Best Movie Star

bang-bang-

The gunshots rang out again and again, and the glass of the car was broken. Dozens of police officers bowed their heads and lay on the back of the car. They were suppressed by the dense bullets and could not raise their heads. Just behind the glass curtain wall on the opposite side, the figures kept shaking, and some people were holding them. The automatic rifle was aimed this way, and there seemed to be flames spewing from the muzzle.

"Get down! Get down..."

A sheriff shouted from the back of the car, "All down!"

The shattered glass shards fell from the top as if they didn't want money.

Matthew and a police officer descended from a nearby height, and a cameraman with a Steadicam set up had been shooting ahead.

"What's the situation?" he asked the officer, looking not far away.

"Bank robbery," said the officer quickly. "At least eight hostages, four criminals!"

He pointed to the frontmost police car again, the blond female police officer was hiding behind, and said, "A police officer is trapped, but the other party's automatic firepower is too strong, we can't get close to her."

Matthew took off his sunglasses, stood behind a car, looked towards the bank, and the officer followed and continued, "They've been shooting at us all morning."

"Yeah." Matthew nodded, and was about to rush out. The police officer reached out and grabbed him, reminding, "They have large-caliber heavy firepower, I don't know if you can do it."

Matthew broke free from the officer's hand, "I'll be fine."

Just as he was about to go out, he only took a step forward, then backed up, opened and closed his mouth several times before saying a little stiffly, "You guys did a great job!"

The police officer was immediately stunned.

Matthew turned to all the cops around and said, "You guys did a great job! Great job!"

The police were a little uncomfortable at first, but soon someone smiled at Matthew, who put his arms up and jumped into the police car.

"Stop!" Director Peter Berger called to stop shooting and raised his hand to Matthew's side, "OK! Let's shoot the next scene."

There's also a scene where Hancock flies over a car, previously shot by the stuntman.

The whole scene remained unchanged, the cameras and lights were adjusted, Peter Berg found Matthew, pointed to the blond policewoman hiding behind the police car, and said, "You go over to rescue her, don't run, don't be nervous, have a walk As easy as that."

Matthew nodded, "No problem."

After more than two weeks of filming, he also found his form.

The stunt crew over there was also ready, and Peter Berg returned to the director's monitor and shouted, "Filming...start!"

The originally quiet studio immediately became noisy. Shouts, gunshots and screams continued one after another. Matthew strode towards the police car facing the bank gate. He could smell the gunpowder smoke. Occasionally, he looked down, as if he had been shot, and stretched out his hand to flick the gunpowder off his clothes.

The shooting effects of bullets all depend on post-production additions, and he only needs to make gestures.

Matthew walked past a large billboard, glass cabinet after glass cabinet was shattered into pieces under the careful control of the stunt crew, and all fell on the other side, as if they were actually shot by bullets.

After walking in front of an SUV, Matthew made a casual slap according to the preset routine. The next second he made this action, the SUV exploded.

As a real man, of course you can't look back at the explosion.

Matthew came to the back of the police car, helped the policewoman who was lying on the ground in excruciating pain, and said loudly, "You did a great job!"

The actress just shook her head in pain, unable to say a word.

"Can I touch your body?" Matthew asked solemnly and loudly, "Can I?"

The actress nodded painfully, "Please, take me away!"

Matthew grabbed the actress by the arm, ready to pick him up.

Director Peter Berger's shout came, "Stop! This one is over!" He first nodded to Matthew's side, and then shouted to the stunt team, "Get ready, you have twenty minutes!"

The actor took a break for a while, but he did not relax at all. He first watched the shot just shot, then coordinated the camera position with the photographer, and went to the special effects team to check the equipment.

Next up is the scene where Hancock is holding the police car as a shield. Of course, the actor can't hold the car and walk away, it's up to the stunt team to coordinate.

Peter Berger is meticulous and does not miss anything that may go wrong, not only today's shooting, including all the previous shootings of this film, he worked hard and gave 200% s hard work.

For a director like him, the opportunity to direct such a big production is too rare.

