Hollywood Road

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In a studio of the Montage Studio in the suburbs of Paris, countless people returned to quiet after being busy, all their eyes turned to the camera lens.

The camera was aimed at a studio set up as a farmhouse, and a dialogue between a man dressed as an SS officer and a farmer was being staged.

The two cameras started shooting from different angles, and the camera assistant with the Steadicam squatted in the reserved photography space, waiting for Murphy's order to take pictures at any time.

"If the Jew is to be compared to an animal, it is a mouse." The SS officer spread his hand. "The propaganda of the Führer and Goebbels is similar, but our conclusions are different. I think this comparison is disrespectful. "

He pointed to the scenery window, "Let's look at this world with the eyes of a mouse for the time being. This is indeed a hostile world."

This is a long-shot scene that needs to be supported by outstanding personal acting skills. Although this is a test shot, Christopher Waltz has played extremely well up to now. He looked at the farmer and said, "If a mouse now moves from Your front door panicked and fled. Are you hostile to him?"

The No. 2 camera facing the farmer actor immediately changed to a close-up. The farmer hesitated for a moment and said, "I think it will."

"What bad did the mouse do?" Christopher Waltz asked with a smile, "Did you incur your hostility?"

The farmer grabbed his pipe and said, "Rice spreads disease and bites."

"If a mouse comes in from the outside now..." Christopher Waltz pointed to the set door, the smile on his face was put away, and the sullen expression flashed away, "You will still let your beautiful daughter down. Is he milk?"

Although Christopher Waltz's sulky look only stayed on his face for less than a second, the reaction was very clear in the camera lens. Murphy raised his hand and said loudly, "Stop!"

Not only Christopher Waltz, the lighting of the scene was also a bit problematic, but this was a trial shot. Murphy did not interrupt Christopher Waltz, who was gradually found in shape, until the Austrian actor made a mistake.

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

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

Although he is also the murderous demon, Colonel Hans-Landa is completely different from Amon in "Sindra's List". He is definitely a man who looks elegant and graceful.

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

The strong conflict between the elegant appearance and the devil's interior will make this character full of charm.

In the film, the more graceful Christopher Waltz's performance is, the more suspenseful the audience will feel about whether he will force the farmer to tell the truth and the fate of the Jews under the floor.

If you were replaced by a fierce military officer to question the farmer, this scene would have a completely different feeling. Although a performance that is too fierce can lead to more dramatic tension, sometimes tension is also harmful to the atmosphere of the story.

The endless superposition of pain, panic, and conflict will suffocate the audience. There must be contrast to feel the sense of suspense, the cohesion of pressure, the release of energy, the re-cohesion of pressure, and the re-release of energy. This is the rhythm of the movie. .

Pressure creates conflict. After the problem is solved, the energy is released, and new problems appear again. Think about Die Di Le, everyone will be very nervous when drawing the blocks. If the tower has not fallen, everyone will breathe a sigh of relief.

The rhythm of this movie is nervousness, relief, nervousness, relief.

In addition to the actor's performance, there was also a problem with the lighting just now. Murphy called David Robbie over.

"David, this is a long shot." Murphy said to David Robbie very seriously, "I can't specifically set aside time for you to adjust the lighting during shooting. You need to set it in place all at once."

Long shots often bring interesting real-time scenes, allowing the audience to fully immerse themselves in the drama, but the shooting of long shots is also very challenging, especially when it comes to lighting.

Although I don’t have the slightest interest in the so-called one-shot, and I will not use this kind of dazzling technology that has no essential improvement in storytelling, this does not prevent Murphy from shooting long shots that last for several minutes. Especially the dialogue between Colonel Hans-Landa and the farmer is filmed now. A long shot can undoubtedly condense the necessary tension.

Long lens shooting is really troublesome, and it is quite a test for photography, performance and lighting.

In terms of performance, the farmer is an old drama player from France. With the shooting of several scenes, Christopher Waltz has gradually found his status and demonstrated excellent acting skills. In terms of photography, Murphy and Philip Raschel did Enough plans are not a problem...

