Hollywood Road

The major difference between the post-production of this film and Murphy's first two films is not that there are a large number of special effects shots, but a professional soundtrack engineer who tailors a suitable soundtrack specifically for "Sin City".

Murphy does not know much about music, nor will he participate in the creation of the soundtrack, but all the soundtracks to be added to the film must have his nod and approval.

Although the final decision maker in post-production is Harvey Weinstein, this big Jewish man is currently working on the Oscar public relations of "Chicago" and is only responsible for the final review. The specific work still needs to be done by Murphy and Iri. Car-Steinberg will do it.

Of course, there is also Frank Miller. After months of working together, Murphy has gradually formed a silent understanding with him.

Murphy kept the lens of the film in a comic style, and Frank Miller also turned his eyes on the market-friendly things Murphy put in.

Although this old man is a bit stubborn and suspicious, he is not someone who doesn't know how to work. His cartoons can sell well in the United States, and he must also understand that what is suitable for the market is the truth.

There were conflicts between him and Frank Miller during the shooting and production, but they were always controlled within a certain range, and there has never been a fierce conflict.

And the picture style that Frank Miller cares most about is also Murphy's endorsement.

For all the shots taken, the initial images are in color. At Murphy's request, the first thing the production staff has to do is to remove the color and turn it into a pure black and white image, but the color can return to the screen at any time.

Murphy uses color as a weapon, and color has become a powerful narrative tool. For example, the Gotti in the film has real skin tone and blond hair, and the mustard skin of the yellow hybrid is also very eye-catching.

If Murphy wants to highlight the pain of a character, he will return the blood to bright red, just like a close-up of the color.

The three special effects companies in Venice are responsible for making the special effects background for the film. Each company is responsible for a story, the studio under the digital domain is responsible for Sin City, and the other two companies are responsible for sniper and yellow bastard. Each story requires 600 Multiple special effects shots, all the special effects shots add up to more than two thousand.

The actual shooting did not cost too much. Most of the production cost budget was actually prepared for post-production special effects.

"Mitchell, red is not bright enough!"

In the special effects studio, Murphy stood in front of the big screen, holding his chest with one hand, and squeezing his chin with the other, watching the clip just sent to complete the special effects adjustment. This is the scene where Maver and Gottie get along, and it will also be the movie. The most intense color contrast of the lens, but the red special effect rendering does not satisfy Murphy.

He said to the person in charge Mitchell Williams, "The black and white here needs to be contrasted with the color, and the color should be extremely dazzling against the rich black!"

Murphy pointed to Muffle and Gotti on the screen and said, “For a man who is as rude as a killing machine and has an ugly face, Murphy originally didn't know what love was, but he was in a relationship with the prostitute Gotti. Later, she fell in love with Gotti deeply and regarded her as her own goddess. Here Gotti must use dazzling colors to highlight her golden hair, snow-white skin and red silk dress, which form a black background. Strong contrast!"

"I'll get it back right away," Mitchell Williams said quickly, "re-adjustment."

Murphy glanced at him, and said word by word, "Fast!"

Mitchell Williams said vowedly, "I promise!"

The scene between Gotti and Muffle can be described as the scene with the greatest color difference in the entire film. The lens is the language of the film, and the color is one of the expressions.

During filming, the bed where Gotti and Mafer had fun was a huge red heart. At that time, Murphy took the overhead shot, making this heart symbolizing love seem like a flat boat in the black ocean. .

In this way, after Marvel woke up, Gotti had been killed. Since then, Marvel has fallen into the double wanted by the police and the prostitute. He lost his beloved Marvel and determined to avenge him. He attacked everywhere, not for his own safety. It was to find the murderer who killed Gotti.

In addition to color, Murphy also has strict requirements for the light and shadow design produced by each lens post-production.

Murphy almost gave up color in the use of color, and used extreme black and white to show scenes of violence and crime.

In this case, the role of light and shadow is highlighted. Since there is no color as a distinction, the audience's dependence on brightness increases.

In comics, you can use painting techniques to create shadows for characters and objects, and movies that face real people are different from comics after all. Murphy gave up the real scene during shooting, and did not hesitate to use the high-definition camera combined with the special effects department to create the background and process the screen. , It can be seen that the high attention to the effect of light.

Take the light and shadow design in the bar as an example.

In the whole plot, the bar is an extremely important place, here is the intersection of three independent stories.

