Hollywood Road

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The scenes filmed here are actually not very difficult. They do not need to dig deep, nor do they need to pursue the connotation, let alone the actor's acting skills. The most important thing is to show violence, blood and cruelty...

Even so, Murphy was not relaxed when shooting. Not only did he change four angles in the morning, but after lunch, he shot nearly one afternoon. When there was only one black and white film left, he gave the actor once. Take a long break and continue shooting after the break.

He himself did not rest, sitting in the car and watching the shots that had been taken repeatedly in order to find out any place that could be improved.

Murphy paid great attention to this opening scene, which lasted only a few minutes.

For any movie, the opening shot is like the key to the world of light and shadow, leading the audience to start the movie journey.

It can be said that whether a movie can catch the audience’s eyeballs in an instant and produce a good chemical reaction with the audience, the opening shot plays an important role. Therefore, for the director and production staff, the opening of the long shot must be well thought out. Sometimes it can be the beginning of the entire movie story, and sometimes it can also be the end of the entire movie story.

The movie in Murphy's plan has a very simple opening. It points out the theme and confesses the true side of the male protagonist Jeff. This is indeed cruel, but can people unconsciously think that such a person will continue to commit crimes? What will happen to it?

Whether he continues to abuse and kill other girls or someone seeks revenge on him, it is a good gimmick that can attract a group of viewers to watch.

"Combined with the end of the script,"

Bill Rossis and the agent named Mike are still standing by the bushes in the morning. The former said to the latter, "He uses the typical head-to-tail opening shots."

"The simplest and rude opening shot."

After an afternoon of on-site observation, Mike was obviously more serious than in the morning, "but it is also the way that the rookie director has the lowest chance of failing."

He looked at Murphy in the distance, "A very smart person with a very clear understanding of himself."

In the eyes of Bill Rossis, this kind of lens technique is easier to succeed in the use of new directors, and there are countless classic movies that echo the beginning and the end of the film history.

Mike suddenly turned his head and asked, "Are you interested in him?"

Bill Rossis did not deny it, and said directly, "With our position in the company, it is impossible to get high-quality customer resources. An actor of the level like Julian Felos is already our limit. If we want to climb up, we can only think of ways to train new people."

"Do you think he can?" Mike asked curiously.

"Who can guarantee this kind of thing." Bill Rossis shook his head. "I just think he has some potential."

Mike knows what he means. For newcomers like this, their average agent will sign a few every year. These people can get ahead, and they will naturally rise as diggers. If they can't, they will basically have no loss.

"And he's a director." Bill Rossiste emphasized.

Successful directors look much bleak compared to the star actors in front of the curtain, but the actual situation is just the opposite.

Following the director is the universal value of the film industry. Throughout more than one hundred years of film history, the real film leaders are directors. There are no such things as James Cameron, Steven Spielberg, and George. A great director like Lucas, there is no world movie that has entered the golden age today.

"Indeed, the director is the dominant type of work in the entire film industry," Mike reminded as a friend, "but every year there are tens of thousands of film practitioners who dream of becoming directors. How many of them are successful?"

"Anything is risky." Bill Rossis just smiled. "I think he has potential. That's enough."

Why doesn't he know how difficult it is to be a director? Even today's famous Ann Lee had been a family cook for 6 years before that; even Quentin Tastino was an unknown video store boy before this.

The shooting resumed over there, and Bill Rossis and Mike continued to chat in a low voice.

"I've been in this crew for a long time," said Bill Rossis looking at the set with his arms folded. "One is to help Julian take care of Kerry, and the other is to observe this Murphy Stanton. ."

Mike frowned slightly, "Is he really worthy of your attention?"

"Although the path to the director is different," Bill Rossis obviously made up his mind, "but there is always some general truth hidden in it."

"The most important point is of course to prove yourself by strength and performance." He laughed at Mike, "I can't say this now. The director who has proved himself is not our turn."

"What about the others?" Mike was obviously interested.

"Ability to withstand pressure! The director is a high-risk and high-pressure job. The hard work and high pressure of shooting the film is enough to drive ordinary people crazy."

Speaking of this, Bill Rossis looked at Murphy with a trace of admiration, "I have investigated. He has suffered a lot of blows. He has been in prison for a year, but he has not been devastated and released. Later, he did even better, and even dared to put all the wealth he had finally gathered into this movie."

Mike was a little disapproving, "Is this a lunatic?"

Bill Rossis retorted, "Aren't those successful directors all crazy?"

He continued, "A director must have the ability to direct performances. Kerry Mulligan is my contract actor. She has made great progress during this period. The most direct reason is Murphy Stanton."

These words are for Mike, and Bill Rossis is also convincing himself that he should not miss such a potential person, "and the most important ability to control the script. Akira Kurosawa has pointed out many times that he wants to be outstanding. The director of ”must first become a qualified screenwriter, and the script for this project comes from his own hands.”

"Of course, I'm not saying how good the script is. "Fruit Candies" is at best a well-integrated one."

Mike has read the script, and Bill Rossis still analyzes, "The script is not good, but it is full of factors that attract the audience. Today's low-cost movies want to attract the audience, nothing more than making a fuss, plasma, and women. There are enough manifestations in "Fruit Hard Candy"."

Going through the script in his mind, Mike found that this is indeed the case. The beginning of the script is a violent crime, with large-scale underage girls punishing the perpetrators, and a sensitive Lolita plot interspersed in the middle...

He couldn't help looking at Murphy, and he was also interested in this guy. The script was really not good, and there was no creativity at all, but it was full of gimmicks that attracted the audience.