The different light required by different shooting angles has become a relatively difficult problem.

If you encounter a problem, you must solve it, and Murphy is not in a hurry. Anyway, the film will not be released until the next awards season. He has enough time for shooting and production.

Murphy called Philip Raschel and David Robbie together to experiment with various effective solutions.

Within a specific shooting length, Murphy can let David Robbie set up and hide the lighting equipment according to the actors' positions and scene layouts on the shooting scene. However, when shooting long shots, you must make careful preparations in advance. Prepared, because the actors may move to many positions during uninterrupted long-shot shooting, it is difficult to set up and hide the lighting equipment at one time.

These are in Murphy's hands, not without solutions.

He asked Philip Raschel to pay attention to the lens frame of the camera crew. Photographers need to know where the shot will end, and also pay attention to the movement of the camera and the main vision.

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

Then start setting up the lighting equipment.

Among all the lighting equipment used by the lighting group, the first thing to deal with is to move the light source. Murphy asked David Robbie to communicate that the light can be moved in time.

Under the circumstance of ensuring safety, if the lens moves, David Robbie can move the main light source of the set, he must do so. Sometimes, what he needs to do is to translate or tilt the main light source of the set, of course, sometimes it can also rely on portable or hand-held LEDs to realize the movement of the main light source.

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

This is the most commonly used technique in filming long shots. In the shooting scene, looking for obstacles to hide the lighting equipment, which can reasonably improve the space utilization of the shooting site, especially when the shooting space is limited in this kind of farmhouse setting, this technique is more useful.

Among them, placing the lighting equipment on the ground is a very practical method, because in actual shooting, the ground does not have to be photographed, but if the ground must be photographed, it can be hidden by chairs, cabinets or other furniture, etc. lighting device.

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

There are real light sources in his shooting scenes, electric lights hanging above the farmhouse, which can also be a small skill for making the light source for shooting.

During the shooting, Murphy asked the staff to place reflectors, and at the same time let the staff staying around put on white shirts, so that the light source on the scene could be perfectly utilized.

In this way, the lighting equipment in the shooting scene can be reduced, and the lighting effect can be achieved even if it is not lighting.

Murphy also appropriately adjusted the sitting positions of the farmer and Christopher Waltz, as well as the route of moving and walking, so as to make better use of the floor and corners of the light source. This technique requires the director to first clarify the layout of the scene and the actors. Go position.

If there are floors, corners, etc., the director can let the lighting team use the blind spots in the lens to hide the lighting equipment. Of course, the same applies to curtains, false walls, and other on-site settings. Any on-site items that can block the lighting equipment can be used.

In addition, hiding the light in the darkness of the farmhouse is also a good way. In order to prevent the lamp stand from reflecting off, Murphy made people use dark textiles to make an outer coat for the lamp stand.

The scene in Murphy’s design that relied on several sets of long shots took five days to complete the shooting. Especially during the shooting, Murphy also added a daughter to the farmer to arrange for a female investor to fill in. actor.

A French film fund provided a sponsorship of up to 3 million euros for this film, and an actress named Léa Seydoux was attached.

No one will refuse such a large sum of money, and Murphy is no exception, but he will not break the balance of the crew. He will find an important role for the other party. He is only one of the daughters of the farmer who serves as the background painting. There is only a frontal shot. , Not even a line.

As the crew came to the outdoor studio to shoot, more actors including Margot Robbie also joined the filming.

Someone asked Murphy what he expected of the actors, and his answer was simple: "I look forward to them acting well!"

When shooting, Murphy would rather not talk to them too much, but some people need to talk to them...some people need what people call "motivate".

What is the biggest motivation for actors? Murphy's answer is also very simple, their motivation is fame and rewards.

In Hollywood, nothing can give a person more motivation than these two, even Murphy is no exception.

The crew entered the open-air studio to shoot, and it was also part of the media public day. This is also part of the routine publicity. Anyway, the next filming is just a scene of a farmer cutting wood. Murphy doesn't mind letting the reporter contacted by 20th Century Fox watch it.