At the same time, in this very gloomy city, the bar is a mixed, ambiguous place. People who enter and exit here include police, drug dealers, and prostitutes. The vast majority of people are in front of Nancy's beauty. The **** ghost who came, and the positive people were also looking for the person they were looking for in the bar.

Therefore, in the bar, the light is ambiguous, and under the smoke, the light of the whole bar surges with a sense of depression.

During the post-production, Murphy has always used the interpenetration and mutual influence of film language and comic language to create a unique visual effect.

Although the picture styles of movies and comics are in the same line, it is well known that comics and movies are two completely different forms of artistic expression. Although Murphy is backed by the original comics and is extremely loyal to the original on the screen, this does not mean that the movie The color and light and shadow design can be in an absent position.

As an art director, Helena Espola also played an important role.

While perfecting the special effects of the lens, Murphy also called all the main actors to the post-production studio to dub. There was no live recording during the shooting. All the dialogue and narration would be re-recorded and then added to the film.

This is not animation dubbing. All actors have experienced character performances, and the dubbing work is relatively easy to do.

"Why do you think I keep writing letters?"

In the recording studio, Jessica Alba looked at Nancy on the screen and said into the microphone, "I have always loved you, Hardy, this has been the case for so many years, I also tried to talk to other boys In love! But I can’t do it... Sleep with me, Hardy! Sleep with me! I've fallen in love with you a long time ago..."

Like all crews, most of these recordings are performed independently by an actor, even for dialogue scenes. There is only one actor in the studio, Jessica Alba, who reads the dialogue like a monologue.

Compared to shooting, recording goes much smoother.

When I was about to get off work, Murphy came out of the special effects studio and walked into this recording studio. All the dialogue that Jessica Alba needs to record has been completed.

Of course, she didn't have many roles, and her lines were relatively limited.

"Hi, Murphy!"

Seeing Murphy coming in, Jessica Alba immediately smiled sweetly and raised her arm to beckon him.

"Hello, Jesse."

Nodded to Jessica Alba, Murphy did not go there, but walked to the sound engineer and asked, "How?"

The sound engineer whispered, "It's okay, the line skills are much stronger than the acting skills."

After speaking, he handed Murphy a headset, and Murphy took it and put it on. After listening for a while, he nodded in approval and said, "Okay, that's it, I'm here today."

After finishing the recording of Jessica Alba, there are only a few secondary actors left. After nearly two months of busy work, the post-production is gradually coming to an end.

Murphy raised her voice and said to everyone in the studio, "That's it for today, let's get off work."

He also had a busy day, leaving the recording studio, went to his temporary office, took a briefcase, walked out of Miramax’s office building, and came to his car.

Pulling the car door, Murphy was about to get into the car. Suddenly, there was a puff of high heels landing in front of him. Accompanied by the landing sound, there was also a crisp and sweet woman's voice.

"Wait, Murphy."

Hearing this sound, Murphy turned his head to look, Jessica Alba, who was wearing leggings, was walking quickly, waving at this side as he walked, as if he was afraid he would leave.

Murphy closed the car door, waited for Jessica Alba to walk in a little bit, looked at her and asked, "Is something wrong, Jesse?"

"The car I called didn't have time to come over," Jessica Alba got closer and closer, and finally stopped near the front of the Cadillac. She stood there and said, "Can you take me to North Hollywood?"

Going back to Santa Monica, it would be a good way to go from there. Murphy nodded slightly and pointed to the co-pilot, "Get in the car."

"Thank you!" Jessica Alba walked over and opened the door.

Murphy also got in the car and started the car on the road. The speed was not fast. He drove relatively steadily. He could no longer see that he drove crazy chasing after desperate murderers and chasing police.

Like all successful people, now he can't see the craziness of accumulating raw capital at all.

"Murphy," Jessica Alba broke the silence in the car as the car was about to enter North Hollywood, "what do you usually do after get off work?"

"Go home, rest, and think about what you didn't do in today's work." Murphy stared at the front and said casually, "I plan to do something tomorrow...probably that's it."

Jessica Alba turned her head and glanced at him. Isn't this too boring?

Cadillac suddenly stopped by an apartment building. Murphy looked around and asked, "Is this right?"

"Yes, it's here." Jessica Alba smiled, "Thank you."

She pushed the car door and got out of the car. Just when she was about to close the car door, she suddenly turned around and lowered her head and asked, "Would you like to go to my place for a cup of coffee."

Murphy turned to look at Jessica Alba, her smile on her face was very sweet, and the invitation sounded very sincere.