Hollywood Road

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"Hello, Mr. Stanton."

In the director’s office of Studio 2, a middle-aged man first showed Murphy his identity material, then nodded to Bill Rossis and Erica Steinberg, and introduced himself, "I It's Harry Pierce, from the directors' union."

Murphy glanced at the other party's identification materials, and then forwarded them to Bill Rossis and Erica Steinberg, and asked, "Mr. Pierce, are you here to represent the directors' union, or you personally?"

"Directors' Guild."

An assistant brought coffee, Harry Pierce nodded and thanked him, and then expressed his intentions, "The directors' union has learned that there are two full-time directors on the project book of the "Sin City" crew, is that true?"

"Our situation is quite special," Erica Steinberg took the initiative and said first, "The directors' union may not know it well."

Harry Pierce shook his hand, "Before I came, the directors' union had done enough investigations."

He opened the briefcase, took out a document, and glanced down. "The union's investigation revealed that the "Sin City" crew has two full-time directors."

Looking at Murphy, Harry Pierce said, "One is Mr. Stanton, and the other is Frank Miller, the original author of the comics."

Closing the file, he said to Murphy, "If we are not mistaken, Mr. Stanton is a member of the directors' union."

Murphy, Bill Rossis, and Erica Steinberg looked at each other, and their faces were calm. They had communicated with each other a long time ago, and they guessed that this situation might happen. Now it has happened, and it hasn’t. panic.

Harry Pierce speaks extremely fast and doesn't seem to want to give Murphy any chance to distinguish. "Director Stanton, as a member of the directors' union, you violated the rules of the union. Your crew must suspend filming and be investigated by the directors' union."

"Pause shooting?" Murphy frowned.

This is the most unacceptable to him.

"Yes!" Harry Pearson said calmly, "You are a member of the directors' union, and you and the projects you direct must comply with the rules of the union!"

After speaking, he stood up and looked at Murphy's three people, "I hope the crew can implement the union's decision."

Harry Pearson announced the directors’ union rules and left the Disney Studios directly, leaving Murphy, Bill Rossis and Erica Steinberg in the office.

"The filming of the crew is really going to be suspended?" Murphy looked at the other two and asked.

"Pause for a moment." Erica Steinberg understands this better than Murphy. "Although the directors' union is just a union, there are certain decisions that we should not be confronted by."

Bill Rossis nodded in agreement, "We won't pause for a few days, haven't we had a plan before?"

"Okay," Murphy stood up, "Bill, you will take care of my temporary withdrawal from the directors' union. I'll go to the crew to explain."

The directors’ union requires the crew to stop, which is very troublesome, but it is not without a solution.

Murphy and Bill Rossis had assumed it at the beginning, and later communicated with Miramax. The directors' union didn't pay attention, and if they were targeted, there must be corresponding countermeasures.

Indeed, the directors’ union nowadays seldom pays attention to whether someone violates these cold rules, but Hollywood has never been a pure land. The struggle for fame and fortune has been magnified several times in this circle, and no one can guarantee whether it will be. Someone stabbed to the directors' union.

Once this happens, the directors’ union cannot ignore it.

It is troublesome and troublesome to deal with the current situation, and it is simple and simple.

Since Frank Miller holds a director position, it is the prerequisite for this cooperation and it is clearly written into the contract. It must not be executed in breach of contract. If the directors’ union is investigated, even if it can be passed smoothly, how long will the crew be suspended?

This solution is definitely not clear.

The best way is for Murphy to quit the directors’ union. Frank Miller was not a member of the directors’ union. After he quit, just like George Lucas quit because the Star Wars titles did not comply with the director’s union regulations, the directors’ union also There is no reason and position to continue to force the crew to shut down.

Of course, this may bring some negative effects to Murphy personally, but he doesn't care, and Bill Rossis also communicated with the CAA executives. As the director that CAA focuses on training now, CAA's public relations department will also work to eliminate these effects. .

After Murphy went out to announce the directors' union's decision and made some explanations, the crew suspended filming.

"Sorry, Murphy." Frank Miller took the initiative to find it. "I don't understand that the directors' union has such regulations. I didn't expect to cause these troubles to the crew. Does Miramax and CAA have a solution?"

Taking a look at Murphy, he tentatively said, "If it doesn't work, I will return to the deputy director."

