Hollywood Road

"What's all this?"

In the theater, Michael Bilson complained to his companions, "A scene with no lines even was played for two minutes. Is there any mistake?"

His companion looked very dissatisfied, "The slow pace is dying, and I'm sleepy watching it. Is this a movie made by Murphy?"

The person on the right shook his head, "This is not the same as we thought. This is not an action crime movie."

Several people were silent at the same time, this movie is basically a niche personal biopic.

The slow pace, the long shots used to express the characters' hearts, the painful struggling choices, various artistic shots... it is completely different from the fast-paced noir films they expected!

Not to mention the previous dull literary dramas, in the end Diego Rose designed the climax of killing his own gang boss. According to Murphy’s past style, there is a comet hitting the earth, but there is no film at all. The scene passes by, the film focuses on the conspiracy and tricks of Diego Rose, and there is no big scene at all.

After Diego Rose took advantage of the conflict between the gang and Mexican drug dealers, a sergeant of the joint police department and an accountant who served the gang killed the boss of the gang, and the film ended.

Although I saw the two faces of James Franco and Jonah Hill, Murphy's fans were not very satisfied. When they left the theater, many people showed disappointed expressions on their faces.

"The film is really dark and serious..." Some fans walked and chatted, "but there is always something missing, which makes people unable to cheer."

Someone shrugged, "Without the climax scene, the narrative of the whole film is slow, and it looks very plain."

"This is not a movie made for us at all." Some fans inadvertently point to the point of the problem.

In the premiere theater, looking at the falling subtitles, Todd McCarthy stood up and applauded vigorously. This is one of the best films I have seen since entering the awards season. The narrative is gentle and the theme is deep, the characters are well-made, and the long shots The design is ingenious, and it has more foundation than the other "City of Chaos" directed by Murphy Stanton in the first half of the year!

Kenneth Turan is also applauding. The unique dark atmosphere of the film reflects Murphy Stanton's extraordinary director skills. The use of film language is more plain and easier to arouse his emotional resonance!

There was thunderous applause in the theater. Kenneth Turan saw the crew in the first row walking towards the exit to the press room and said to Todd McCarthy, "Let’s go, it’s a lot tonight."

Todd McCarthy followed Kenneth Turan, walked outside with the flow of people, and said as he walked, "Murphy Stanton finally abandoned the glitz in the movie and returned to the simple essence of the movie."

Murphy Stanton’s past movies are also good. Compared to this film with a calm narrative and a deep theme, the festival is too fast, the shot is too short, there are too many dazzling skills, and the editing is too sharp. Some...

He should be looking for a film with a solid foundation in the language of ordinary films like this.

After a press conference, Todd McCarthy and Kenneth Turan had no interest in participating and left the theater directly.

At the post-screening press conference of this film, Murphy was responding to media reporters' tongues, guns, and swords.

"Director Stanton..."

The first person who stood up and asked questions was a reporter from the "Hollywood Reporter". His question was more professional. "This film is mainly long shots and has a relatively slow rhythm. It is completely different from your previous fast-paced films. Why do you want to Make such a change?"

"Because I must first ensure that the audience can feel the emotional atmosphere of the story. Emotion is something I have to keep in this film at all costs."

Compared to previous interviews, Murphy’s answer to this question is basically the truth, “What do you want the audience to perceive? When watching a movie, if the audience can feel the feeling you want to express from the beginning to the end, you Everything they did was worth it. What they remember in the end is not editing techniques, photography skills, performances, or even stories, but their feelings."

If you want the audience to remember Diego Rose, the unknown person to them, you have to empathize after watching it.

This is Murphy's idea, and he can't guarantee whether it can be done.

Another reporter stood up and took the microphone and said, "Murphy, when watching a movie, I sit at the back, sitting with some ordinary fans, and some of your fans around me have a slow narrative rhythm of this film. Very dissatisfied."

Murphy was silent for a few seconds, and then said, "As a filmmaker, you have to know that no matter how positive things seem, you will always see bad comments, and you will always notice that what some people like is exactly Some people hate it, so you can’t take corresponding measures. I think it’s good to just do what you believe.”

