that is, to see who tells more excitingly.

One of the interesting things about filmmakers is that the more plays they direct, the easier it is for them to control the details of the story scenes, and many people think that the director's awesome thing lies in how they shoot those magnificent scenes, those crazy shots, or highly stylized images.

Often these classic scenes or shots will be imitated as soon as they come out, and these classics do have a strong visual impact, and many directors feel that these let the audience understand the thoughts of the characters in their movies.

But different film genres have different requirements, compared to the lens with a strong visual impact, Murphy is more concerned about the information that the lens can convey to the audience in shooting, and many other directors like to create suspense when telling stories, but he wants to control the drama brought by suspense when the characters get new information.

For example, in the scene where Nick and Amy meet for the first time, they seem to be attracted to each other, love at first sight, and it seems to be a natural couple, but is this really the case?

Is it really something that they can arouse each other's interest that they really have?

Murphy needed to shoot the footage to extend this information, and when the audience saw the rest of the episode, they realized that all this was just what the other party wanted and they deliberately showed.

Hollywood can shoot everything that is possible and impossible, and the problem faced by a more mature director like Murphy is actually "what you don't shoot", not what you shoot.

Therefore, according to the theme and emotional needs of the film, Murphy has long delineated what not to shoot.

Murphy is the kind of director who likes to put the camera on a tripod, he hates hand-held shots, even if he needs to be followed, he has to have a Steadicam for stabilizing the shot, rather than a hand-held shot that shakes violently, this film needs more stable shots, and he wants most of the shots he shoots to be rock-solid like that damn tripod.

The second is that many directors like to add a sense of camera shake and some hints at the presence of the camera, and Murphy in this film asks for a complete elimination of this, which must not be perceived by the audience as a breathing human controlling the camera.

His camera needs to be flawlessly quiet here and there, everything needs to be as perfect as possible to be imperceptible, and it needs to be calm and objective to show what is happening now and what is going to happen soon.

There is also the close-up shot of this film that must be noticeable, such as Charlize Theron in this scene, she will give people a stunning feeling as soon as she appears, making the audience think that she is the cool girl Murphy demanded, and the illusion brought by this close-up should be extended to the middle of the film to achieve the dramatic effect of the reversal in the second half.

At the same time, Murphy has to control the number of close-ups that don't appear unless it's really necessary.

This is a film with a strong suspenseful color, every time the director cuts to a close-up, the audience will immediately make up for it by themselves, watch it, the truth is like this.

So he decided to be very cautious when shooting close-ups.

What Murphy wanted was to cleverly switch between different angles to show a dramatic moment, rather than using close-ups, so as to express what is happening now and what the characters see in a simple and straightforward way under objective conditions.

For this shoot, Murphy set a lot of demanding requirements for himself and the entire crew: no hand-held, no traces of human operation of the camera, no unnecessary close-ups, no camera movement that moves without a motive reason??

Filming soon restarted, abandoning Steadicam and fixing the lens completely, Murphy needed to readjust the camera's operation, and two more test shots in a row, James Franco and Charlize Theron in front of the camera also found their groove, and everything seemed to be back on track with the previous smooth shooting.

"So......" Charlize Theron asked coolly, leaning against the wall with a bottle in her hand, "who are you?" ”

"I'm the one who saved you." James Franco held the wall behind Charlize Theron with one hand, "keeping you away from all the horrible stuff." ”

This is where the scene ends, and Murphy stands up and shouts, "Stop! ”

Everyone breathed a sigh of relief and waited for the director to call for approval, but it was Murphy who shouted to Filly Raschel's side, "Reshoot, Filly, two cameras at a forty-five degree angle to the left and right to capture Sally!" ”

This sentence was like an order, and everyone in the crew began to get busy, with the exception of one person, who served as the representative of the American AIA insurance company with a third-party guarantee on the crew. (To be continued.) )