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In a studio at a montage studio on the outskirts of Paris, countless people are quiet after a busy day, all eyes on the camera. Pen "Fun" Pavilion www.biquge.info

The camera focuses on a set set set that has been set up as a farmhouse, where a man dressed as an SS officer and a farmer are engaged in a conversation.

Two cameras shoot from different angles, and a camera assistant with Steadicam is crouched in a pre-reserved camera position, waiting for Murphy's orders to be on hand to capture the shot.

"If the Jews were to be compared to an animal, it would be a mouse." The SS officer spread his hands, "The propaganda of the Führer and Goebbels says something about the same, but our conclusions are different, and I think this comparison is disrespectful." ”

He pointed to the window, "Let's look at the world as a rat for a moment, it's a hostile world. ”

It's a long-shot scene that relies on great individual acting, and although it's a test shot, Christopher Waltz has played extremely well so far, looking at the farmer and saying, "If a mouse runs away in panic through your front door now, are you hostile to him?" ”

The second camera facing the farmer actor was immediately replaced with a close-up, and the farmer hesitated for a moment, but still said, "I think it will." ”

"What bad did the rats do?" Christopher Waltz smiled and asked, "Did you incur your hostility?" ”

The farmer grabbed his pipe and said, "Rats spread diseases and bite people. ”

"If a rat walks in from the outside now......" Christopher Waltz pointed to the set door, the smile on his face retracted, and the grim expression flashed, "will you still let your beautiful daughter pour him milk?" ”

Although Christopher Waltz's grim appearance only stayed on his face for less than a second, the reaction was unusually clear in the camera footage, and Murphy raised his hand and said loudly, "Stop!" ”

Not only Christopher Waltz, but also the lighting on the set was a bit problematic, but this was a test shoot, and Murphy did not interrupt Christopher Waltz, who was gradually finding his form, until the Austrian actor made a mistake.

Murphy didn't talk nonsense either, and said directly, "Chris, I just pushed too hard." ”

Christopher Waltz nodded, and Murphy emphasized, "Remember, you always have to show grace and grace in this scene." ”

Although he is also a Nazi killer, Colonel Hans Landa is very different from Amon in "Sindra's List" and is definitely a man who looks elegant and personable.

Even, he can be said to be the leading actor of this film, and his appearance is simply synonymous with elegance.

The strong clash between the elegant exterior and the demonic interior will make this character full of charm.

In the film, the more elegant Christopher Waltz becomes, the more suspenseful the suspense hidden behind will force the farmer to tell the truth and what the fate of the Jews under the floor will be.

If it were a ruthless Nazi officer who asked the farmer, the scene would feel completely different, and although an overly ferocious performance can lead to more dramatic tension, sometimes the tension is also detrimental to the atmosphere of the story.

The never-ending superposition of pain, panic, and conflict will suffocate the audience, and there must be contrast in order to feel the sense of suspense, the condensation of pressure, the release of energy, the re-condensation of pressure, and the re-release of energy, this is the rhythm of the movie.

Stress creates conflicts, energy is released after the problem is solved, new problems arise again, think of Diediele, everyone will be nervous when pumping blocks, if the tower has not fallen, everyone will breathe a sigh of relief.

The rhythm of this movie is all about tension, relief, tension, relief.

In addition to the actors' performances, there was also a problem with the lighting just now, and Murphy called David Robbie over.

"David, it's a long shot." Murphy said to David Robbie very seriously, "I can't set aside time for you to adjust the lighting during the shoot, you need to put it in place all at once. ”

Long shots often lead to interesting moments that immerse the viewer in the drama, but long shots can also be challenging, especially when it comes to lighting.

Although he has no interest in the so-called one-shot at all, and does not use this kind of showmanship that does not improve the essence of storytelling at all, this does not prevent Murphy from shooting some long shots that are several minutes long, especially the dialogue between Colonel Hans-Landa and the farmer that is now filmed, and a long shot is undoubtedly more condensed to the tension needed.

The shooting of long shots is indeed more troublesome, and it is quite a test for photography, performance, and lighting.

In terms of acting, the farmer is a veteran actor from France, Christopher Waltz gradually found his form with the filming of several scenes, showing excellent acting skills, and in terms of photography, Murphy and Philip Raschel have done enough planning, and it is not a problem......