"It's okay," Murphy shook his head, "We have a solution."

Where he couldn't tell, what Frank Miller said was the last resort. He didn't want to give up the power of director at all.

This is also understandable. Originally, his position in the crew was a bit embarrassing. If he discards the contractual power, he will not be able to intervene if the future film shooting does not follow the comic style.

It is not once or twice that Hollywood film adaptations have signed a contract and discarded the original author.

Murphy made a promise to him, but Frank Miller is not without social experience, how could he simply believe in the promise.

Bill Rossis handled Murphy's withdrawal from the directors' union, and the crew suspended filming, but this does not mean that all work will stop.

The filming on the bright side stopped, and the special effects production in progress continued. The crew suspended filming and waited two days for Bill Rossis to go through the procedures for launching the directors’ union. Murphy and Philip Raschel And Helena Espola got together to watch a small part of the special effects background submitted for review, and use the background as a reference to continue to improve the future imaging effect and picture style.

Just like Murphy's request and as reflected in the comics, the backgrounds of several special effects that have been completed are completely based on black and white.

But Murphy is not very satisfied, because the color contrast is not particularly strong.

"Helen, these need to be played back and reworked!" Murphy said to Helena Espola, who is in charge of these, in Miramax's drawing room. "I need to make the audience feel the super visual impact. The picture is beautiful enough! It's unforgettable after a glance!"

"I will communicate with the special effects studio." Helena Espola nodded.

Murphy urged, "I emphasize it again. The color of the special effects background must be sharp enough. In the processing of black and white, there must be a strong contrast between light and dark, so that the picture looks clear and vivid, and the white should be white and flawless. It's completely black!"

Helena Espola wrote Murphy's request one by one in her notebook.

These close-up background images were originally experimental products. The special effects working group submitted them to Murphy in advance. Murphy also unceremoniously pointed out the areas that did not meet the requirements.

"Colorful scenes are not well done," Murphy said, pointing to a section with a bright red bed. "Red is independent of black and white, but it must also complement black and white. The red now made is really enough. Bright, but completely out of the relationship with black and white."

"Don't forget, color is a tool to reflect the feelings of characters and plots!" He hasn't stopped. "Different feelings need different colors to express. Red is good for igniting and expressing passion; black and white reflect the city. Sinister and gloomy!"

After talking about the special effects background, Murphy turned to these background-related shootings. The shooting was not completely separated from the background and only relied on the green screen, especially his director and Philip Raschel, the director of photography, even when facing the green The scene, what appears in my mind is also a complete scene construction.

"Fili, pay attention to lens transitions when shooting." Although this is more related to editing, lens control during shooting is also important. When shooting, we reserve clever editing points for lens transitions so that the lens can be connected. Naturally coherent, rather than abruptly broken, "On top of eye-guided transitions, language transitions, similar object transitions, and action transitions, you will re-examine your photography plan."

It is not difficult for a careful person to find that these transition methods are commonly used in Hollywood movies. Through these ingenious transition methods, the narrative of the film will appear smooth, natural and logical.

Three days after the crew was shut down, Bill Rossis settled the matters related to Murphy's withdrawal from the directors' union, and the crew was able to start filming again.

Now neither he nor Frank Miller is a member of the directors' union, and the directors' union has no reason to interfere with the rules.

In Disney Studio Two, many staff were doing pre-shooting preparations. Bill Rossis stood with Murphy behind the director's monitor and watched the test shots of Philip Raschel continuously transmitted over.

"The company has also found someone to investigate," Bill Rossis whispered. "The directors' union suddenly intervened in us because someone reported it."

Murphy turned his head and glanced at him, "Who is the reporter?"

"It's not clear yet." Bill Rossis shook his head. "Brian Lauder speculated that it might be a competitor of the company."

He sighed, "What I thought was too simple at the beginning. It doesn't take much effort or risk. Just calling the directors' union to report may cause concern."

Murphy also shook his head.

Bill Rossis said again, "You can shoot with peace of mind and leave the rest to me."

He understands Murphy’s character. This is not someone who has suffered a loss and swallows his stomach. He specifically told, “Murphy, don’t think too much, don’t do too much! What you need most now is to do your directing job well, yes CAA and Miramax are here, and ordinary problems will not affect you. As long as you keep moving forward, get to a certain position, and have enough strength, these problems will no longer be a problem."