Hollywood Road

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After getting out of the car, Montreal showed his ID, and under the leadership of a staff member of the "Inglourious Basterds" crew, he walked towards the open-air studio inside the set. However, it is impossible to bring in equipment such as cameras and video cameras. Leave it in the depository temporarily and take it away when it comes out.

This is the rule of the world's studios, and most media reporters will follow it tacitly. Before becoming a reporter, Montreal also spent time in Hollywood, was a graduate of the University of Southern California Film School, and served as an assistant director in a crew. Later, I couldn't find a way to get ahead, so I had to change my career. I didn't expect to become the chief reporter of the movie page in "Entertainment Weekly".

To interview Murphy, a leading Hollywood director, and to watch the shooting of his new project on the spot, of course, you also need a reporter with equal status in the industry.

In the open-air studio, a large area of ​​temporary grass was paved. Just in front of this grass, Murphy saw the reporter contacted by Twentieth Century Fox.

This kind of interview didn't ask too much, Montreal only asked a few simple questions.

"Director Stanton..." He handed a recorder to Murphy and asked, "Is the shooting going well?"

"In the first two to four days, our state was close to crazy, because everything happened so fast."

Because of the need for propaganda, Murphy deliberately said a few more words, "I'm fighting jet lag almost around the clock, including the deployment of staff and accounting issues. I also deal with it. Because we all know it. We are fighting for a special day project. What we need to focus on is the attention of all those involved. If we cannot assemble an excellent team, we will not be able to complete the production of the film on time, and we do What you have is an extraordinary and unusual team behind the scenes."

Montreal asked again, "How do you evaluate the work of an actor? And your work?"

"I think the actor's work can be said to be instinctive up to now." Murphy said in detail, "The more instinct, the better the result. The director's job is more sensible. When directing, You have to conceive, explain to the technicians and actors, and then it will happen."

Gal Gadot came from behind and said to Murphy. Murphy said apologetics to Montreal and returned to the set to discuss the setting of the scene with Helena Espola.

Murphy came to the camera lens used for distant shooting, glanced at the set-up set, shook his head, and said to his art director, "Helen, the scene needs to be adjusted."

Not far from the front of the camera is the paved location. The location is very simple, a farmhouse, a cow, a piece of clothes to dry, a farmer at work, and a piece of green grass...

Murphy frowned and thought about it, and said to Gal Gadot who was following, "Call David Robbie."

In the crew, Gal Gadot does not have any preferential treatment, and she never regards herself as a special member. She takes an internship to study seriously and participates in every aspect of the filming and production.

A qualified producer may not be as proficient as Murphy and Philip Raschel, but he must have an understanding of all aspects of the industry.

Gal Gadot found David Robbie almost as quickly as possible.

"Helen, adjust the position of the cow thirty feet to the left."

Time waits for no one, Murphy said as simply as possible, "David, I need you to use low-intensity lighting to increase the texture of the grass. Phil, increase the contrast when shooting, so that the house and the cows are slender in the lens. Shadow."

Then, Murphy pointed to the uneven grass in front of him, and said to Helena Espola, “I need a lot of open foreground to show the vastness of this place and provide a sense of space, especially the grass in the distant lens is almost At level with the farmer."

"Also," he pointed to the back of the house, "I remember there is a setting for a distant mountain? I will decorate it later."

Helena Espola nodded, the distant mountains in the background helped a lot with the depth of field.

These preparations started immediately, and an hour later, Murphy's filming started on time amidst the shouts of the scene.

Montreal, accompanied by two crew members, stood in the observation position specially set aside on the set and watched the filming process carefully.

Because of his professional studies, he was once an associate director of a film crew. Perhaps his actual hands-on skills are not strong, but his professionalism is undoubtedly the biggest capital he can get the chief reporter of the film category of "Entertainment Weekly" .

Compared with the layman of the media, Montreal can be regarded as the film expert in the journalist industry.

Standing at this relatively high observation position, the location used for shooting is clear at a glance, just after a glance, Montreal nodded approvingly. The houses, cows, distant mountains and trees on the set have reached a good balance. It also sets off the actors smaller.

