Best Movie Star

In the studio of Warner Bros. Studio, the Vientiane Ring is slowly rotating, and the centrifugal force generated makes people a little dizzy. Matthew hangs the wire, tries his best to control his body, and kicks the stuntman with his foot. On the stuntman's chest, the stuntman flew out backwards as if hit by a mountain.

This is a fight in a dream, which seems a bit grandiose, but it was specially requested by Christopher Nolan.

In order to avoid the film being too obscure and allow the audience to distinguish between dreams and reality at a glance, Christopher Nolan, the director, designed many special scenes and backgrounds, which can be easily distinguished.

Matthew kicked an enemy, kicked his feet **** the ceiling turned by the Vientiane Ring, dodged the hug of another stuntman, and punched him in the face with a return hand. The same name just now flew out.

After hitting the two enemies, Matthew propped his hands on the floor that was turned over, then turned his body and stood on the ceiling.

"Stop!" Christopher Nolan, who was also in the Vientiane Ring, shouted to stop shooting, "This one is over, Matthew rests for half an hour, and another group starts shooting!"

The Vientiane Ring stopped turning, but the ceiling was on the ground, and the overhead became the floor. Two stuntmen ran in at this time to help Matthew take off the steel wire and remove the protective device hidden under the clothes.

Matthew moved his hands and feet, especially his waist and abdomen, and then he got out of the Vientiane Ring and jumped to the ground.

Christopher Nolan came out later, stopped Matthew, and asked, "How does it feel? Do you need to use a stunt double?"

"No problem." Matthew gave Christopher Nolan a thumbs up. "I've done a lot of practice, and I can get these parts done."

Although this action scene still has certain difficulties and dangers, but with his skills, it is not too difficult.

He will complete most of the scenes here himself, just some stunt doubles for action scenes that are more difficult than others.

Christopher Nolan didn't ask again. The danger is not too big of a scene. If the actors can do it themselves, there will be a lot less trouble in post-production.

Although the action scene just filmed didn't last long, Matthew went to the rest area to rest for a while. Whoever filmed this scene would be tired. Hanging a wire in midair and even fighting head-to-head, it was difficult and exhausting. , far more than normal action scenes.

Matthew entered a short break, and the filming of the crew did not stop. James McAvoy entered the Vientiane Ring and began to shoot the action scene of Arthur flying over the wall.

The action scenes here, including the action scenes he just filmed, were disturbed by the upper-level dreams in the description of the script. Gravity changed several times in the second-level dreams, causing people to fly in the air and the scene to keep spinning. .

These are produced by real physical laws when shooting.

He and James McAvoy were able to fly in and out of hotel corridors because the entire corridor set was built on a giant rotating "Vientiane Ring" installation.

When the entire corridor began to rotate and tilt, the actors hanging on the coercion only adjusted their balance with the flow, and the fixed camera made it seem like the direction of gravity was changing, in order to ensure that the actors were rotating. Safety in the set, many props including walls are made of soft materials.

It is difficult to complete the action scenes, and the danger is actually not high.

This is also the main reason why Matthew Ken himself went off the field to shoot.

Half an hour passed quickly, James McAvoy ended out of breath, and Matthew entered the Vientiane Ring again to shoot.

"Why am I so tired." The two met in front of the entrance of the Vientiane Ring, and James McAvoy seemed to be very unbalanced. "You're like nothing after filming?"

Matthew patted his arm lightly and said earnestly, "Brother, you lack enough exercise."

Watching Matthew enter the Vientiane Ring, James McAvoy frowned and meditated. He glanced at Matthew. He has also been exercising for a long time. Why is the gap between physical strength and skill so big?

Lack of enough exercise? Recalling this sentence, James McAvoy suddenly realized, where is the biggest gap between him and Matthew? The quantity and quality of pick up girls!

Matthew is cutting down and exercising in the dense forest, and he can only pull up some small saplings...

Sure enough, there is a lack of enough exercise, and we must work harder in the future.

The filming started again. Matthew hung the wire and continued to spin and fight in the Vientiane Ring, his body suspended from time to time, as if he was in space.

This is also the most special action scene he has ever filmed.

The shooting here is also the most typical scene combining traditional setting with digital technology.

In this scene, it's not enough to have gravity change direction, Christopher Nolan also uses the "zero gravity" trick.

At the end of the morning's shooting, Matthew saw that Christopher Nolan did not immediately go to dinner, but continued to stay in the director's seat to deal with the scenes shot in the morning, and walked over.

