Hollywood Road

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"Hello, Mr. Stanton."

In the director's office of Studio No. 2, a middle-aged man first showed Murphy his identity materials, then nodded to Bill Ross and Erica Steinberg, and introduced himself, "I It's Harry Pierce, from the Directors Guild."

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

"The directors' union."

An assistant brought coffee, Harry Pierce nodded his thanks, and then expressed his intention, "The directors' union has learned about a situation. There are two full-time directors in the project book of the "Sin City" crew, is that true?"

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

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

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

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

After closing the document, he said to Murphy again, "If we're not mistaken, Mr. Stanton is a member of the directors' union."

Murphy, Bill Rossis, and Erica Steinberg looked at each other, their faces were very calm. They had communicated a long time ago and guessed that this situation might happen. Now that it has happened, there is no panic.

Harry Pierce spoke extremely fast, as if he didn't want to give Murphy any chance to distinguish, "Director Stanton, as a member of the directors' union, you have violated the union's regulations. Your crew must suspend filming and accept the directors' union's investigation."

"Pause the 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 fulfill the union's regulations!"

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

"

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

"Is the filming really going to be suspended?" Murphy looked at the other two and asked.

"Pause for a moment." Erica Steinberg knew this better than Murphy, "Although the directors' union is just a union, it's better not to confront some decisions openly."

Bill Rossis nodded in agreement, "The suspension won't last for a few days, didn't we have a plan before?"

"Okay then," Murphy stood up, "Bill, I'll leave the directors' union temporarily to you. I'll go to the crew to explain."

The Directors' Union asked the crew to shut down. This is very troublesome, but it is not impossible to deal with it.

Murphy and Bill Rosses had assumed it at the beginning, and later communicated with Miramax. It's fine if the directors' union doesn't pay attention. If they are targeted, they must have corresponding countermeasures.

It is true that nowadays the directors' union rarely pays attention to whether someone violates these remote regulations, but Hollywood has never been a pure land, and the competition for fame and fortune has been magnified several times in this circle, and no one is sure whether it will Someone stabbed at the directors union.

Once this is the case, it is impossible for the directors' union to turn a blind eye.

To deal with the current situation is troublesome and troublesome, and it is also simple and simple.

Since Frank Miller's position as a director is the premise of this cooperation, and it is clearly written into the contract, it must not be violated. If the director's union's investigation is accepted, even if it passes smoothly, how long will the crew be suspended?

The solution is certainly not clear.

The best way is for Murphy to withdraw from the directors' union. Frank Miller was not a member of the directors' union. There is no reason or 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 has also communicated with CAA's senior management. As the director that CAA is currently focusing on training, CAA's public relations department will also start to eliminate these effects. .

After Murphy went out to announce the decision of the directors union and give some explanations, the filming was suspended.

"Sorry, Murphy." Frank Miller took the initiative to find him, "I didn't know that the directors' union still had such regulations, and I didn't expect to bring such troubles to the crew. Do Miramax and CAA have a solution?"

Glancing at Murphy, he tentatively said, "If it really doesn't work, I'll go back to being the assistant director."

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

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

It is also understandable that his position in the crew is a bit embarrassing. If he throws away the power stipulated in the contract, if the future filming does not follow the comic style, he will be powerless to intervene.

It is definitely not once or twice that Hollywood adapts a film to sign a contract and then throw away the original author.

Murphy made a promise to him, but Frank Miller is not inexperienced in society, so how could he simply believe in the promise.

Bill Rossis handled Murphy's resignation from the directors' union, and the crew suspended filming, but that doesn't mean all work will stop.

The filming that was on the surface stopped, and the special effects production that was going on was still going on. The crew suspended the filming and waited for Bill Rossis to handle the formalities for him to launch the director union. Murphy and Phil Raschel And Helena Espora got together to watch a small number of special effects backgrounds submitted for review, and use the backgrounds as a reference to continue to improve future imaging effects and picture styles.

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

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

"Helen, these need to be reworked!" In Miramax's drawing room, Murphy said to Helena Espora who was in charge of these, "I need to make the audience feel a super visual impact, and I need to The picture is beautiful enough! It makes people never forget it after just one glance!"

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

However, Murphy urged, "I repeat, the color tone of the special effect background must be bright 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. White must be white and flawless. It's completely black!"

Helena Espora wrote down Murphy's request one by one in the notebook.

These few close-up background images were originally experimental products, and the special effects working group submitted them to Murphy to see them in advance, and Murphy also bluntly pointed out the parts that did not meet the requirements.

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

"Don't forget, color is a tool to reflect the emotions of characters and plots!" He has never stopped, "Different emotions need different colors to express, red is conducive to the ignition and expression of passion; black and white reflect the city. sinister and dark!"

After talking about the special effects background, Murphy turned to these background-related shootings. The shooting is not completely separated from the background and only relies on the green screen, especially his director and Philip Lascher, the director of photography. The screen, the complete scene construction should also appear in the mind.

"Phili, pay attention to the transition of scenes when shooting." Although this has more to do with editing, the control of the lens during shooting is equally important. When shooting, reserve the editing points for clever transitions of scenes, which can make the combination of shots Naturally coherent, rather than abrupt breaks, "In terms of eye-guided transitions, language transitions, similar object transitions, and action transitions, you re-examine one side of the photography plan."

It is not difficult for careful people 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.

After a three-day hiatus, Bill Rosses settled matters related to Murphy's resignation 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 illegally.

In Disney's No. 2 studio, many staff members were making preparations before shooting. Bill Rosses and Murphy stood behind the director's monitor, watching the images of Felic Raschel's trial shooting continuously transmitted.

"The company has also asked someone to investigate," Bill Ross said in a low voice. "The director's union suddenly intervened in us because someone reported it."

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

"It's not clear yet." Bill Ross shook his head, "Brian Lauder speculates that it may be a competitor of the company."

He sighed, "I thought it was too simple at the beginning. It doesn't take much effort, let alone risk. Just calling the directors' union to report it may attract attention."

Murphy also shook his head.

Bill Rossi said again, "You can shoot with peace of mind now, and let me handle other things."

He understands Murphy's character, he is not a person who suffers from a loss and swallows his stomach, and specifically told him, "Murphy, don't think too much, and don't do too much! What you need most now is to do a good job as a director. With caa and Miramax, general 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 problems." (To be continued.)