Different lighting needs for different shooting angles, which is relatively difficult.

If you encounter a problem, you have to solve it, and Murphy is not in a hurry, anyway, the film will not be released until the next awards season, and he has enough time to shoot and produce.

Murphy calls Philip Raschel and David = Robbie together to experiment with what works.

Within a specific shooting length, Murphy can let David Robbie set up and hide the lighting equipment according to the actors' movement and scene layout on the shooting site, but when shooting long shots, it is necessary to prepare carefully in advance, because in non-stop long shot shooting, the actors may move to many positions, and it is difficult to set and hide the lighting equipment at once.

These are in Murphy's hands, and there are no solutions.

He told Fili Raschel to pay attention to the crew's lens frames, and the photographers needed to know where the shot was going to end, as well as the movement of the camera and the main vision.

At Murphy's request, all the photographers took notes on the shooting scene, the lens frame, the movement trajectory of the entire shot, etc., and planned, rehearsed, and moved in advance until everything was ready.

Then start setting up the lighting fixtures.

Of all the lighting equipment used by the lighting team, the first thing to deal with was the moving light source, and Murphy asked David Robbie to convey that the light could be moved at the right time.

When it is safe to do so, David Robbie is able to move the main light on the set if the camera moves, so be sure to do so. Sometimes, what he needs to do is to pan or tilt the main light source of the set, although sometimes he can also rely on portable or portable LEDs to move the main light source.

At the same time, Murphy also asked David Robbie to hide the lighting equipment within the frame of the shot.

This is the most commonly used technique in the shooting of long shots in films. Finding obstructions to hide the lighting in the setting can be a good way to make the space used in the location, especially if there is limited space in this kind of farmhouse setting.

Placing lighting on the floor is a practical way to do this, because you don't necessarily have to shoot the ground, but if you do, you can hide the lighting with chairs, cabinets, or other furniture.

In addition to professional lighting, Murphy also requires that all available light sources be used when shooting.

He has a real light source in the shooting scene, an electric light hanging from the farmhouse, which can also be a trick to make a light source for shooting.

During the shoot, Murphy asked the staff to place the reflectors, and at the same time asked the staff to wear white shirts, so that the light source on the set could be used perfectly.

In this way, it is possible to reduce the amount of lighting equipment at the shooting site, and it is possible to achieve the effect of lighting even if the lighting is not on.

Murphy also adjusted the position of the farmer and Christopher Waltz when they were seated, as well as the route of moving to make better use of the light sources on the floor and in the corners, a technique that required the director to first clarify the layout of the scene and the movement of the actors.

If there is a floor, a corner, or something on the scene, the director can ask the lighting crew to use the blind spot in the shot to hide the lighting equipment. Of course, the same applies to on-site settings such as curtains and false walls, and any items on site that can block the lighting equipment can be used.

It's also a good idea to hide the light in the darkness of the farmhouse, and in order to prevent the light stand from reflecting, Murphy has people make a wrap for the light stand out of dark textiles.

The scene, which relied on several long shots in Murphy's design, took five days to shoot, especially during the shoot, when Murphy also added a daughter to the farmer to arrange for an actress to be stuffed in by the investor.

A French film fund has provided a whopping 3 million euros in sponsorship for the film, with an actress named Léa Seydoux as an additional condition.

No one would refuse such a large sum of money, and Murphy was no exception, but he would not break the balance of the crew, and even more so to find an important role, just one of the farmer's daughters who served as the background painting, with only one frontal shot, not even a single line.

As the crew came to the open-air set to shoot, more actors, including Margot Robbie, joined the filming.

Someone asked Murphy what he expected from the actors, and his answer was simple: "Expect them to play well!" ”

While filming, Murphy preferred not to talk to them much, but some people need to talk to them...... Some people need what people call "motivation".

What motivates an actor the most? Murphy's answer is simple, they are motivated by fame and honorarium.

In Hollywood, nothing motivates a person more than these two, not even Murphy.

The crew went to the open-air set to shoot, and it was also the media open day, which was also part of the routine publicity, anyway, the next thing to shoot was the scene of the farmer chopping wood, and Murphy didn't mind letting the reporter contacted by Twentieth Century Fox watch it. (To be continued.) )