Please give me a monthly ticket and a recommendation ticket!

In a studio at the Montage Studios in the suburbs of Paris, countless people returned to quiet after being busy, and their eyes were all turned to the camera lens.

The camera is directed at a set arranged as a farmhouse, and a conversation is being staged between a person dressed in SS officer and a farmer.

The two cameras were shooting from different angles, and the photography assistant with Stenikon was set up in the reserved photography seat in advance, waiting for Murphy to take the stage to capture the shot at any time.

"If you want to compare Jews to an animal, it is a rat." The SS officer spread his hands. "The propaganda of the Head of State and Goebbels is similar, but our conclusions are different. 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, it's indeed a hostile world."

This is a long scene that needs to be supported by excellent personal acting. Although this is a test shot, Christopher Walz has performed extremely well until now. He looked at the farmer and said, "If a mouse fled through your front door now, are you hostile to him?"

When the farmer actor's No. 2 camera was immediately changed to a close-up shot, the farmer hesitated for a moment, and said, "I think it will."

"What bad thing did the mouse do?" Christopher Walz asked with a smile, "has it caused your hostility?"

The farmer grabbed the pipe and said, "Rat spreads disease and bites people."

"If a mouse comes in from outside now..." Christopher Walz pointed to the set door, his smile on his face closed, and his vicious expression flashed away, "Will you still let your beautiful daughter pour him milk?"

Although Christopher Walz's sinister look only stayed on his face for less than a second, the reaction seemed extremely clear in the camera lens. Murphy raised his hand and said loudly, "Stop!"

Not only Christopher Walz, but there was a problem with the lighting at the scene, but this was a test shot. Murphy did not interrupt Christopher Walz, who was gradually finding form, until the Austrian actor made a mistake.

Murphy said without nonsense, "Chris, I just used too much force."

Christopher Walz nodded, and Murphy emphasized, "Remember, you always have to show elegance and demeanor in this scene."

Although they are also Nazi murderous devils, Colonel Hans Landa is completely different from Amon in "Sindra's List". He is definitely a man who looks elegant and graceful.

He can even be said to be the male protagonist of this film, and his appearance is simply synonymous with elegance.

The elegant appearance and the demon's inner self, this strong conflict will make the character full of charm.

In the film, the more elegant Christopher Walz shows, the suspense of whether the hidden behind the farmer will force the farmer to tell the truth and the fate of the Jews under the floor will also make the audience feel stronger.

If it were a ruthless Nazi officer who forced the farmer to question it, this scene would give people a completely different feeling. Although too fierce performances can lead to more dramatic tension, sometimes tension is harmful to the atmosphere of the story.

The endless feeling of pain, panic, and conflict will suffocate the audience. There must be contrast to feel suspense, the condensation of pressure, the release of energy, the recondensation of pressure, and the recondensation of energy. This is the rhythm of the movie.

Pressure creates conflicts. After the problem is solved, energy is released and new problems appear again. Think about Diediele. Everyone will be very nervous when drawing building blocks. If the tower has not collapsed, everyone will breathe a sigh of relief.

The rhythm of this movie is to be nervous, relieved, nervous, relieved.

In addition to the actor's performance, there were also problems with Bu Guang just now, so Murphy called David Robbie over.

"David, this is a long shot." Murphy said to David Robbie very seriously. "I can't reserve you the time to adjust the light during the shooting. You need to arrange it in one go."

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

Although I have no interest in the so-called one-shot and will not use this kind of show-talking technique that has no essential improvement in storytelling, this does not prevent Murphy from shooting some long shots that last for several minutes, especially the conversation between Colonel Hans-Landa and the farmer who are now filming. A long shot can undoubtedly better condense the tension needed.

Long shots are indeed quite troublesome, and are a great test for photography, performance and lighting.

In terms of performance, the farmer is an old actor from France. Christopher Walz gradually found his state with the shooting of several scenes and showed excellent acting skills. In terms of photography, Murphy and Felix Raschel have made enough plans, which is not a problem...