The reporter's description Murphy has also predicted. This kind of film will certainly not please his inherent fans, but the negative impact is also limited. After all, almost all major commercial directors have directed literary and artistic films, and he is more literary and artistic. After the film, an absolute super commercial production will be used to eliminate these bad effects.

The questions that were asked afterwards were all commonplace questions, such as the relationship with Diego Rose and related rumors. Murphy had made sufficient preparations and resolved them relatively easily.

"I know you don't like to talk about yourself too much, but can I ask a less personal question?" A reporter turned the topic to Murphy personally, "What do you like to do when not making movies?"

Murphy replied very directly, "I like being with my fiancee. I don't play golf or ride horses. I don't like drag racing. I can relax completely with Gail."

Perhaps inspired by the previous reporter, the next reporter's question will still be directed at Murphy personally.

"If you can choose, which filmmaker do you want your future to be like?" he asked.

"Well, there are many great filmmakers in this world."

At the time of the previous sentence, Murphy had already figured out the following wording, and now the awards season has begun, to be active enough, "I am willing to work like some great filmmakers until later years-such as John Houston ."

After a short pause, he said again, "I think Stanley Kubrick is very good. If he wants to, he can shoot very personal movies in the studio system. I think this is what most filmmakers desire. Yes. Steven Spielberg has always kept himself at the forefront of the film. What a great thing! And Clint Eastwood! I think many filmmakers still shoot with them now. The first big hit film is just as interesting. Constantly trying to make excellent works is my ultimate pursuit."

Instead of handing over the microphone, the reporter asked, "Years later, when people look back on this era, how do you want them to comment on Murphy Stanton's movies?"

Murphy can totally refuse to answer this question, but after thinking for a few seconds, he still said, "I hope they say that my movies are always ambitious, always sincere, and working hard to achieve this ambition. Hopefully, as for the quality of the movies, I certainly hope that people like them."

At this point, Murphy laughed, "But to be honest, that's really impossible."

Just when Murphy was dealing with reporters, Todd McCarthy had already rushed to his studio, entered the studio, turned on the computer, logged into his network column, opened his notebook and looked at it, taking advantage of his deep memory of the film, preparing for the first time. Update your own Internet video column at a time.

"In a film like "Diego Rose", Murphy Stanton used a realistic approach to portray the chaotic Los Angeles in the 1980s and 1990s, creating a modern apocalypse, which is most worth thinking about. What does the so-called state and religion give to the people? Can law and fairness rise in this free land? For ethnic minorities, it is undoubtedly a huge cloud of doubt. They can't imagine. It’s hard to see..."

"The problems reflected in this film not only exist in Los Angeles, but not only in the United States. It is the problems of the world. The problems of violence and religion are persecuted in today’s civilized world. For every growing child and adolescent, the abundance of the upper class is always in sharp contrast with poverty and backwardness. They, perhaps including us, have been struggling to be on the edge of a painful world."

After updating his column, Todd McCarthy opened the online film review column of his old friend Kenneth Turan and found that the old guy was acting faster, and he updated his column five minutes ago.

"Murphy Stanton's plot for "Diego Rose" is very sophisticated and not out of the ordinary. The way of telling the story is very close to art. This is the highlight of this movie."

"I admire his skill very much. The violence, guns, and drugs are rampant in film reviews. It is difficult to find a clean and lively picture. The whole film is immersed in a dim, dim, stale, and old atmosphere. "

"He used an extremely realistic method of shooting and production to tear apart the reality that the characters have fallen because of the collapse of faith for each of us. With the degeneration of morality and the collapse of faith, the City of Angels opened their mouths and opened each A young life swallowed."

Just seeing this, Todd McCarthy's phone rang, and after picking it up, it was Kenneth Turan.

"I just got the news that Twentieth Century Fox sent the copy to Roger Albert the other day."

He spoke very fast, and before Todd McCarthy spoke, he said, "Roger Albert is said to have accepted a copy of this film!"