Hollywood Road

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In a studio in the montage studio on the outskirts of Paris, countless people returned to silence after being busy, and all their eyes were cast in front of the camera lens.

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

The two cameras started shooting from different angles, and the camera assistant with the Steadicam squatted in the camera position reserved in advance, waiting for Murphy's order to go to the scene to capture at any time.

"If you want to compare the Jews to an animal, it's a rat." The SS officer spread his hands, "The Führer and Goebbels' propaganda are similar, but our conclusions are different, and I think this comparison is disrespectful. "

He pointed to the set 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 depends on outstanding individual acting skills. Although this is a test shoot, Christoph Waltz has played extremely well so far. He looked at the farmer and said, "If a mouse comes from Are you hostile to him as he flees in panic at the front door?"

The second camera facing the farmer actor immediately changed to a close-up shot, and the farmer hesitated for a moment, but said, "I think so."

"What evil did the rat do?" asked Christoph Waltz with a smile. "Did it provoke your hostility?"

The farmer gripped his pipe and said, "Rats spread disease and bite."

"If a mouse walks in from the outside now..." Christoph Waltz pointed to the set door, the smile on his face retracted, and the sinister expression flashed away, "You will still let your beautiful daughter fall Does he have milk?"

Although Christopher Waltz's sinister 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 Christoph Waltz, but also some problems with the lighting on the scene, but this is a test shoot. Murphy did not interrupt Christoph Waltz, who was gradually recovering, until the Austrian actor made a mistake.

Murphy didn't talk nonsense, and said directly, "Chris, I used too much force just now."

Christoph Waltz nodded, and Murphy emphasized again, "Remember, in this scene, you must always show elegance and poise."

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

In fact, he can be said to be the hero 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 elegant Christoph Waltz's performance, the more intense the suspense of whether the farmer will be forced to tell the truth and the fate of the Jews under the floor will be hidden behind the scenes, which will make the audience feel more intense.

If it were replaced by a stern Nazi officer asking the farmer, this scene would give people a completely different feeling. Although too fierce performance 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 concentration of pressure, the release of energy, the re-condensation of pressure, and the release of energy. This is the rhythm of the movie. .

Stress creates conflict. After the problem is solved, the energy is released, and new problems arise. Think about jigsaw puzzles, everyone will be nervous when pulling blocks, and everyone will breathe a sigh of relief if the tower has not fallen.

The rhythm of this movie is tense, relieved, tense, relieved.

In addition to the performance of the actors, 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 seriously, "It is impossible for me to reserve time for you to adjust the lighting during the shooting, you need to set it up in one go.

"

Long shots often bring interesting and immediate scenes, allowing the audience to fully immerse themselves in the drama, but shooting long shots is also very challenging, especially the issue of lighting.

Although I have no interest in the so-called one shot, and I will not use this kind of dazzling technology that does not improve the storytelling at all, but this does not prevent Murphy from shooting some long shots that last several minutes. Especially the dialogue between Colonel Hans Landa and the farmer being filmed now, a long shot will undoubtedly condense the needed tension.

The shooting of long shots is really troublesome, and it is a considerable test for photography, performance and lighting.

In terms of performance, the farmer is an old drama player from France. Christoph Waltz has gradually found his status after shooting several scenes, showing excellent acting skills. In terms of photography, Murphy and Feli Raschel It is not a problem to have enough plans...

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

Murphy is not in a hurry to solve any difficult problems. Anyway, the film will not be released until the next awards season, so 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 ask David Robbie to set up lighting equipment and prepare for hiding according to the actors' positions and scene layout on the shooting scene, but when shooting long shots, careful planning must be done in advance. Be prepared, because actors can move to many positions during uninterrupted long takes, and it can be difficult to set and hide lighting in one go.

These are not without solutions in Murphy's hands.

He asked Phil Lascher to pay attention to the frame of the camera crew's shots, the cameramen need to know where the shot is going to end, and also pay attention to the movement trajectory of the camera and key vision.

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

Then start setting up the lighting fixtures.

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

David Robbie was able to move the key light on set if it was safe to do so, and by all means do that. Sometimes, what he needs to do is to pan or tilt the main light source on the set. Of course, sometimes portable or hand-held LEDs can be used to realize the movement of the main light source.

At the same time, Murphy also had David Robbie hide lighting equipment within the frame of the shot.

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

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

In addition to professional lighting, Murphy also asked to use all available light sources when shooting.

There are real light sources in his shooting scenes, electric lights hanging above the farmhouse, which can also be a trick to create light sources for shooting.

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

In this way, the lighting equipment on the shooting site can be reduced, and the effect of lighting even without lighting can be achieved.

Murphy also appropriately adjusted the sitting positions of the farmer and Christoph Waltz, as well as the moving route, so as to make better use of the floor and corners to arrange light sources. This technique requires the director to first clarify the layout of the scene and the actors walk.

If the scene has floors, corners, etc., the director can let the lighting team use the blind spots in the shot to hide the lighting equipment. Of course, the same principle also applies to on-site settings such as curtains and false walls. Any items that can sufficiently block lighting equipment on site can be used.

In addition, it is also a good way to hide the light in the darkness of the farmhouse setting. In order to prevent the light frame from reflecting, Murphy asked someone to cover the light frame with dark textiles.

It took a full five days to shoot the scenes that relied on several sets of long shots in Murphy's design. Especially during the shooting, Murphy also added a daughter for the farmer to arrange for a daughter who was stuffed in by the investor. actor.

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

No one would refuse such a large sum of money, and Murphy was no exception, but he would not break the balance of the crew, and asked the other party to find an important role, just one of the farmer's daughters who acted as the background painting, with only one frontal shot , not even a single line.

More actors, including Margot Robbie, joined the filming as the crew moved to the open-air studio.

Someone asked Murphy what he expected from his actors, and his answer was simple: "I expect them to do well!"

While filming, Murphy would rather not talk to them much, but some people need to be talked to...some need what people call "momentum."

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

Nothing motivates a man more than these two in Hollywood, not even Murphy.

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