Different lights required by different shooting angles have become relatively difficult.

Murphy is not in a hurry, anyway, this film will not be released until the next awards season, so he has enough time to shoot and produce.

Murphy called Filey Raschel and David Robbie together to experiment with various effective solutions.

Within a specific shooting length, Murphy can ask David Robbie to set up and hide the lighting equipment according to the actor's movement and scene arrangement at the shooting site. However, when shooting long shots, you must make careful preparations in advance, because during the uninterrupted long shots, the actors may move to many positions, and it is difficult to set up and hide the lighting equipment at one time.

These are not without solutions in Murphy's hands.

He asked Filey Raschel to pay attention to the lens frame of the crew, and photographers should know where the shots were to end, and also pay attention to the movement of the camera and main vision.

At Murphy's request, all photographers took notes on the shooting site, the lens frame, the movement trajectory of the entire lens, etc., and planned, practiced, and moved in advance until everything was ready.

Then start setting up the lighting equipment.

Among all the lighting equipment used by the lighting group, the first thing to deal with is the moving light source. Murphy asked David Robbie to convey it, and the light can move in time.

In order to ensure safety, if the lens moves, David Robbie can move the main light source on the set, so he must do this. Sometimes, what he needs to do is to translate or tilt the main light source on the set. Of course, sometimes portable or portable LEDs can also be used to move the main light source.

At the same time, Murphy also asked David Robbie to hide the lighting equipment within the lens frame.

This is the most commonly used technique in long-shot shooting of movies. In shooting scenes, finding obstacles to hide lighting equipment can reasonably improve the space utilization of the shooting site, especially when there is limited shooting space in such farmhouse landscapes. This technique is more useful.

Among them, placing lighting equipment on the ground is a very practical method, because in actual shooting, you don’t have to take pictures of the ground, but if you have to take pictures of the ground, you can hide the lighting equipment through chairs, cabinets or other furniture.

In addition to professional lighting, Murphy also requires that all available light sources be used when shooting.

There are real light sources in his shooting scenes, and electric lights hanging from the farmhouse, which can also become a trick to create shooting light sources.

During the shooting, Murphy asked the staff to place a reflector and asked the staff staying around to wear white shirts, so that they could perfectly use the light source at the shooting site.

In this way, the lighting equipment at the shooting site can be reduced and the lighting effect can be achieved even if the lighting is not applied.

Murphy also appropriately adjusted the position of the farmer and Christopher Walz when sitting and moving the movement route to better utilize the floor and corners to lay light sources. This technique requires the director to first clarify the layout of the scene and the movement of the actors.

If there are floors, corners, etc. on the site, the director can let the lighting team use the blind spots in the lens to hide the lighting equipment. Of course, the same is true for on-site settings such as curtains and fake walls. Any items that can cover the lighting equipment on the site can be used.

In addition, hiding the light in the darkness of the farmhouse landscape is also a good way. In order to prevent the lamp stand from reflecting, Murphy specially coated the lamp stand with dark textiles.

This scene in Murphy's design, which relies on several sets of long shots, took a full five days to finish the shooting. Especially during the shooting, Murphy also added a daughter to the farmer to arrange for an actress stuffed in by the investor.

A French film fund provided the film with a sponsorship of up to 3 million euros, and an actress named Leya Seidu was attached to the conditions.

No one will refuse such a large amount of funds, and Murphy is no exception, but he will not break the balance of the crew. The other party finds an important role, just one of the daughters of the farmer who acts as the background painting, with only one of the front shots and not even a single line.

As the crew came to the open-air set to shoot, more actors, including Margot Robbie, also joined the filming.

Someone asked Murphy what he expected of the actors, and his answer was simple: "I hope they will act well!"

During the filming, Murphy would rather not talk to them more, but some people need to talk to them…some people need what people call “motivation.”

What is the biggest motivation for actors? Murphy’s answer is also very simple. Their motivation is to become famous and pay.

In Hollywood, nothing can give a person more motivation than these two, and even Murphy is no exception.
Chapter completed!