In the media, when the filming of the eavesdropping storm began to be promoted, on the set of the movie, the filming of the movie had also begun.

"Stop, Hugh, you're not acting right in this place, when performing, don't deliberately raise your face too high, keep looking straight ahead, don't raise it."

Jackman apologized and walked back to his place again. This time, he did it wrong again.

"I'm sorry, I'm sorry, this time it's my mistake again!" When Jackman saw his mistake, he immediately raised his hands and shouted with a helpless smile. The surrounding photographers greeted him and didn't criticize him for anything: as a leading actor, it is rare to have such a temper that can be changed when he knows his mistakes.

"Hugh, this time there is a new progress. Let's take a break, you think about how to act better, think about this, let's continue to do it, okay? In the director's chair, Levy also spoke.

"Okay, I think I can do better...... When I get used to shooting, I can definitely do it. ”

Jackman emphasized it again before stepping aside to prepare for the next drill. It's just that at this time, in his heart, he is also thinking about the rather wonderful places of this movie.

The work of making movies has begun, and Hugh Jackman already knows a little more about movies. There are some places in this movie that are very different from the publicity, for example, there are rumors outside that the filming of this movie is that the film director gave up the huge income of the TV series and came to shoot the movie for his own artistic pursuit, but Jackman knows very well that the director did not give up any income at all, on the contrary, as the big boss of the TV drama company, it is estimated that he has long lost the little money.

And then there are rumors that because of the addition of Spacey, many people have very high expectations for this movie, thinking that the filming method of this movie may be quite unique, alternative or ingenious. However, during the filming process, Jackman still felt that there was nothing special about the filming method of this movie.

"I'm just a new director, it's my first time directing a film, and it's too unique to shoot in a way that I think I'd better not use. I believe that a good movie can be made with a peaceful shooting technique. ”

When the director talked about this issue, he also seemed quite modest at that time. As a novice director, he is very self-aware and knows what he should and should not do. However, this director should be cautious, but to say that he has no pursuit is also false. Everything else in this movie is good, but what makes people feel troublesome is the camera setting of the movie. This is the biggest headache for Hugh Jackman these days.

It's been three days since the film was filmed, but Hugh Jackman still hasn't been able to fully adapt to the camera setup. In fact, not only him, but even the photographers did not adapt to the camera position arranged by Levy.

"Your camera arrangement, there are not many normal camera positions at all......" This is the question that Wally Pfister, as the film's director of photography, immediately asked after seeing Levy's settings, "These camera settings all have the potential to expose the camera position." ”

It stands to reason that the camera position for movie shooting is, of course, the height facing the human face, and maintaining the same height as the human face, so that people can have the most comfortable view. When the audience watches the movie, they can only think that this is a normal conversation when they see the height of the shot facing their face. If it's a different form of camera setup, it's easy to get out of the normal perspective and get caught up in a different perspective - let's say overhead shooting in the sky, which is a technique that directors often use to create God's perspective.

And Levy's lenses are all relatively low, or more biased angles, and even when filming Spacey's monitoring scene, there is a camera position, which is simply set behind him. This is not a normal angle of communication between people, so Wally Pfister is naturally strange - he said that the position of the camera will cause the position to be exposed, not because the camera will appear in the lens, but it will give the viewer the feeling that it is deliberately shooting.

"I'm just using angles, to deliberately create a perspective similar to surveillance." Levy also explained his thoughts at the time, "This movie, I just want the audience to be in an observer's perspective. ”

Levy and Wally Pfister explained the structure, and Hugh Jackman stood aside and heard Levy's idea.

"As the protagonist, Wiesler is in the position of a monitor in the movie, but as a monitor, he has no ability to watch, and it is the audience of the movie who can really watch other people's lives. While the audience is watching Dleman's life, they are also watching Wiesler's listening process, so this forms a special structure: Wiesler is watching Dleman, and the audience is watching Wiesler. ”

Wally Pfister understood, "You want to use the viewpoint of the film to construct an observer above Whistler—because the audience unconsciously uses this perspective to censor the film, and Whistler is no longer a watchdog on another level." ”

"That's what it means." Levy is also quite happy that Pfister understands the layout of the movie so well, "Not only that, but when I was shooting the characters later, I specially placed a shield in front of the characters to highlight the foreground, which was also to deliberately create this special effect." ”

The film's protagonist, Wiesler, is a listener, and it is difficult to gain people's recognition for such an identity. However, through a special angle, it is possible to form an observation of Wiesler. The most important observation in the film is the picture, followed by the sound, and the audience observes Wiesler, while Wiesler only listens to Dleiman, and this way of filming can also better separate Wiesler from the image of the state apparatus and become a person to be observed - this will make his transformation more acceptable.

This is the use of the right of viewpoint: in the movie, the right of viewpoint is the right in the communication between people and the film, just as the right to speak in the communication of normal people. And how to use the viewpoint right to create the effect you want, this is the application of lens language.

Using some special movie slots, which are absolutely not used in ordinary movies, this is the audience of this movie, is in a different point of view: they will become the people who watch over Wiesler and Dleman, and Wessler, like Dleman, has become the watched, which has a better effect on the audience's identity.

Pfister is worthy of being a master of film shooting, after listening to Levy's explanation, he quickly understood Levy's thoughts, and after thinking about it, he immediately praised it, "It's a genius idea, using the audience to build a new layer of observers, so that the three-dimensional layering of the film appears-Mr. Levy, I have to say, you are really a genius!" ”

For Pfister's praise, Jackman also thinks deeply: how the film shows the lens language through shooting techniques is all based on the director's skills. For the same movie story, how to use the lens to make the story more exciting, and how to arrange it so that the audience can better integrate into it, this is something that needs to be paid attention to.

Good screenwriters are good screenwriters because they can write good stories. The difference between a good director and a good director is not whether they have a good script, but how they use their own lenses, use their own composition and structural arrangements, and tell the story well.

Movies tell stories through the lens, and the lens speaks. Different shooting angles and camera placements can create different effects, just like using positive and negative terms to describe the same thing, which can make a big difference.

"Wally, don't patronize and praise me," Levy was not easily blown away by Pfister, he still remembered to remind, "Because of structural problems, this movie is often shot and marched by the two protagonists. On the Dryman side, you need more light, while Wiesler needs to use darker colors: you have to take care of these aspects and not have any problems. Then there is the occlusion of the foreground, how to lay out these occlusions to form a better picture, which is also your problem. ”

"No problem, I'll take care of that." Pfister agreed.

He has long discovered that the director's control of the lens, in addition to the more alternative arrangement, also has a more persistent pursuit of the beauty of the lens. Pfister doesn't understand why, in general, isn't the director of a TV series more likely to pursue the continuity of the story? The pursuit of lens beauty is more of an advertising director's hobby, why does Levy have these pursuits?

That's not important, though. Importantly, the structure of the film is peculiar and the lens language is offbeat. If you add to that your own excellent contrast between light and dark, the film becomes very appealing. And if you add beautiful shots, then this movie may even become a classic.

Jackman doesn't know any of this, but he does know one thing: just because the shooting technique is plain and simple does not mean that the shooting technique does not have any pursuit. The director is a person with his own pursuits, and this movie will be very good.