Then, he looked at several camera positions that were not far away, and quickly judged that Murphy Stanton used a triangular composition shooting technique. There was a large reflective source that reflected sunlight onto the actor’s face. The farthest camera was. Obviously shooting at a wide angle, it is easy to highlight the remoteness and loneliness of this scene.

Shooting one by one, the entire crew and set are completely under the control of Murphy Stanton. This young director has demonstrated super professional ability, not inferior to the major directors of Hollywood majors, and even more active in thinking. , Some adjustments made on the scene, in the end also proved to be some magical touches.

For example, he temporarily switched to a reflector for supplementary light. When the shooting was completed, the large depth of field effect of the related lens that Montreal saw was quite outstanding.

Yes, after shooting in the morning, he saw a partially completed shot of Murphy Stanton.

Montreal originally took the attitude of giving it a try and asked the crew whether he could watch a part of the shots completed. After all, his background and professional ability are quite well-known in the circle. When he enters many crew interviews, he can often achieve this. purpose.

This time is no exception, Murphy Stanton happily agreed, but the number of lenses provided was extremely limited, and the two parties also signed a temporary agreement that all watched content should not be photographed or recorded, and should not be included in the report. Mention the content of the lens directly.

In doing so, the crew also wanted to use Montreal's pen to better carry out pre-propaganda.

The shots without post-processing are actually very rough, but standing in front of a monitor and seeing the first shots left a very deep impression on Montreal.

Before anyone else can see Murphy Stanton's movie footage, Montreal knows that this kind of opportunity is very rare, so it takes it seriously.

In the scene, a girl is drying the bed sheets. Neither the girl nor the light-colored bed sheets hanging on the clothesline exist as a single individual, but all actually participate in the expression of the plot.

The bed sheet was cleverly used as a revealing element and was finally pulled back, showing that soldiers from afar were approaching. The dark chocolate brown clothing and the white bed sheet produced a lovely contrast, which temporarily moved people from the background and what was about to be revealed. Pay attention, and simple objects like baskets can help balance the composition, or they may be cleverly placed here to cover the bottom of the clothes rail.

The clothes are all brown, white or gray, consistent with the overall tone of the lens.

Then, it's time to reveal! The effect is really good... The remote location of the soldiers makes people know how long it will take them to arrive, and the beautiful S-shaped lines lead the direction of the line of sight. This is reflected in the winding roads and fields.

The second shot is a panoramic view of the house. As soon as it was played on the monitor screen, Montreal saw the farmer walking towards the house.

"Murphy Stanton's composition is so clever!"

Even if it is well-informed, Montreal also uttered a sentence of emotion.

In the monitor picture, the tree stump in the foreground helps balance the picture. Its size contrasts with the house and the actors and adds depth of field. The axe handle raised on the stump leads the line of sight to the house.

The whole composition is also based on triangles, which perfectly reflects the three-dimensional sense of the lens.

Then, a few girls appeared near the house. The color of the girls' clothes, the blue stones and the purple plants were perfectly matched? Their complexion is also very beautiful, and the girls look very healthy.

I don’t know if special processing technology is used. The sky in all the pictures looks a little dark, which is in line with Murphy Stanton’s usual picture style, but if the sky is blue, there should not be such a sharp color contrast. .

If you break down this lens into a depth-of-field plane, you will find the exquisite composition. The distant mountains and the position of the camera relative to the house make the composition better.

If this shot were shot by another director, I am afraid it would not look so beautiful.

Montreal can see these two shots, but after watching these two shots, he thought about it, and then watched it again, probably because he was afraid of forgetting it for a long time, he pressed the button of the recorder and whispered , "The pace of these two shots is so perfect, the tension of Murphy Stanton's lens construction is almost overflowing! The performance of the actors is also very good, excellent completion of Murphy Stanton's almost genius-like lines. I hope he doesn’t mind my sharing in the media: Good job, Murphy!"

This recording will be handed over to the crew for public relations review, and then published in "Entertainment Weekly", I believe there will be no problems.

In the filming of "Inglourious Basterds", although Murphy still maintained a consistent picture style, he also balanced the colors appropriately and paid unprecedented attention to the depth of field and details.

In his spare time for filming, Murphy also returned to Los Angeles to participate in the upcoming 80th Oscars.