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 in the studio. However, it is impossible to bring in equipment such as cameras and video cameras. Leave it in the storage for now, and take it away when you come out.

This is the rule of studios all over the world, and most of the media reporters will abide by it tacitly. Before Montreal became a reporter, he also stayed in Hollywood. He was also a graduate of the University of Southern California Film School and served as an assistant director in a crew. , Later, I really couldn't find a way to get ahead, so I had to change careers. I didn't expect to become the chief reporter of the movie section of "Entertainment Weekly".

To interview Murphy, a top-line director in Hollywood, and watch the filming of his new project on the spot, of course, a reporter with an equal status in the industry is also required.

In the open-air studio, a large expanse of temporary grass was paved. Just in front of this grass, Murphy met the reporter contacted by 20th Century Fox.

This kind of interview doesn't ask too many things, Montreal only asks a few simple questions.

"Director Stanton..." He handed a recording pen to Murphy and asked, "Is the filming going well?"

"For the first two to four days, we were almost insane because everything happened so quickly."

Due to the need for publicity, Murphy said a few more words, "I struggle with jet lag almost day and night, including the deployment of staff and accounting issues. I am also dealing with it. Because we all know We are fighting for a special day project, we need to focus on the attention of everyone involved, if we can't get together a good team, we can't make 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 rate the work of actors? And yours?"

"I think the actor's work can be said to be instinctive until now." Murphy said in detail, "The more instinctive, the better the result. And the director's work is more rational. When directing, You conceptualize it, explain it to the technicians and the actors, and then it just falls into place."

Gal Gadot came up from behind and said to Murphy, Murphy said sorry to Montreal, returned to the set, and discussed the work of setting the scene with Helena Espora.

Murphy came to the camera lens used for long-range shooting, glanced at the set that had been set up, 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 laid out 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 behind, "Call David Robbie."

In the crew, Gal Gadot does not have any preferential treatment, and she never regards herself as a special member, and participates in every aspect of film production with the attitude of an intern studying hard.

A qualified producer may not be as proficient in professional technology 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 is running out, Murphy said as simply as possible, "David, I need you to use low-intensity lighting to increase the texture of the grass. Philip, increase the contrast when shooting, so that the houses and cows are left slender in the shot." shadow."

Then, Murphy pointed to the uneven grass in front, and said to Helena Espora, "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 long shot is almost When level with the farmer."

"and also,

He pointed to the back of the house, "I remember the setting with distant mountains?" I will arrange it later. "

Helena Espora nods, and the distant mountains in the background help 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 director.

Accompanied by two crew members, Montreal stood at the observation position specially set aside on the set and carefully watched the shooting process.

Due to his professional studies, he used to be an assistant director of a film crew. Maybe his actual hands-on ability is not strong, but there is no doubt about his professionalism. This is also the biggest capital for him to be the chief film reporter of "Entertainment Weekly" .

Compared with the layman of the media reporter, Montreal can be regarded as the film expert in the reporter's profession.

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

Then, he looked at several camera positions not far away, and quickly judged that Murphy Stanton used a triangular composition shooting technique, with a large reflection source reflecting sunlight onto the actor's face, and the farthest camera Shooting clearly at a wide angle, it's easy to accentuate the remoteness and loneliness of the scene.

The filming was carried out one by one, and the entire crew and the set were completely under the control of Murphy Stanton. This young director showed super professional ability, no worse than those major Hollywood directors who came from a professional background, and even his thinking was more active. , and some adjustments made on the spot turned out to be some magical strokes in the end.

For example, he temporarily switched to a reflector for fill light. When the shooting was finished, the large depth of field effect of the relevant lens seen in Montreal was quite outstanding.

Yes, he saw Murphy-Stanton's partially finished shot after the morning's shoot wrapped.

Montreal originally had an attitude of giving it a try, and asked the crew if he could watch some of the finished shots. After all, his background and professional ability are quite well-known in the circle. Purpose.

This time was no exception. Murphy Stanton readily agreed, but the number of footage provided was extremely limited, and the two parties also temporarily signed an agreement that all viewing content must not be photographed or videotaped, and must not be reported Directly refer to the content of the shot.

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

The footage without post-processing is actually pretty rough, but standing in front of a monitor and seeing the first footage left a huge impression on Montreal.

Montreal knew it was a rare opportunity to see Murphy Stanton's footage before anyone else did, so it took it seriously.

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

The bed sheet is cleverly used as a revealing element and eventually pulled back to show soldiers approaching from a distance, the dark chocolate brown costume creates a lovely contrast with the white bed sheet, taking one momentarily away from the background and what is about to be revealed Focus is on, and something as simple as a basket can help balance the composition, or it could be strategically placed here to hide the bottom of the clothes rail.

The costumes are all brown, white or gray, in keeping with the overall tone of the shot.

Then, it's time for the reveal! The effect is really good. The distant positions of the soldiers let 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 panorama of the house, and as soon as it plays on the monitor screen, Montreal sees the farmer walking towards the house.

"Murphy Stanton's composition is so ingenious!"

Even if it is well-informed, Montreal also expresses a sigh.

In the monitor frame, the tree stump in the foreground helps balance the frame, its size contrasts with the house and actors, adding depth, and the raised ax handle on the stump leads the eye toward the house.

The entire 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 matched perfectly with the blue stones and the purple plants? Their complexion is also very beautiful, and the girls look very healthy.

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

If you decompose this shot into the plane of depth of field, you will find that the composition is exquisite, and the distant mountains and the position of the camera relative to the house make the composition even better.

If this shot was shot by other directors, it might not look so beautiful.

Montreal can only see these two shots, but after watching these two shots, he thought about it, and then watched it again, probably because he was afraid that he would forget it after a long time, so he pressed the button of the recording pen and said in a low voice , "The pace of these two shots is so perfect, the tension of Murphy Stanton's construction of the shot is almost overflowing! The performance of the actors is also quite good, excellently completed the almost genius lines of Murphy Stanton. I hope he doesn't mind me sharing a little bit with the media: Well done Murphy!"

He will submit this recording to the crew's public relations review before publishing it on "Entertainment Weekly". I believe there will be no problems.

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

During the filming break, Murphy also went back to Los Angeles to attend the upcoming 80th Academy Awards Ceremony.