When he first served as Michael Mann's assistant, he didn't think much of it yet. Whether it was an actor or a film company, in Michael Mann's face, he was polite to him, but since he left Michael Mann and became an independent one When the director started, he really realized the difficulty of being a rookie director.

Before this project, he could only direct some small productions in the independent film industry, and the highest investment was only a few million dollars. It was not that he did not want to direct a large-scale production, but that no one wanted to give a newcomer the opportunity to direct.

After finally filming a few small productions, he gained a little fame. With the recommendation of Michael Mann, he met the nobleman Akiva Goldsman. Although he hesitated for a while, he knew that he could not let go of such an opportunity.

There may be directors who are willing to spend their whole lives in the independent film circle and devote themselves to art, but most directors are like him and have the opportunity to direct first-line mainstream commercial productions. Who wants to stay in that small circle?

After checking the stunt team, Peter Berger said to the person in charge, "Truth, check again, don't have any accidents, we will try to pass it once."

"Okay," said the head of the stunt team.

When the stunt team leader checked again and was sure there was nothing wrong, Peter Berg returned to his director's monitor, his eyes turned to the actor, and his eyes fell on Matthew Horner.

"I'm really lucky." He whispered to himself, "I became a director independently, with the help of Michael Mann, and the first work in the commercial film industry was starring Matthew Horner..."

He has worked hard in the independent film circle, and that circle is the only way for many new directors to go through the initial stage. Compared with himself, the resources and opportunities of most new directors are really far worse, even the world is different. .

Before taking over this project, he once saw a survey report on the living conditions of new directors from a friend who was doing film market research. Among the rookie directors of feature films, 38% of the directors interviewed made their debut with their own money, of which only 21% raised funds within one year. It can take one to two years or even more than three years to start shooting. Of those respondents who had a project failure experience, 58 percent were investment issues, topping all options.

No one trusts a new director just as easily as no one trusts a new screenwriter.

Peter Berger knows this firsthand, and there are so few lucky people like him.

In fact, because of the survivorship bias, the sixty respondents who already had feature films already belonged to the "lucky ones who finally got the investment", apart from them, the film directors who were forced to terminate because they could not raise money Dream, even the most professional film investigation agency does not know how many there are.

Only by making your debut can you officially enter the ranks of "film directors", but this is a hurdle. Michael Mann once said to him: This is a paradox, you want others to invest money for you to make movies, First you have to have a movie to prove your ability. So how to find investment for your first film becomes especially difficult.

How hard is it to find investment for a new director? Peter Berger has personally experienced that professional companies dare not invest, private investment cannot be found, no one buys the pre-sale copyright, and crowdfunding is extremely difficult...

Like when Christo Nolan first debuted, in order to raise funds for the new film, he did not hesitate to put down his body in the cinema to ask the audience to crowdfund~www.readwn.com~ Although the road is smoother than other new directors, Peter- Borg has also fully experienced the difficulties and hardships involved.

When he first left Michael Mann, he went to find an investment and went to a company that made art films. The person in charge yawned after listening to his laborious talk, and then said, you see what we do is Oscar-level. ...

So, the other party refused to even read the script.

Later, under the introduction of Michael Mann, his project found investment and also made a small profit for the production company, but the company that rejected him did not regret it because he missed a profitable movie: rejection A debut without anyone's endorsement, in their opinion, is a professional approach.

As he felt it personally: a helpless situation is that if you are a newcomer, how well your script is written will often not allow you to add points when facing investors.

Even the same script will have different fates under different circumstances: with the recommendation of the great director Michael Mann, his project received investment; without Michael Mann's help, he may not have been able to find investment until now.

Twenty minutes later, filming started on time, and Peter Berger sat behind the director's monitor, focused on the scene.

The gunshots sounded again. The shooting of "Superman Hancock" attracted many media reporters and pedestrians to watch. Many people gathered outside to watch. After some fans found Matthew, they also prepared pens and notebooks. Wait a minute to get his autograph.

Francis Lawrence walked out of the door of the Death Star Building, joined Paula Patton, who was waiting at the door, and found the shot not far away.

"It's Matthew Horner starring in the filming," Paula Patton said.

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