From the very beginning of filming, he had permission from Christopher Nolan to watch the finished footage.

In fact, Christopher Nolan also knows that in addition to being an actor, Matthew is also developing on the road of a producer. The position of a producer does not require proficient in all the professional skills of the crew, but he also needs to have a general understanding.

Therefore, when Matthew has questions, he will answer what he can answer.

Matthew greeted Christopher Nolan and stood behind him to watch the footage that would be finished.

I don't think it is in the Vientiane Ring, but now from the perspective of a bystander, this zero-gravity lens is indeed very imaginative.

"During filming, the change of gravity is caused by the rotating set." Matthew knows that his ability in filming and production is very general. What, "Chris, how did the weightlessness here come about?"

He personally felt it in the Vientiane Ring, and the Vientiane Ring did produce some sense of weightlessness. Although it was not too strong, it could make the people in it clearly perceive it.

Christopher Nolan glanced at Matthew and didn't answer. Instead, he pointed to the action scene that was being played and asked, "Are you asking how to make the scene feel weightless?"

Matthew's question just now was a bit vague. He smiled and said, "Yeah."

Christopher Nolan thought for a while, and then said, "There are two ways for Hollywood to shoot similar scenes. The traditional way is that the crew builds a high-speed rotating centrifugal system to allow the actors to perform in a real weightless state; the digital technology school The way to do it is, it's too troublesome, just hang the actors in front of the green screen to shoot, and then combine it with the background and it's easy to get it done."

Matthew nodded slightly and waited for Christopher Nolan to continue.

"However, I think these two methods have their own shortcomings." Christopher Nolan said without reservation, "I rely on the perfect combination of traditional setting and digital technology to achieve this, which is superb art. The result of guided imagination coupled with advanced digital technology work."

He pressed the pause button, pointed to the background of the camera, and said, "First of all, the whole weightless scene was done on a real set, and the actors, including you and James, were suspended from the set to create the effect of weightlessness."

Matthew replied, "This kind of suspension is not as simple as just hanging a few wires, right?"

Christopher Nolan nodded, "It would be a disaster for post-production to shoot in the usual way, because that would mean a lot of Wia removal work, so I thought of a better way to shoot the original horizontal set Build it vertical while shooting with the camera pointing straight up!"

He pointed to the camera and continued, "The walls on both sides of the corridor have become ceilings and floors in a real sense, and the vertical relationship of the shooting scene becomes the depth relationship, and vice versa. The depth of the shooting scene is actually a physical The vertical plane on the top, in this way, the vertical hanging Weiya, according to the spatial relationship of the shooting scene. It becomes extended from both sides of the corridor, rather than hanging from the ceiling.”

Matthew is not stupid. Hearing this, plus the scene in front of him, if he felt something, he said, "Isn't this greatly increasing the chance of using actors to block the suspension device, which can reduce the time for special effects to eliminate coercion in the later stage? Do a lot of work."

"Yes, that's right." Christopher Nolan sighed. "In this respect, traditional shooting techniques have helped digital technology a lot, but digital has also helped traditional special effects."

"Digital technology is not useless," Matthew said tentatively.

Christopher Nolan couldn't help laughing, "There are only useless film directors, where can there be useless film technology? The media has overinterpreted my words."

Then, he changed to a special effects shot with Ken Watanabe and Cillian Murphy.

Christopher Nolan looked at the broadcast footage, UU reading www.uukanshu.com said, "Matthew, not everyone can complete these action scenes as easily as you. For some actors, especially face-to-face The person on the camera means that he is facing down when shooting, such as Ken Watanabe and Cillian here, they can't bear it for a long time, so they can only use stuntmen, but don't forget that they have to be exposed in front of the camera. head…"

"In this way, face replacement is indispensable. Of course, this can only be done by digital special effects technology. The digital special effects artist scans the actor's face, makes a digital model, and then pastes it on the body of the stuntman, which is almost the same as himself. "

Matthew understood what he meant and said, "Traditional filming and special effects techniques are linked together seamlessly."

"Indeed." Christopher Nolan agreed.

This conversation with Christopher Nolan also made Matthew understand that traditional special effects and digital special effects do not have to be life-and-death, and digital special effects represent the future development direction. And traditional special effects are not useless, the two can completely complement each other.

The production of Hollywood's first-line commercial films is not a game between tradition and numbers, but a comprehensive application of the entire film technology.